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The Pietà is a theme in art depicting the Virgin Mary cradling the dead body of her son, Jesus, after his crucifixion. In Bouguereau's version, Mary is seen wearing a black cloak holding Christ close to her bosom. Eight angels in mourning form an arc around them, each of them dressed in different colors.
Modifications were made in the 18th century that replaced the sanctuary with a sacristy. A wall was built around the sacristy and the altar and painting were relocated. The painting, depicting St. Catherine of Alexandria which dates back to 1634, is decorated by a sculpted angels in stone, supporting the titular painting. [2]
It is a variant of the Man of Sorrows (Imago Pietatis) type of andachtsbilder, but showing a Christ who is clearly dead (in Man of Sorrows images he tends to have his eyes open). Typically the half-length body of the dead Christ sits on a ledge, held up by smaller angels at each side. Christ is naked down to a loin-cloth and his wounds are visible.
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.
Crucifixions and crucifixes have appeared in the arts and popular culture from before the era of the pagan Roman Empire.The crucifixion of Jesus has been depicted in a wide range of religious art since the 4th century CE, frequently including the appearance of mournful onlookers such as the Virgin Mary, Pontius Pilate, and angels, as well as antisemitic depictions portraying Jews as ...
The paintings dates to the period where Bellini began to outgrow the artistic influence of Andrea Mantegna, his brother-in-law.Via the Sampieri collection in Bologna (catalogue no. 454), it entered Brera in 1811 as a gift from the viceroy of the Eugene de Beauharnais's Kingdom of Italy.It was placed in the corridor of Venetian Renaissance paintings that leads into the room set up by Ermanno ...
The exact placement inside the Duomo (cathedral) is unknown, but the most likely locations are the sacristy or St. Sebastian altar: The sacristy: placement inside the sacristy seems to be the most likely considering the use of the art work as a relic holder. If it were placed in the sacristy it would probably have been accessible only to the ...
Steinberg refutes these claims by positing the fact that the characteristic stocky, muscular figures in this piece do not correspond to the lithe ideal body type preferred by Mannerists. [8] Yael Even states that Michelangelo even went so far as to imbue the mourning female figures present in the painting with a more masculine quality. [9]