FORESHORTENED CHRISTOne of Mantegna’s later paint-
ings (FIG. 21-49) is another example of the artist’s mastery of per-
spective. In fact, Mantegna seems to have set up for himself difficult
problems in perspective simply for the joy in solving them. The
painting popularly known as Dead Christ,but recorded under the
name Foreshortened Christat the time of Mantegna’s death, is a work
of overwhelming power. At first glance, as its 16th-century title im-
plies, this painting seems to be a strikingly realistic study in fore-
shortening. Careful scrutiny, however, reveals that Mantegna reduced
the size of the figure’s feet, which, as he must have known, would
cover much of the body if properly represented. Thus, tempering nat-
uralism with artistic license, Mantegna presented both a harrowing
study of a strongly foreshortened cadaver and an intensely poignant
depiction of a biblical tragedy. The painter’s harsh, sharp line seems
to cut the surface as if it were metal and conveys, by its grinding edge,
the theme’s corrosive emotion. Remarkably, in the hands of Andrea
Mantegna all the scientific learning of the 15th century serves the
purpose of devotion.576 Chapter 21 ITALY,1400 TO 1500
21-49Andrea Mantegna,Foreshortened Christ,ca. 1500. Tempera on canvas, 2 23 – 4 2 77 – 8 . Pinacoteca di Brera, Milan.
In this work of overwhelming emotional power, Mantegna presented both a harrowing study of a strongly foreshortened cadaver
and an intensely poignant depiction of a biblical tragedy.1 in.21-49A
MANTEGNA,
Saint James Led
to Martyrdom,
1454–1457.