Andrea Mantegna, San Zeno Altarpiece발음듣기
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Andrea Mantegna, San Zeno Altarpiece
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(music) ("In The Sky With Diamonds" by Scalding Lucy) Beth: We're in the Basilica of San Zeno in the town of Verona in northern Italy looking at an altarpiece in situ by the great Renaissance artist, Andrea Mantegna.발음듣기
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Steven: This is an altarpiece that has one foot in the older traditions of the Trecento and one foot that's beginning to move into a much more sophisticated understanding of pictorial space.발음듣기
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So on the one hand, you have this frame which we think may be original to Mantegna himself which divides the main scene into three sections with these four Corinthian columns we're calling the Classical paths.발음듣기
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Beth: So you might think about that older Trecento 1300s tradition of an altarpiece with and an image of Mary and Christ in the center with separate panels within a larger frame.발음듣기
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Beth: Instead of very separate panels with figures with a gold background, Mantegna's unified that space behind the frame so that the figures really seem to occupy a very real space created with the illusion of linear perspective.발음듣기
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Steven: That's not completely unheard of before Mantegna, but he's also pairing the actual physical wooden carved frame columns with more classicizing columns in the pictorial space immediately behind them.발음듣기
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Beth: So those columns in the front that are real, are coming into our space, right? They're real columns.발음듣기
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And the garland that unites them seem to be on that edge of our space and the pictorial space.발음듣기
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And then we move back where we see Mary holding the Christ child on her lap, angels around her singing and playing music.발음듣기
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On either side, four saints in this space showing us the court of heaven, but it's a christian heaven in an insistently classical, antique, pegan space.발음듣기
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This is a kind of painting called a "sacra conversazione", a sacred conversation or holy community.발음듣기
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Steven: You have to gather in one pictorial space figures that come from different historical periods.발음듣기
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If we start all the way on the left, you see a figure with a red undergarment and a yellow mantle on top.발음듣기
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Finally, the fourth figure on the left in the back, is Saint Zeno, the namesake for this church and somebody we think was the person who brought christianity to the town of Verona.발음듣기
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Steven: On the other side of the Virgin Mary, in the front, there is this extraordinary rendering of Saint John the Baptist.발음듣기
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Mantegna we know was devoted to studying ancient Greek and Roman antiquities and it's so obvious that he's been looking at classical sculpture with that figure of John the Baptist.발음듣기
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And it's not just in the tilt of his hips and that contrapposto in the S-curve, it's also just an amazing naturalism of his pose, the way he looks down, reads the book, that he holds the book.발음듣기
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He's so believable and he's so close to us we can imagine him as a real figure about to step out of that painting.발음듣기
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Steven: That's the thing that grabs me, the vividness, the use of oil paint with a kind of linear quality that Mantegna brings to his paintings with a careful use of light which, by the way, reflects the way the light is actually entering into this church, all of which creates this really intense illusionism.발음듣기
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But we also know at the same time, given all of that accessibility, that we're looking at an image of the court of heaven and that one day perhaps through our own prayers, through our own good works, we could hope to join the blessed in heaven.발음듣기
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So like in, for example, Mantegna's Saint Sebastian, we have a contrast between the classical path which is represented by those sculptures in [Grazei] that we see and there's some carving in the [freeze] and in the [roundels].발음듣기
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Then we have the christian present in this painting, full color in the figures in the court of heaven.발음듣기
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The altarpiece in this guild frame is within the apse of this church, decorated with fresco from a century or two earlier.발음듣기
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Steven: Because that's true fresco paint applied directly on wet plaster, it's lost a vividness of its color because it mixes with the white of the plaster.발음듣기
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Beth: We can see how oil paint could create a realism in texture and form that was really impossible with the earlier medium of fresco or even tempera.발음듣기
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If you look down at the predella, you can see that there are additional scenes and those have not been returned.발음듣기
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