The Genius of Andrea Mantegna by Keith Christiansen

By Keith Christiansen

Few artists have controlled to imprint their character so indelibly on posterity as Andrea Mantegna (c. 1430–1506). earlier than he reached the age of twenty, Mantegna used to be already being praised for his alto ingegno (exalted genius), and he turned the courtroom artist for the Gonzaga kinfolk in Mantua earlier than he was once thirty. but, this e-book argues, Mantegna used to be now not easily an exceptional painter. including Donatello, he was once the defining genius of the fifteenth century: the degree of what an artist might be. His hugely unique and deeply own imaginative and prescient, the descriptive richness of his images, and his biting, hypercritical yet consistently exalted brain gave Mantegna’s artwork a unprecedented side and earned him a preeminent position within the Renaissance.

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1 Contents Cover Title Page Copyright Acknowledgments Anne Collins Goodyear and James W. McManus aka Marcel Duchamp: Meditations on the Identities of an Artist—An Introduction 1. Masking Marcel Wendy Wick Reaves Brittle Painted Masks: Portraiture in the Age of Duchamp Adrian Sudhalter R/rose Recontextualized: French and American Identity and the Photographic Portraits for Dadaglobe and New York Dada James Housefield Starry Messenger: Astronomy, Fashion, and Identity in Marcel Duchamp’s Comet Haircut David Hopkins Duchamp, Surrealism, and “Liberty”: From Dust Breeding to Étant donnés 2.

P. Richardson Symposium on Portraiture and the related “Conservation Panel: New Research on Marcel Duchamp Portraits by Jean Crotti,” both hosted in conjunction with the opening of the exhibition Inventing Marcel Duchamp: The Dynamics of Portraiture (March 27 to August 2, 2009) at the National Portrait Gallery. A related catalogue accompanied the exhibition: Anne Collins Goodyear and James W. , Inventing Marcel Duchamp: The Dynamics of Portraiture (Cambridge, MA: The MIT Press, with the National Portrait Gallery, Smithsonian Institution, Washington, DC, 2009).

The slipperiness of identity became a playfield for the surrealist art dealer Julien Levy, who created a number of spoofing wanted posters in the early 1950s. His depiction of Marcel Duchamp (seen here) clearly pays homage to Duchamp’s Wanted: $2,000 Reward of 1923. , George W. Welch and Rrose Sélavy). Nodding to Duchamp’s ready adoption of alter egos and alluding to his own imitation of Duchamp’s work, Levy casts his friend as Edward Aloyisus Hannon, a forger sought by the law for impersonation.

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