Death of the Virgin, c.1462 by Mantegna
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The effect of ageing gives one painting the charm of authentic and noble appearance. Such a art reproduction can add to any interior a unique look and a style.
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See examples of art reproductions aged in our studio.
Adoration of the Child, c.1620
Gerrit van Honthorst
Sir Edwin Henry Landseer
Winter Landscape with Skaters near Dordrecht, undated
Jan van Goyen
Winter Landscape with Skaters near a Castle, undated
Frederik Marinus Kruseman
A Winter Landscape with Skaters on a Frozen River, 1867
Frederik Marinus Kruseman
View of the Merwede off Dordrecht, c.1660
Jan van Goyen
Skaters near Rotterdam, 1876
Painting Title:Death of the Virgin, c.1462
Artist:Andrea Mantegna (c.1431-1506)
Prado Museum Madrid Spain
Original Size:54.5 x 42 cm
Painting Reproduction completely hand-painted with oil on blank linen canvas.
Creation Time:Your Mantegna Hand-Painted Art Reproduction must not be rushed as it need time for reaching the high quality and precision and also for getting dry. Depending of the complexity and the details of the painting, we need of several weeks for creation of the painting.
Shipping:We not frame oil painting reproductions. The Hand-Painted Art Reproduction is expensive product and the risk of damages during transport of stretched on a frame painting is too high. "Death of the Virgin" by Mantegna is unframed and will be shipped rolled up in postal tube.
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We create our paintings only with museum quality. Our academy educated European painters never allow compromise with the quality and the details. TOPofART not work with Far East wholesalers with poor quality.
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.