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Lamentation (The Mourning of Christ) is a fresco painted c.1305 by the Italian artist Giotto as part of his cycle of the Life of Christ on the interior walls of the Scrovegni Chapel in Padua, Italy. [1] The Scrovegni Chapel was built as a private chapel next to the Eremitani Monastery by the wealthy Scrovegni family and consecrated in 1305.
Lamentation by Giotto, 1305. 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. This event has been depicted by many different artists.
However, Giotto's panel painting of the Stigmatization of St. Francis (c. 1297) includes a motif of the saint holding up the collapsing church, previously included in the Assisi frescoes. [18] The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes. [19]
Giotto's work thus falls in the period from 25 March 1303 to 25 March 1305. Model of the interior of the chapel, towards entrance Towards the apse and altar. Giotto, who was born around 1267, was 36–38 years old when he worked at Enrico Scrovegni's chapel.
Paintings by Giotto di Bondone (1266−1337) ... Lamentation (The Mourning of Christ) Life of Christ (Giotto) N. Nativity of the Virgin (Giotto) Navicella (mosaic) O.
Two of the works in Munich, the Last Supper and the Crucifixion. The Life of Christ is a series of seven paintings in tempera and gold on panel, attributed to Giotto and dating to around 1320–1325.
The Lamentation of Christ by circle of Rubens (Alte Pinakothek) Lament over the Dead Christ (Veronese) The Lamentation of Christ (Anthony van Dyck, Alte Pinakothek) Lamentation (Annibale Carracci) Lamentation (The Mourning of Christ) Lamentation of Christ (Dürer, Nuremberg) Lamentation of Christ (Bouts) Life of Christ (Giotto)
Giotto did away with many aspects of Byzantine art that would flatten the painting. Within Cimabue's Santa Trinita Maestà , there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.
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