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The Crucifixion, after Mantegna
Edgar Degas French
after Andrea Mantegna Italian
Not on view
Degas often asserted that the great artists of the past “must be copied over and over again.” Among those he returned to most was the Italian Renaissance painter Andrea Mantegna. This example can be securely dated to after Degas’s return to Paris from Italy in 1861, as Mantegna’s Crucifixion (1456–59) in the Louvre was one of the sources for a composition he was working on at the time. In a notebook, Degas recorded that he sought to combine aspects of two Italian Renaissance painters’ work: “the spirit and love of Mantegna with the verve and color of [Paolo] Veronese.”
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