卡斯坦诺在15世纪意大利文艺复兴佛罗伦萨画派的写实主义画家中占有重要地位。他早于达·芬奇半个世纪就创作了一幅动人的《最后的晚餐》（The Last Super，Fresco, 453 x 975 cm佛罗伦萨，圣·阿波洛尼奥Sant'Apollonia, Florence，1447年）。    安德烈亚·德尔·卡斯坦诺生于卡斯塔尼奥附近，最早的作品是1442年在威尼斯的圣扎卡里亚教堂画的壁画。1444年，卡斯坦诺从威尼斯重返佛罗伦萨，并加入了佛罗伦萨的物理学家同业公会，此后一直在那儿工作。1457年8月19日卡斯坦诺卒于花之都佛罗伦萨。卡斯坦诺曾和多纳太罗、乌切罗等一起参加描绘佛罗伦萨大教堂的圆顶玻璃画，他以杰出的写实技巧而惊倒四座。卡斯坦诺的艺术风格受多纳太罗影响，以粗犷雄强著称。技法虽有稚拙的痕迹，但作品很有精神性，追求一种神性的美。

生活

早期

安德里亚德尔Castagno出生Castagno,附近的一个村庄蒙特Falterona佛罗伦萨,不远。佛罗伦萨和米兰之间的战争期间,他住在Corella结束后,回到家中。1440年,他搬到佛罗伦萨的保护下Bernadetto德美第奇。在这里他画的肖像挂在公民战斗或是立面奎里纳勒宫的波德斯塔,获得昵称安德里亚达久的Impiccati。

对他的形成,虽然他已经hypothised学徒联邦铁路局菲利普·里皮和保罗·乌切罗。在1440 - 1441年他受难的壁画和圣人的执行Ospedale迪圣玛丽亚四星的perspective-oriented建设和数字显示马萨乔的影响。

1442年,他在威尼斯他在那里执行壁画在圣Tarasio教会的教堂吗圣扎。后来他还在圣马克大教堂死亡,留下壁画的处女(1442 - 1443)。

回到佛罗伦萨,他设计了一个彩色窗口与沉积的地方大教堂。1445年5月30日,他成为Medicians公会的一员。从同年的壁画是麦当娜的孩子和桑蒂Contini Bonacossi收集(乌菲兹).

最后的晚餐

主要文章:最后的晚餐(del Castagno)

1447年,他在餐厅工作的本笃会的修女桑特'Apollonia在佛罗伦萨、绘画、壁画的下部最后的晚餐,伴随着高于其他场景描绘基督的热情:受难、埋葬、复活,现在损坏。这种场景的结合之前已经表示不知道。他也描绘了一幅半月形修道院回廊,描绘一个圣母怜子图。许多重要的佛罗伦萨家庭有女儿在桑特'Apollonia修道院,所以绘画有可能给他们的注意力带来了安德里亚。

的最后的晚餐显示安德里亚德尔Castagno在他们最好的人才。这壁画描绘的细节和自然主义的方式他离开之前的艺术风格。很可能列奥纳多·达·芬奇他画之前已经熟悉这项工作吗自己的最后的晚餐在一个更具戏剧性的形式与这些作品的寂静,这更多的情感会被显示。

后期的活动

在1449 - 1450年他画的与圣朱利安和Miniato假设主要祭坛(圣朱利安教堂)教会的圣Miniato联邦铁路局le Torri佛罗伦萨(现在柏林).

在同一年中,他与菲利波性格外向油漆一系列杰出的人性格外向的别墅Legnaia。这些包括皮波·斯帕诺,法里纳塔degli Uberti,尼科洛Acciaioli,但丁,Petrarca,薄伽丘,Cumaean预言家,以斯帖和Tomiri.

在伦敦也从大约1450受难,以及大卫与歌利亚的头和一个人的肖像,在华盛顿。

1451年1月至1453年9月,他完成了壁画的场景圣母的生活剩下未完成的多梅尼科对偶在佛罗伦萨的教堂圣艾智德,佛罗伦萨(现在失去了)。菲利波性格外向10月委托他为他的别墅在Soffiano漆壁画,今天的夜和毁了麦当娜和孩子生存。

1455年安德里亚德尔Castagno的工作教堂德拉桑蒂西马·阿努佳塔与圣杰罗姆(壁画三位一体,宝拉和Eustochium和圣朱利安和救世主,前者显示强调现实主义)。在那些年里也是归结为圣Apollonia受难。1456年他在佛罗伦萨大教堂执行的壁画尼科洛·达·Tolentino马术的雕像保罗·乌切罗描绘,并联类似的油画约翰。霍克伍德.

