I first published this post on Andrea Mantegna on March 26, 2011. It has received over 2000 page views and ranks #7 on my list of most viewed posts. The post was derived from a study by Henk van Os, "The Art of Devotion."
|Andrea Mantegna: Madonna and Child|
In “The Art of Devotion” Henk van Os argued that Andrea Mantegna deliberately sought to be an “exceptional painter.” As court painter of Mantua, Mantegna worked for an exclusive and well-to-do clientele. Even when his patrons wanted common subjects like a Madonna and Child for their homes, they would not be satisfied with a stock or second-rate work.
"There are quite a few extant pictures showing devotional scenes in bedrooms and they make it clear that such small paintings on a wall had a different function from the diptychs or triptychs which were opened when one wanted to pray. A Virgin and Child on the wall was more remote. It sanctified the room as a whole, as well as serving if necessary as a focal point for prayer. It had become one of the norms for interior decoration. A second-rate Madonna would have been out of place in a sumptuous room…."
Mantegna used not only his technical virtuosity but also his uncommon knowledge of antiquity to become an “exceptional” painter. "As an authority on antiquity, and mixing as he did with princes, he regarded each new commission as a new artistic challenge. Whatever he painted…the result was always something entirely and unmistakably his own."
Everything that van Os said about Mantegna can be applied to Giorgione. If Mantegna, working in Mantua, had a difficult and demanding clientele, what can we say about the young Giorgione working in Venice in the first decade of the sixteenth century? I like to compare the big three of Renaissance Italian cities to three current day American cities. Florence is Boston, Rome is Washington but Venice is New York, the cultural and financial capital of the world.