Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
The Flagellation (with the pavement) - Andrea Mantegna
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A masterful Renaissance engraving by Andrea Mantegna, featuring precise linear perspective and sculptural figures in a classical architectural setting.
This engraving by Andrea Mantegna depicts the biblical scene of the Flagellation of Christ. Mantegna, a master of the Italian Renaissance, demonstrates his preoccupation with classical antiquity and rigorous perspective in this composition. The scene is set within a structured architectural space, defined by a tiled floor that recedes towards the background, creating a clear sense of depth. Christ is positioned centrally, bound to a column, while his tormentors are arranged around him in dynamic poses that suggest movement and physical exertion. The figures exhibit the sculptural quality characteristic of Mantegna's work. Their musculature is rendered with precise, parallel hatching lines, a technique that defines form and volume through light and shadow. The foreground is occupied by a soldier in classical armour, whose presence provides a stark contrast to the central event. The architectural elements, including the fluted columns and the geometric precision of the pavement, reflect the artist's interest in the ruins of Rome and the mathematical application of linear perspective. This work is often associated with the circle of Mantegna, though it is widely attributed to the master himself due to the technical proficiency of the burin work. The composition is stark and austere, focusing on the anatomical accuracy of the figures and the spatial logic of the environment. The absence of extraneous detail allows the viewer to focus on the tension between the central figures and the surrounding architecture. As a fine art print, this piece offers a clear look at the technical capabilities of early Italian printmaking, where the artist used the copper plate to achieve a level of detail and structural clarity that rivalled his paintings.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
The Flagellation (with the pavement) - Andrea Mantegna
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Andrea Mantegna
Mantegna sued his adoptive father. Francesco Squarcione, a Paduan painter and dealer, had taken the boy in around 1441 when Mantegna was roughly ten years old, the son of a woodworker. Squarcione ran a workshop that profited from apprentice labour, and when Mantegna realised the arrangement was exploitative, he took the older man to court. A judge ruled in his favour in 1448, making him legally independent at seventeen.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From $169
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From $59
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From $175
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Andrea Mantegna
Mantegna sued his adoptive father. Francesco Squarcione, a Paduan painter and dealer, had taken the boy in around 1441 when Mantegna was roughly ten years old, the son of a woodworker. Squarcione ran a workshop that profited from apprentice labour, and when Mantegna realised the arrangement was exploitative, he took the older man to court. A judge ruled in his favour in 1448, making him legally independent at seventeen.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
Padua in the 1440s was the first centre of Renaissance humanism in northern Italy. Donatello was working there on the bronze reliefs for the Basilica of Sant'Antonio; Paolo Uccello and Filippo Lippi had both passed through. Mantegna absorbed their experiments with perspective and classical form, then pushed further. His frescoes in the Ovetari Chapel (completed 1457, largely destroyed by Allied bombing in 1944) showed figures seen from below with an architectural conviction no northern Italian painter had attempted before.
In 1453 he married Nicolosia Bellini, daughter of the Venetian painter Jacopo Bellini, binding himself to the most powerful artistic dynasty in the Veneto. The relationship was productive in both directions: Giovanni Bellini, his brother-in-law, learned from Mantegna's sculptural precision while Mantegna gradually absorbed the Venetians' sensitivity to light and atmosphere, though he never fully abandoned his preference for hard, lapidary surfaces.
From 1460 until his death in 1506, Mantegna served as court painter to the Gonzaga family in Mantua. The Camera degli Sposi (completed 1474) was the first room in European painting to use illusionistic decoration across walls and ceiling as a unified architectural space. The ceiling's famous oculus, a circular opening revealing figures peering down from a balustrade against open sky, was a joke that fooled visitors and influenced decorative painting for two centuries.
You May Also Like