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Venetian school, Transport of Christ to the Sepulcher, oil on canvas 17th century
About the Item
Venetian school, 17th century
Transporting Christ to the tomb
oil on canvas, 40 x 104.5 cm
The exhaustion of the late Mannerist currents that had matured within the capital work of Titian, Veronese, and Tintoretto provoked a general spirit of formal revival of the great masters. Not only the direct workshop pupils, but also the exponents of various artistic as well as regional guilds began to profess blind imitation, often not fully understanding the artistic motives of the great inspirers. The brightest and most forward-thinking exponents of the masters' tails were brought together by Boschini in the circle of the so-called seven manners. This Venetian genius, which began with Jacopo Negretti known as Palma the Younger (1548 ca-1628) in "strong and gangly" mode theoretically ended with Gerolamo Pilotti, who died in 1649, passing through Andrea Vicentino (1542 ca.-1617), Santo Peranda (1566-1638), Antonio Vassillacchi known as l'Aliense (1566-1629), Pietro Malombra (1566-1618), and Leonardo Corona (1561-1605). Palma the Younger was one of two most prolific Italian artists, surpassed only by Luca Giordano. On the strength of a sojourn in Urbino and the crucial Roman pause, Negretti preferred to reap the seedbed of Tintoretto rather than Titian: his personal declination of Venetian art, shaded by Roman hyperbole, nevertheless allows the present to be brought closer to some of his homologous works. A subject dear to the artist and replicated on several occasions, the painting in fact approaches the Mourning over the Dead Christ in the Venetian Academy Galleries in terms of the figuration of the little angels, similar to the one in the Gianni Bellini Civic Museum of Art and Territory in Sarnico. The Christ of the Civic Museum of Belluno, as well as that of the Fondazione Cassa di Risparmio di Reggio Emilia Manodori, approach instead the soft brushstrokes of the present, illuminated by a vibrant use of colors essayed on Venetian tonalism.
The fine color combinations, well calibrated between warm and cool tones used for the angels' robes, contrasting with the acid tones of Christ's complexion to emphasize his dead condition indicate the work's provenance from a painter belonging to the 16th-century Venetian school. References to that school can be discerned by comparison with the works of famous Venetian masters such as Tintoretto and Veronese, who in their paintings of a similar theme used to fill the space, with great theatricality, with characters, playing on chiaroscuro contrasts intensified by the often nocturnal setting that also accentuates the emotional charge of the subject, along with the use of particular shades of intense and sometimes acid colors. Competitively, the work finds similarities with Tintoretto's Lamentation over the Dead Christ where the pronounced positioning of Christ is discernible, surrounded this time by the pious women.
The item is in good condition
- Dimensions:Height: 41.34 in (105 cm)Width: 15.75 in (40 cm)Depth: 1.58 in (4 cm)
- Materials and Techniques:Canvas,Oiled
- Period:
- Date of Manufacture:unfamiliar
- Condition:
- Seller Location:Milan, IT
- Reference Number:1stDibs: LU5918238967202
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