339:. The saint, again tied to a classical arch, is observed from an unusual, low perspective, used by the artist to enhance the impression of solidity and dominance of his figure. The head and eyes turned toward Heaven confirm Sebastian's firmness in bearing the martyrdom. At his feet two iniquitous people (represented by a pair of archers) are shown: these are intended to create a contrast between the man of transcendent faith and those who are only attracted by profane pleasures.
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in Venice. It is quite different from the previous compositions, shows a marked pessimism. The grandiose, tortured figure of the saint is depicted before a neutral, shallow background in brown colour. The artist's intentions for the work are explained by a banderole spiralling around an extinguished
381:("Nothing is stable except the divine. The rest is smoke"). The inscription may have been necessary because the theme of life's fleetingness was not usually associated with pictures of Sebastian. The "M" letter formed by the crossing arrows over the saint's legs could stand for
240:, the painter portrayed the saint against an arch, whether a triumphal arch or the gate of the city. In 1457 the painter had been put on trial for "artistic inadequacy" for having put only eight apostles in his fresco of the
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Characteristic of
Mantegna is the clarity of the surface, the precision of an "archaeological" reproduction of the architectonical details, and the elegance of the martyr's posture.
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Apart from the symbolism, the picture is characterized by
Mantegna's accuracy in the depictions of ancient ruins, as well as the detail in realistic particulars such as the
412:(Treviso), where it remained until 1893, when it was acquired by Baron Giorgio Franchetti for the Ca' d'Oro, which he left to the city of Venice with its contents in 1916.
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It can be identified as one of the works remaining in the artist's studio after his death in 1506. In the first half of the 16th century the work was in
269:. The classical ruins are typical of Mantegna's pictures. The cliffy path, the gravel and the caves are references to the difficulties of reaching the
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was considered protector against the plague as he had been shot through by arrows, and it was thought that plague spread abroad through the air.
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by
Mantegna was painted some years later (c. 1490 or even 1506), although some art historians date it to around the same time as the
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for his collection in Pavia. On his death in 1832, the painting was inherited by his brother and then his nephew in
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or even earlier due to the fictive marble cornice, reminiscent of the painter's time in Padua. It is now in the
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to celebrate the end of the pestilence, it was finished before the artist left the city for Mantua.
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The vertical inscription at the right side of the saint is the signature of
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The picture presumably illustrates the theme of God's
Athlete, inspired to a spurious
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It has been suggested that the picture was made after
Mantegna had recovered from the
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Instead of the classical figure of
Sebastian tied to a pole in the Rome's
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tree next to the column and the description of
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Detail of the
Antique city in the background of the Louvre
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in Padua (1456–1457). Probably commissioned by the city's
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is the subject of three paintings by the
Italian Early
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221:that passed by and all left destroyed behind him.
254:in the following pictures, including this small
228:Detail of the rider in the cloud of the Vienna
205:According to Battisti, the theme refers to the
964:The Introduction of the Cult of Cybele at Rome
167:artist lived in a period of frequent plagues;
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379:Nihil nisi divinum stabile est. Caetera fumus
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690:Saint Bernardino of Siena Between Two Angels
373:candle, in the lower right corner. Here, in
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511:, Bertoncello, Cittadella (Padova), 2007.
509:La collezione di Antonio Scarpa, 1752–1832
300:was once part of the Altar of San Zeno in
178:, furthermore, Mantegna resided near the
27:Set of three painting by Andrea Mantegna
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682:Portrait of Cardinal Ludovico Trevisan
704:Christ Bearing the Soul of the Virgin
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852:Madonna and Child with Three Saints
246:. As a reply, he therefore applied
892:Judith with the Head of Holofernes
884:Judith with the Head of Holofernes
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18:Saint Sebastian (Mantegna, Paris)
820:Christ as the Suffering Redeemer
642:Saint James Led to His Execution
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453:Anonimo (Marcantonio Michiel),
440:Momesso, op. cit., pp. 174–179.
