The Entombment of Christ (Caravaggio)
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 |
| The Entombment of Christ |
| Caravaggio, 1602–1603 |
| Oil on canvas |
| 300 × 203 cm |
| Pinacoteca Vaticana, Vatican City |
The Entombment of Christ or Deposition from the Cross (1602–1603) is a masterwork of Michelangelo Merisi da Caravaggio. It was originally located in Santa Maria in Vallicella, a church built for Saint Phillip Neri's Oratorian order, and adjacent to the buildings of the order. A copy of the painting is now in the chapel.
The painting was originally commissioned by Alessandro Vittrice in 1601[1], and completed by two years later[2]. Now, after some eloping, it is among the treasures of the Vatican Pinacoteca.
While there is much in this representation that is revolutionary for Caravaggio's time, it is not clear that the highly naturalistic reconstruction of a gospel event in this painting would have been antithetical to the vividly faithful Oratorians, who sought to relive experiences through prayer[3]. Even near contemporary critics of Caravaggio and his style, such as Baglione and Bellori, admired this painting[4].
This baroque painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Cleophas through subdued emotion to death as the final emotional silencing. Unlike the gored post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side.
While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in the The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself.[5]
A cognate work by Caravaggio is Death of the Virgin [1](1606), now at the Louvre Museum.
[edit] Sources
- Hibbard, Howard (1983). Caravaggio. Harper & Row.
- Haskell, Francis (1993). "Chapter 8", Patrons and Painters: Art and Society in Baroque Italy, 1980, Yale University Press.
[edit] References
- ^ F. Haskell, p. 70.
- ^ H. Hibbard, pp. 171–179.
- ^ F. Haskell, p. 70.
- ^ H. Hibbard, p. 179.
- ^ There is a theory that this may be actually a cryptic depiction of the resurrection of Christ[citation needed]. To illustrate, the westerner's eye typically reads artwork from the top left to the bottom right as it reads printed text. If this painting were mirrored left-right, it would show an obvious descending line. But, as the painting is, it shows a prominent ascending line from left to right. Thus, in this theory, showing the resurrection.
