Сретение {3171}
Presentation of Christ at the temple
Мантенья А.
Andrea Mantegna
Берлин: Гос. музеи
Berlin: Staatliche Museen
Справа показан автопортрет художника.
The picture shows the presumed self-portrait of the artist.
The painting have a structure as a work by Giovanni Bellini {2820}: in the foreground, leaning against a marble ledge, the Virgin is holding the swaddled Child while the old priest stretches out to take it.
In {2820} there are two more figures, identified by critics as the mother Anna and Giovanni himself.
The invention was probably Mantegna's, as can be assumed from the inflexibly austere framing of the scene, the Child of Donatellian inspiration which placed on the ledge becomes a unit of measure for the scene's spatial depth, and even the physical features of the priest, resembling Squarcione's prototypes which had been familiar to Mantegna.
Изображение замкнуто прямоугольной рамой, неумолимой преградой, отдаляющей от зрителя изображённые персонажи. Они обрисованы с графической чёткостью, подчёркивающей самоценность каждой фигуры, так что их бытие воспринимается как вечное, приобретает абсолютный характер.
Mantegna's Presentation is enclosed ineluctably within a square frame, a fatal screen separating the group from the spectator; the figures are absorbed in an incisiveness that renders them detached and eternal in an absolute vision.
In contrast with its architectural solidity and marmoreal rigour, Bellini's scene has a quite different rhythm, with modifications that are apparently insignificant but in reality substantial: the addition of two characters gives the group more life, splits it up and reassembles it into a small human crowd.
The elimination of the frame, or rather its reduction to a pale, marbled shelf, somewhat akin to a church altar-top, suddenly removes every barrier and draws one toward the scene with a sense of intimacy.
To the solid as rock colours of Mantegna, who blends flesh-tones, stones and drapery, he responds with a pure and orchestrated play of whites and reds in clear alternation.
The views of critics about when the two works were painted do not concur, but it seems impossible to imagine that a long period of time separated their respective execution, as had been initially suggested, also by virtue of the diverse opinions regarding the precedence of the conception.
It would be illuminating perhaps to discover the reasons that led to their execution, which do not appear to be a matter of chance, but almost certainly linked to family events, which with this important family portrait were solemnized.
Tempera on wood.
предмет с изображением:
Virgin museum
Peter museum
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