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The Deposition (also called the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance master Michelangelo.The sculpture, on which Michelangelo worked between 1547 and 1555, depicts four figures: the dead body of Jesus Christ, newly taken down from the Cross, Nicodemus [1] (or possibly Joseph of Arimathea), Mary Magdalene and the Virgin Mary.
However, in practice works called a Pietà may include angels, the other figures usual in Lamentations, and even donor portraits. [ 1 ] An image consisting only of a dead Christ with angels is also called a Pietà, at least in German, where Engelpietà (literally "Angel Pietà") is the term for what is usually called Dead Christ supported by ...
Lamentation (Pietà) (also Lamentation Over The Dead Christ) is an oil painting on panel of the common subject of the Lamentation of Christ that is now regarded as by an artist in the "circle" of the Early Netherlandish painter Petrus Christus, rather than by Christus himself.
The Lamentation of Christ [1] is a very common subject in Christian art from the High Middle Ages to the Baroque. [2] After Jesus was crucified , his body was removed from the cross and his friends mourned over his body.
The Pietà (Italian: [maˈdɔnna della pjeˈta]; "[Our Lady of] Pity"; 1498–1499) is a Carrara marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Virgin Mary by Michelangelo Buonarroti, in Saint Peter's Basilica, Vatican City, for which it was made.
Over a hilly background with a lake and a fortified city, is the scene of the Lamentation, which occupies the foreground of lower half of the painting. The body of Jesus is at the center, lying over a white shroud and held by one of the Pious Women, by Nicodemus and by Joseph of Arimathea. The latter dons a richly decorated hat with flowers.
The scene of the Pietà was depicted by Perugino under a portico, a typical theme of his art in the 1480s and 1490s (used for example in the Albani-Torlonia Polyptych of the Madonna with Child Enthroned between Saints John the Baptist and Sebastian). The serene landscape with light trees is also common in his paintings of the period.
The placing of Christ's body on a flat stone also had precedents in painting, notably Rogier van der Weyden's Lamentation in the Uffizi Gallery, Florence. [ 3 ] On closer inspection, Caravaggio painting does not fit this formula, since these ancient types are transportation scenes, whereas his, as in Van der Weyden's case, is decidedly not.