San Zeno Altarpiece. Destination and commission



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San Zeno Altarpiece. Destination and commission

Andrea Mantegna  >  San Zeno Altarpiece

In San Zeno Altarpiece, the iconographic scenes, the purpose of the work, the commission and even some stylistic solutions are elements directly linked between them and are fundamental to the understanding of the meanings of the painting.
The client, Gregorio Correr, had expressed to the painter some precise requests. He wanted the painting to be placed in the main altar of the Church of San Zeno, which is an indication that it was destined to the most sacred part of the church, the symbolic place where the Sacrifice of Christ had taken place.  
Besides, Abbot Correr decided to put the triptych on the altar to celebrate the completion of the restoration of the basilica. There were changes on the choir and the crypt, and these symbolized the spiritual renewal of the church, as it can be read in the commendam of 1446.
On the Flemish style rug at the foot of the throne of the Madonna, the date 1443 can be seen. This date corresponds to the entrustment of the abbey to Gregorio's uncle, Antonio Correr, who represented the Correr family. The main chapel could be this way used as the family tomb.
Andrea Mantegna's panel should be therefore a visible sign of the self-celebrating and commemorative achievement of the Corrers, so much that the molding, instead of the traditional picture of God the Father, had the coat of arms of the family.
The altarpiece is valued as funeral monument because of its placing in the choir, but it also goes on to re-link with the lower crypt, where the relics of San Zeno were revered.  

A. Cocchi.

Trad.: A. Sturmer

 


 

Bibliography

Lionello Puppi Cianfrusaglie reperti e un talent scout in: Il Romanzo della pittura. Masaccio e Piero. Supplemento al n° 29 de "la Repubblica" del 2.11.1988 
Claudia Cleri Via Mantegna. Art eDossier n.55. Giunti, Firenze. 1991
La Nuova Enciclopedia dell'Arte Garzanti.
AA.VV. Moduli di Arte. Dal Rinascimento maturo al rococò. Electa-Bruno Mondadori, Roma 2000
A. Blunt Le teorie artistiche in Italia dal Rinascimento al Manierismo. Piccola Biblioteca Einaudi, Giulio Einaudi Editore, Torino 1966
G. Cricco, F. Di Teodoro, Itinerario nell’arte, vol. 2, Zanichelli Bologna 2004
G. Dorfles, S. Buganza, J. Stoppa Storia dell'arte. Vol II Dal Quattrocento al Settecento. Istituto Italiano Edizioni Atlas, Bergamo 2008

 

Tags:Alessandra Cocchi, A. Sturmer, altarpiece, St. Zeno, renaissance, painting.

Stile:Quattrocento.

Per saperne di più sulla città di: Verona

 



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