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Painting Title:Death of the Virgin, c.1462
Artist:Andrea Mantegna (c.1431-1506)
Prado Museum Madrid Spain
Original Size:55 x 42 cm
Medium:Your "Death of the Virgin" Canvas Print individually handmade using sophisticated digital technology. The Giclee printing process gives the Art Print a vivid, pure colour, incredible details and the authentic charm of a museum original.
Production Time:If you have chosen Mantegna Canvas Print without a frame, it will be ready for shipping within 2-3 days. However, if you have chosen a framed painting, the framing process will take around 7-8 days.
Sizes:Our Art Prints are offered in sizes in exact proportions as the original paintings in the museums. You can increase or decrease the size, using purple-up or down arrows, located under the image of the painting. We add additional 1.2" (3cm) blank canvas around the offered size for stretching.
Shipping:The unframed "Death of the Virgin" will be shipped rolled up in postal tube. The framed Canvas Print travel packed in a cardboard box. Due to postal restrictions, we do not frame paintings, when the length of the artwork is greater than 28" (71cm). You can check the estimate shipping cost for your order in the shopping cart screen.
You can proportionally increase or decrease the size by your own choice.
max size for framing: 27.95/21.54 inches
Girl with a Vase, undated
Sir Edward Poynter
Jaffa, Recruiting of Turkish Soldiers in Palestine, 1888
Nympheas - Morning (Detail), c.1920/26
Mrs. George Oswald, c.1770/74
Gabriel Cornelius von Max
Waterloo Bridge - Overcast Skies, 1903
The upper part of this work was mutilated before it reached the Prado. The missing section represented Christ - enclosed in a sort of wrapping of clouds spangled with cherubim against a background of a vault in the architectural style of Alberti - receiving the soul of the Virgin. A fragment has been found in the Vendeghini Collection in Ferrara. Therefore we can reconstruct the work, aided by the knowledge of a similar iconographic solution in the mosaic of the Mascoli Chapel in St. Mark's, Venice. Various suggestions have been proposed for the relationship between this picture and the mosaic, but critics now believe that the mosaic was a derivation from the Madrid panel, which from its style may be dated about 1460. There is no exact documentation on the work, but it is probable that it was part of the decoration of the chapel in the Castello di St. Giorgio, which Mantegna began for the Gonzaga family in about 1459 and which also included the beautiful panels now in the Uffizi. In the 19th century these were reunited to form a triptych, with the “Adoration of the Magi” in the centre, and the “Circumcision” and the “Ascension” at the sides. By 1460, Mantegna had completed his youthful Paduan experience and was preparing for his masterpiece in the Camera degli Sposi in Mantua. In our small panel the virtuosity of the epic narrator is transformed into an emotional tension that finds expression in the highly composed structure of the circle of Apostles around the bier (only broken by the figure leaning forward and swinging a thurible over the body of the Virgin), and in the chromatic force of every detail. It was the mellowness of colour and perhaps the crystalline luminosity of the landscape elements (a dam on the lake of Mantua?) that suggested Bellini as an author to Adolfo Venturi. This unsustainable hypothesis had a reasonable aspect. It is in the five years between 1456 and 1460 that Bellini was observing Mantegna most attentively, as is proven by his “Transfiguration” in the Museo Correr, which was considered to be by Mantegna.