Descent into Limbo
Print
ca. 1475-1480 (made)
ca. 1475-1480 (made)
| Artist/Maker | |
| Place of origin |
The composition is famous for the unusual placement of the figure of Christ, with his back to the viewer as he enters into Limbo. It also shows Mantegna's interest in rock formations, which he studied from nature.
There has been some debate about whether Mantegna engraved more than the seven works usually assigned to him, or even whether he engraved any himself. From 1475 Mantegna is known to have been looking for a professional engraver to work for him, but one is not known of until the 1490s.
This print is among those that some scholars include in an expanded list of works engraved by Mantegna himself. The attribution of this work to Mantegna himself is based on comparison between the preparatory drawing and print, showing how changes to the design were engraved directly onto the plate without preparation.
Whether this print was engraved by Mantegna or someone working from his drawings, it reflects a new practice of artists reproducing their drawings in print. Collectors accepted prints taken from drawings as originals to be prized in their own right. From about 1490 Mantegna employed Antonio da Brescia to engrave copies to satisfy this demand for them - included among these is a variation of this composition.
There has been some debate about whether Mantegna engraved more than the seven works usually assigned to him, or even whether he engraved any himself. From 1475 Mantegna is known to have been looking for a professional engraver to work for him, but one is not known of until the 1490s.
This print is among those that some scholars include in an expanded list of works engraved by Mantegna himself. The attribution of this work to Mantegna himself is based on comparison between the preparatory drawing and print, showing how changes to the design were engraved directly onto the plate without preparation.
Whether this print was engraved by Mantegna or someone working from his drawings, it reflects a new practice of artists reproducing their drawings in print. Collectors accepted prints taken from drawings as originals to be prized in their own right. From about 1490 Mantegna employed Antonio da Brescia to engrave copies to satisfy this demand for them - included among these is a variation of this composition.
Object details
| Categories | |
| Object type | |
| Title | Descent into Limbo (generic title) |
| Materials and techniques | Engraving on paper |
| Brief description | Andrea Mantegna, engraving, Descent into Limbo; Mantua, Italy, ca. 1475-1480. |
| Physical description | An archway set into a rock and guarded by winged demons blowing horns. Christ with his Resurrection banner enters the archway. He stands on the broken door. A man (usually identified as the Good Thief, Dimas or Dismas) stands to his left holding the Cross. To the right are a group of men and a woman who appear tormented, one holding his hands to his ears. Two of these are usually identified as Adam and Eve. |
| Dimensions |
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| Styles | |
| Credit line | Bequeathed by Constantine Alexander Ionides |
| Production | In Mantegna exhibition catalogue (1992) this is catalogued as being by Andrea Mantegna himself. |
| Subjects depicted | |
| Summary | The composition is famous for the unusual placement of the figure of Christ, with his back to the viewer as he enters into Limbo. It also shows Mantegna's interest in rock formations, which he studied from nature. There has been some debate about whether Mantegna engraved more than the seven works usually assigned to him, or even whether he engraved any himself. From 1475 Mantegna is known to have been looking for a professional engraver to work for him, but one is not known of until the 1490s. This print is among those that some scholars include in an expanded list of works engraved by Mantegna himself. The attribution of this work to Mantegna himself is based on comparison between the preparatory drawing and print, showing how changes to the design were engraved directly onto the plate without preparation. Whether this print was engraved by Mantegna or someone working from his drawings, it reflects a new practice of artists reproducing their drawings in print. Collectors accepted prints taken from drawings as originals to be prized in their own right. From about 1490 Mantegna employed Antonio da Brescia to engrave copies to satisfy this demand for them - included among these is a variation of this composition. |
| Bibliographic references |
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| Other number | 13 - Le Peintre-Graveur |
| Collection | |
| Accession number | CAI.603 |
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| Record created | June 30, 2009 |
| Record URL |
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