Vasari eulogizes Mantegna for his courteous, distinguished and praiseworthy deportment, although there are indications of his having been not a little litigious in disposition.
Thode (1897), Paul Yriarte (1901), Julia Cartwright, Mantegna and Francia (1881).
The Marquis Lodovico Gonzaga of Mantua had for some time been pressing Mantegna to enter his service; and the following year, 1460, was perhaps the one in which he actually established himself at the Mantuan court, residing at first from time to time at Goito, but, from December 1466 onwards, with his family in Mantua itself.
The presence of the university attracted many distinguished artists, as Giotto, Lippo Lippi and Donatello; and for native art there was the school of Squarcione (1394-1474), whence issued the great Mantegna (1431-1506).
ANDREA MANTEGNA (1431-1506), one of the chief heroes in the advance of painting in Italy, was born in Vicenza, of very humble parentage.
The influence of Mantegna on the style and tendency of his age was very marked, and extended not only to his own flourishing Mantuan school, but over Italian art generally.
The remarkably definite and original style formed by Mantegna may be traced out as founded on the study of the antique in Squarcione's atelier, followed by a diligent application of principles of work exemplified by Paolo Uccello and Donatello, with the practical guidance and example of Jacopo Bellini in the sequel.
Among the other early works of Mantegna are the fresco of two saints over the entrance porch of the church of S.
The Castello di Corte here, the old castle of the Gonzagas (1395-1406), erected by Bartolino da Novara, the architect of the castle of Ferrara, now contains the archives, and has some fine frescoes by Mantegna with scenes from the life of Ludovico Gonzaga.
The account which has come down to us is that Mantegna began engraving in Rome, prompted by the engravings produced by Baccio Baldini of Florence after Sandro Botticelli; nor is there anything positive to invalidate this account, except the consideration that it would consign all the numerous and elaborate engravings made by Mantegna to the last sixteen or seventeen years of his life, which seems a scanty space for them, and besides the earlier engravings indicate an earlier period of his artistic style.