Description
Italian school; early 17th century. "Lamentation over the body of the dead Christ". Oil on copper. Presents restorations. It has frame c. 1850. Measurements: 15 x 22 cm; 21 x 27 cm (frame). In this work the theme of the lamentation of the body of Christ is captured in a more intimate way than in previous periods, simplifying the composition and eliminating all possible elements. Thus, the body of the dead Christ articulates the image, located in the center, and around it is placed the figure of Mary Magdalene and St. John. In the painting we are dealing with, the characters appear, cut out against a black background that enhances their volumes. Stylistically, the direct influence of tenebrism dominates: the way in which a powerful light builds the volumes and cuts out the gestures, staging the moment of contained pain, the silent pathos. The bodies are modeled with an energetic brushstroke, selectively illuminated, a resource that undoubtedly contributes to accentuate the devout and emotional message contained in the work. The author also manages to masterfully express both the physical pain, through the open wound in Christ's side. The scene of the lamentation or weeping over the body of the dead Christ is part of the cycle of the Passion, and is intercalated between the Descent from the Cross and the Holy Burial. It narrates the moment in which the body of Christ is deposited on a shroud (in other cases, on the stone of anointing) and they are arranged around him, bursting in laments and sobs, his mother, St. John, the holy women, Joseph of Arimathea and Nicodemus. It is a very emotional theme, fruit of popular piety, which concentrates the attention on the drama of the Passion and the loving and sorrowful contemplation, with a realistic and moving sense. In Byzantium, and in the representations of Byzantine influence, the figure of Christ rests on the slab of the anointing, where his corpse was perfumed and prepared to receive burial, which later in Italian art will become a sepulcher. This scene is not referred to in the Gospels, but finds its origin in mystical literature and religious texts of piety, as well as in those of the confraternities of flagellants. It presents restorations.
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Italian school; early 17th century. "Lamentation over the body of the dead Christ". Oil on copper. Presents restorations. It has frame c. 1850. Measurements: 15 x 22 cm; 21 x 27 cm (frame). In this work the theme of the lamentation of the body of Christ is captured in a more intimate way than in previous periods, simplifying the composition and eliminating all possible elements. Thus, the body of the dead Christ articulates the image, located in the center, and around it is placed the figure of Mary Magdalene and St. John. In the painting we are dealing with, the characters appear, cut out against a black background that enhances their volumes. Stylistically, the direct influence of tenebrism dominates: the way in which a powerful light builds the volumes and cuts out the gestures, staging the moment of contained pain, the silent pathos. The bodies are modeled with an energetic brushstroke, selectively illuminated, a resource that undoubtedly contributes to accentuate the devout and emotional message contained in the work. The author also manages to masterfully express both the physical pain, through the open wound in Christ's side. The scene of the lamentation or weeping over the body of the dead Christ is part of the cycle of the Passion, and is intercalated between the Descent from the Cross and the Holy Burial. It narrates the moment in which the body of Christ is deposited on a shroud (in other cases, on the stone of anointing) and they are arranged around him, bursting in laments and sobs, his mother, St. John, the holy women, Joseph of Arimathea and Nicodemus. It is a very emotional theme, fruit of popular piety, which concentrates the attention on the drama of the Passion and the loving and sorrowful contemplation, with a realistic and moving sense. In Byzantium, and in the representations of Byzantine influence, the figure of Christ rests on the slab of the anointing, where his corpse was perfumed and prepared to receive burial, which later in Italian art will become a sepulcher. This scene is not referred to in the Gospels, but finds its origin in mystical literature and religious texts of piety, as well as in those of the confraternities of flagellants. It presents restorations.
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