Andrea Mantegna's Bacchanal With A Wine Vat
Humanism was a major cultural movement during the Quattrocento, and sought to revive classical antiquity which had declined during the middle ages. Consequently, various artists emulated “the exemplary works of the ancients” and even strived to surpass them. Andrea Mantegna is said to have been “fascinated with classical antiquity,” holding the opinion that “the good ancient statues were more perfect and had greater beauty in their various parts than is shown by nature.” Moreover, many of his works embody “the humanist ideal of reverence for intellect and rationality over sensuality.” Bacchanal with a Wine Vat was produced shortly after his visit to Rome in 1488, where he studied relief sculptures. The “frieze-like composition” and sculptural
figures of the engraving derive from “antique Bacchic sarcophagi” he would have seen in Rome. Here, Mantegna emphasizes nudes, which in the fifteenth century were “symbols of antiquity and its reincarnation.” The pale skin of his nude figures reflects the pale tone of marble, and is significant in breaking the paragone between painting and architecture. In particular, Bacchus assumes a classical contrapposto pose, and the unconscious figure in the center being held by another figure closely resembles the dead Christ in Michelangelo’s Pietà.
figures of the engraving derive from “antique Bacchic sarcophagi” he would have seen in Rome. Here, Mantegna emphasizes nudes, which in the fifteenth century were “symbols of antiquity and its reincarnation.” The pale skin of his nude figures reflects the pale tone of marble, and is significant in breaking the paragone between painting and architecture. In particular, Bacchus assumes a classical contrapposto pose, and the unconscious figure in the center being held by another figure closely resembles the dead Christ in Michelangelo’s Pietà.