Giorgio Vasari,一个艺术家的传记作家意大利文艺复兴时期多梅尼科•维纳齐亚诺声称Castagno谋杀但这是不可能的,因为对偶于1461年去世,四年后Castagno死的瘟疫。有人建议,瓦萨里与另一个困惑这宗谋杀案涉及“Domenico迪马特奥”在1448年被一个“Andreino”,但档案记录显示,这是一种误读:“做一个粗略的检查发现两件事:首先,死者画家的名字不是Domenico迪马特奥,但Domenico di马可;第二,和更重要的是,没有提到他已经杀了一个名叫安德里亚的画家或Andreino。”

Early years

Andrea del Castagno was born at Castagno, a village near Monte Falterona, not far from Florence. During the war between Florence and Milan, he lived in Corella, returning to his home after its end. In 1440 he moved to Florence under the protection of Bernadetto de' Medici. Here he painted the portraits of the citizens hanged after the Battle of Anghiari on the facade of the Palazzo del Podestà, gaining the nickname of Andrea degli Impiccati.

Little is known about his formation, though it has been hypothised that he apprenticed under Fra Filippo Lippi and Paolo Uccello. In 1440–1441 he executed the fresco of Crucifixion and Saints in the Ospedale di Santa Maria Nuova, whose perspective-oriented construction and figures shows the influence of Masaccio.

In 1442 he was in Venice where he executed frescoes in the San Tarasio Chapel of the church of San Zaccaria. Later he also worked in St Mark's Basilica, leaving a fresco of Death of the Virgin (1442–1443).

Back in Florence, he designed a stained window with Deposition for the local Cathedral. On May 30, 1445 he became a member of the Guild of the Medicians. From the same year is the fresco of Madonna with Child and Santi in the Contini Bonacossi Collection (Uffizi).

The Last Supper

Main article: Last Supper (del Castagno)

In 1447 he worked in the refectory of the Benedictine nuns at Sant'Apollonia in Florence, painting, in the lower part, a fresco of the Last Supper,accompanied above by other scenes portraying the Passion of Christ: Crucifixion,Entombment, and Resurrection,^[3] which are now damaged. This combination of scenes is not known to have been represented before.^[He also painted a lunette in the convent's cloister, depicting a Pietà. Many important Florentine families had daughters in the convent at Sant'Apollonia, so painting there likely brought Andrea to their attention.

The Last Supper displays Andrea del Castagno's talents at their best. The detail and naturalism of this fresco portray the ways in which he departed from earlier artistic styles. It is likely that Leonardo da Vinci was already familiar with this work before he painted his own Last Supper in a more dramatic form to contrast with the stillness of these works, so that more emotion would be displayed.

Late activity

In 1449–1450 he painted the Assumption with Saints Julian and Miniato for the main altar (in the St. Julian Chapel) of the church of San Miniato fra le Torri in Florence (now in Berlin).

In the same years he collaborated with Filippo Carducci to paint a series of Illustrious People for the Villa Carducci at Legnaia. These include Pippo Spano, Farinata degli Uberti, Niccolò Acciaioli, Dante, Petrarca, Boccaccio, the Cumaean Sibyl, Esther and Tomiri.

Also from around 1450 is the Crucifixion in London, as well as the David with Goliath's Head and the Portrait of a Man, both in Washington.

Between January 1451 and September 1453 he completed the frescoes with Scenes of the Life of the Virgin left unfinished by Domenico Veneziano in the Florentine church of Sant'Egidio, Florence (now lost). In October Filippo Carducci commissioned him to paint frescoes for his villa at Soffiano, of which today an Eve and a ruined Madonna with Child survive.

In 1455 Andrea del Castagno worked in the Basilica della Santissima Annunziata (frescoes with the Trinity with Saints Jerome, Paula and Eustochium and St. Julian and the Redeemer, the former showing a stressed realism). Also in those years is attributed a Crucifixion for St. Apollonia. In 1456 he executed in the Florentine Cathedral the fresco of the Equestrian Statue of Niccolò da Tolentino, paralleling the similar painting by Paolo Uccello portraying John Hawkwood.

Giorgio Vasari, an artist and biographer of the Italian Renaissance, alleged that Castagno murdered Domenico Veneziano,^[7] but this is impossible, since Veneziano died in 1461, four years after Castagno died of the plague. It has been suggested that Vasari was confusing this murder case with another one involving a "Domenico di Matteo" who was killed by an "Andreino" in 1448, but the archival record shows that this is a misreading: "A cursory examination reveals two things: first, that the name of the dead painter is not Domenico di Matteo, but Domenico di Marco; and second, and much more crucially, that there is no mention of him having been killed by a painter named Andrea or Andreino.