626:Saint Jerome in the Wilderness
479:, Leonardo Arte, Milano 2001.
182:dedicated to Saint Sebastian.
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720:Portrait of Francesco Gonzaga
1043:Paintings of Saint Sebastian
1038:Paintings by Andrea Mantegna
900:Exemplary Women of Antiquity
788:Portrait of Carlo de' Medici
728:Madonna with Sleeping Child
464:Alberta De Nicolò Salmazo,
133:Andrea Mantegna, 1456–1459
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932:Parnassus (Mars and Venus)
650:Presentation at the Temple
618:Adoration of the Shepherds
455:Notizia d'opere di disegno
98:Canvas, 255 x 140 cm
448:Bibliography (in Italian)
1007:Mantegna funerary chapel
548:25 February 2020 at the
495:Pittori del Rinascimento
144:Kunsthistorisches Museum
58:Panel, 210 Ă— 91 cm
804:Madonna of the Cherubim
524:Zuffi, Stefano (1991).
497:, Scala, Firenze 2007.
400:, where it was seen by
138:Panel, 68 Ă— 30 cm
956:Triumph of the Virtues
916:Madonna della Vittoria
493:, in Various authors,
468:, Electa, Milano 1997.
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93:Andrea Mantegna, 1480
53:Andrea Mantegna, 1490
828:Lamentation of Christ
773:Adoration of the Magi
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180:San Sebastiano church
836:Madonna of the Caves
528:. Arnoldo Mondadori.
174:In his long stay in
876:Christ the Redeemer
744:San Zeno Altarpiece
698:Death of the Virgin
674:Agony in the Garden
658:Agony in the Garden
634:San Luca Altarpiece
402:Marcantonio Michiel
370:Galleria Franchetti
990:Camera degli Sposi
895:(Washington; 1495)
868:Descent into Limbo
812:Triumphs of Caesar
489:Ettore Camesasca,
365:Triumphs of Caesar
326:Dauphin d'Auvergne
322:Gilbert de Bourbon
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924:Trivulzio Madonna
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712:Portrait of a Man
250:'s principles of
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911:(1495–1500)
903:(1495–1500)
871:(1492–1493)
863:(1492–1493)
855:(1490–1500)
666:Crucifixion
613:(1448–1457)
157:Renaissance
1022:Categories
604:Saint Mark
503:888117099X
416:References
358:The third
318:Federico I
312:region of
306:Aigueperse
252:Classicism
243:Assumption
959:(c. 1502)
951:(c. 1500)
943:(c. 1500)
940:Ecce Homo
831:(c. 1490)
815:(c. 1486)
807:(c. 1485)
765:Ascension
739:(c. 1460)
731:(c. 1470)
723:(c. 1461)
715:(c. 1460)
707:(c. 1461)
677:(c. 1459)
661:(c. 1458)
653:(c. 1455)
629:(c. 1451)
596:Paintings
540:Louvre's
354:of Venice
308:, in the
190:of Vienna
169:Sebastian
146:, Vienna
66:, Venice
64:Ca' d'Oro
983:Frescoes
775:) (1462)
546:Archived
526:Mantegna
491:Mantegna
477:Art Book
475:, serie
473:Mantegna
466:Mantegna
387:Mantegna
328:(1486).
310:Auvergne
106:, Paris
1000:Related
429:Notizia
248:Alberti
200:podestĂ
159:master
975:(1506)
935:(1497)
927:(1497)
919:(1496)
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783:(1464)
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669:(1459)
637:(1453)
607:(1448)
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333:sermon
314:France
302:Verona
215:Saturn
211:scythe
196:plague
176:Mantua
165:Paduan
163:. The
398:Padua
383:Morte
375:Latin
282:Greek
701:and
513:ISBN
499:ISBN
481:ISBN
350:The
288:The
219:Time
186:The
344:fig
335:by
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