After Michelangelo Merisi, known as Caravaggio, Deposition of Christ

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About the Item

19th century, from Caravaggio Deposition of Christ Oil on canvas, 53 x 42 cm Framed, 66 x 54 cm The work under consideration, an oil on canvas set within a gilded frame, recovers the famous iconographic model of The Deposition, considered one of Caravaggio's greatest masterpieces. Made between 1602 and 1604, this canvas, currently housed in the Pinacoteca Vaticana, represents one of the pinnacles of Merisi's artistic production, which, with its unmistakable style characterized by strong realism and dramatic use of light and shadow, offers us a stark and touching depiction of the scene of Christ's deposition from the cross. Commissioned by Girolamo Vittrice for the family chapel in Santa Maria in Vallicella (Chiesa Nuova) in Rome, in 1797 it was included in the group of works transferred to Paris in execution of the Treaty of Tolentino, becoming part of the Pinacoteca of Pius VII after its return in 1816. The artist does not actually depict the moment of burial, nor does he depict the Deposition in the traditionally known manner, since in this case Christ is not depicted in the act of being lowered into the tomb, but when, in the presence of the pious women, he is laid by Nicodemus and John on the Anointing Stone, the tombstone with which the tomb was closed. Arranged around the body of Christ are the Virgin, Mary Magdalene, John, Nicodemus, and Mary of Cleophas, on the right, who raises her arms and eyes to heaven in a gesture of the highest dramatic tension. Caravaggio, who arrived in Rome in 1592, was the protagonist of a true artistic revolution relating to the way of treating subjects, the use of color and light, and was undoubtedly the most important personality of the "realist" current of seventeenth-century painting. Light plays a key role here: the intensity affects the figures in the foreground, creating strong contrasts with the deep shadows, making the scene even more dramatic and realistic. Various artists throughout history have taken up this fortunate iconographic model and given it their own personal vision. Of all of them, see the Deposition made by Pieter Paul Rubens between 1612-14, now housed in the National Gallery of Canada: compared to Caravaggio's more intimate and suffered version, Rubens offers a more grandiose and theatrical interpretation of the event. His Deposition is a celebratory work, exalting the figure of Christ and his sacrifice. A further iconographic parallel could be traced in the famous painting The Death of Marat (1793, Royal Museums of Fine Arts of Belgium): Marat's arm, abandoned on the sheet, clearly recalls the arm of Christ in Caravaggio's Deposition; the wound in the politician's chest, from which the blood gushes, also recalls the wound in Christ's side, a symbol of his passion and sacrifice. David, through the use of iconographic elements proper to the Christian tradition, intends to elevate Marat to an almost mythical figure, a martyr to the revolutionary cause. In this way, Marat's death becomes an event of historical and universal significance, a sacrifice for a greater ideal. The item is in good condition

Creation Year:
19thC
Dimensions:
Height: 20.48 in (52 cm)Width: 16.93 in (43 cm)
More Editions & Sizes:
53x42Price: $2,724
Medium:
Canvas,Oil
After:
Michelangelo Merisi da Caravaggio (1573 - 1610, Italian)
Period:
19th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639215787422

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