DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67657#0490
382
Known Masters and their Immediate Followers.
ZOAN ANDREA.
In our notice of Mantegna mention has been made os a letter from
Simone di Ardizone to Lodovico Sforza1 complaining of ill-treatment
at the hands of Mantegna. This and a letter srom Lodovico to
Cantabei dated October 1st 1475, summoning Zoan Andrea and
Simone di Ardizone to appear before him at Borgoforte,2 contain all
1 he documentary evidence that is known in relation to Zoan Andrea’s
life.
Brom these letters it may be gathered that Zoan Andrea was
established as an engraver in Mantua in the year 1475, and was
apparently working after drawings by Mantegna without the painter’s
permission.
Very probably some of the anonymous engravings after early
drawings by Mantegna (described under Mantegna, section II), as
well as certain copies after the master’s authentic work, may be by
Zoan Andrea; but definite characteristics attested by this engraver’s
signed work seldom appear in strength enough to prove as much.
Perhaps the better plate of the Triumph of Caesar with the Elephants
(Mantegna, II. 1), the copy of the horizontal Entombment (I. 6*),
and the Foror Women dancing (II. 11), have greater claim than the
rest to be considered as his work, but such attributions might at
any time have to be repudiated.
Some further light on the course of Zoan Andrea’s activity may
be gathered from an examination of his authenticated works. Some
of these, no doubt the earlier, are engraved in a manner closely
related to that of Mantegna, but another phase of his style points to
his having later removed to Milan, or having at least come into close
touch with the Milanese school. In this second phase his line
becomes more meagre, and he makes more frequent, though always
sparing, use of cross-hatching. Some indication of his connexion
1 See above, p. 333.
2 Kristeller, Mantegna, Leipzig, 1902 (Dokumente No. 67)
Known Masters and their Immediate Followers.
ZOAN ANDREA.
In our notice of Mantegna mention has been made os a letter from
Simone di Ardizone to Lodovico Sforza1 complaining of ill-treatment
at the hands of Mantegna. This and a letter srom Lodovico to
Cantabei dated October 1st 1475, summoning Zoan Andrea and
Simone di Ardizone to appear before him at Borgoforte,2 contain all
1 he documentary evidence that is known in relation to Zoan Andrea’s
life.
Brom these letters it may be gathered that Zoan Andrea was
established as an engraver in Mantua in the year 1475, and was
apparently working after drawings by Mantegna without the painter’s
permission.
Very probably some of the anonymous engravings after early
drawings by Mantegna (described under Mantegna, section II), as
well as certain copies after the master’s authentic work, may be by
Zoan Andrea; but definite characteristics attested by this engraver’s
signed work seldom appear in strength enough to prove as much.
Perhaps the better plate of the Triumph of Caesar with the Elephants
(Mantegna, II. 1), the copy of the horizontal Entombment (I. 6*),
and the Foror Women dancing (II. 11), have greater claim than the
rest to be considered as his work, but such attributions might at
any time have to be repudiated.
Some further light on the course of Zoan Andrea’s activity may
be gathered from an examination of his authenticated works. Some
of these, no doubt the earlier, are engraved in a manner closely
related to that of Mantegna, but another phase of his style points to
his having later removed to Milan, or having at least come into close
touch with the Milanese school. In this second phase his line
becomes more meagre, and he makes more frequent, though always
sparing, use of cross-hatching. Some indication of his connexion
1 See above, p. 333.
2 Kristeller, Mantegna, Leipzig, 1902 (Dokumente No. 67)