16th century
Christ deposed with the Madonna and two angels
Bronze, cm 16 x 11
Inside an elegant frame decorated with angels and dominated by the figure of God the Father in blessing, the bloodless body of Christ is depicted held up by a pair of angels and the Virgin Mary. The theme of the Dead Christ supported by angels was widespread in Renaissance painting: while taking elements from other iconographies, it is not properly either a Lamentation or a Deposition, but rather a subject that reveals substantial autonomy. In this case, the angelic couple is also joined by the figure of Mary, who desperately and inconsolably holds her dead Son on her lap for the last time, recalling the iconography of the Pietà. Pathos, compassion, pain and emotion are states of the human soul that fully transpire from the representation, which is constructed according to a pyramidal scheme. The mastery of the artist in the realization of the grieving figures is striking, especially in the definition of the naked and unarmed body of Christ and the robe of Mary. The same subject and approach of the work are found in a charcoal drawing made around 1546 by Michelangelo Buonarroti (Caprese 1475 – Rome, 1564) for the noblewoman and poet Vittoria Colonna. The drawing, now kept in Boston at the Isabella Stewart Gardner Museum, enjoyed great fame, so much so that several copies and reworkings of the subject were derived from some of Michelangelo's students and followers. In this regard, see the work depicting the “Christ deposed with the Madonna and two angels” by Marcello Venusti (Mazzo di Valtellina, 1510 – Rome, 1579) now kept in the Borghese Gallery or “La Pietà” by El Greco (Candia, 1541 – Toledo, 1614) executed between 1571 and 1576 during his stay in Rome and kept in the Museum of Art in Philadelphia.
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