Bacchanal with a wine vat.

This engraving represents a scene from classical mythology depicting Bacchus, the god of wine and revelry. The figures are typical of those found in Greek and Roman art emphasising the naked male torso. The composition is inspired by antique sarcopaghi in the collections of the della Valle family and in the Church of Santa Maria Maggiore, Rome. It shows how Mantegna's imagination could endlessly reformulate antique sources into entirely original designs. He has depicted several aspects of the male torso that highlight his skills as a draughtsman. The decorative composition is similar to that on other forms of classical art, such as ceramics and mosaics, where figures are placed in a restricted space with a linear presentation. This print may relate to a decorative scheme for one of the Gonzaga palaces in Mantua, but it is equally likely that Mantegna made engravings to explore his own interests and as a way to make his inventions widely known. Here the drunken figures gather around the wine vat, populating the space with gloomy majesty. The scene relates to ancient associations between Bacchic rites and Christian mysteries. The unconscious youth at the centre is held up by a gaunt mourning figure, much like the dead Christ in Pietà themes.

Copies of images: Mantegna lived in the Northern Italian city of Mantua where he worked for the Marquis Lodovico Gonzaga. He wished to distribute his art to a wider audience and also to supplement his income as Ludovico Gonzaga was not always scrupulous about paying his artists. He is credited with having produced over fifty plates from which he could make many copies of his images for sale. This engraving was produced in the late fifteenth century and is one of the earliest prints produced with this technique. It is therefore very significant within the context of Te Papa's prints collection as a founding example of European printmaking.

A second engraving Te Papa is fortunate to have a second engraving by Mantegna, Battle of the sea gods (1869-0001-309). Both engravings came to Te Papa from the Danish Bishop and former prime minister Dietlev Monrad in 1869, when he donated his personal collection of over 500 prints to the Colonial Museum.

See: http://www.metmuseum.org/art/collection/search/337057

Dr Mark Stocker, Curator Historical International Art                                     November 2016