| Lamentation | |
|---|---|
 | |
| Artist | Correggio |
| Year | c. 1524 |
| Medium | Oil on canvas |
| Dimensions | 157 cm× 182 cm(62 in× 72 in) |
| Location | Galleria Nazionale, Parma |
The Lamentation of Christ (also known as Deposition) is an oil on canvas painting by the Italian Renaissance artist Correggio, dating from around 1524 and housed in the Galleria Nazionale of Parma, Italy.
The work is one of the canvasses commissioned by Parmesan noble Placido Del Bono for a chapel in the church of San Giovanni Evangelista in Parma. They are mentioned (although wrongly assigned to the city's cathedral) by late Renaissance art biographer Giorgio Vasari in the first edition of his Lives (1550).
The work shows the common Lamentation of Christ theme, with Jesus depicted immediately after his deposition from the cross, surrounded by the people who loved him in life. They include John, who supports a Virgin Mary shattered by pain, Mary Magdalene crying at Jesus' feet and, in the background, Nicodemus with the pincer he used to remove Christ's nails. The composition was studied accurately to be watched from an oblique point of view, from the entrance of the Del Bono chapel in the church of San Giovanni Evangelista.
Sisto Badalocchio Rosa was an Italian painter and engraver of the Bolognese School.
Antonio Allegri da Correggio, usually known as just Correggio, was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
Girolamo Francesco Maria Mazzola, also known as Francesco Mazzola or, more commonly, as Parmigianino, was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. His work is characterized by a "refined sensuality" and often elongation of forms and includes Vision of Saint Jerome (1527) and the iconic if somewhat anomalous Madonna with the Long Neck (1534), and he remains the best known artist of the first generation whose whole careers fall into the Mannerist period.
The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross, and is also the sixth of the Seven Sorrows of the Blessed Virgin Mary.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create the illusion of an open sky, such as with the oculus in Andrea Mantegna's Camera degli Sposi, or the illusion of an architectural space such as the cupola, one of Andrea Pozzo's frescoes in Sant'Ignazio, Rome. Illusionistic ceiling painting belongs to the general class of illusionism in art, designed to create accurate representations of reality.
Giovanni Maria Francesco Rondani was an Italian painter, active in a Renaissance style in Parma.
Bartolomeo Schedoni was an Italian early Baroque painter from Modena.
Parma Cathedral is a Roman Catholic cathedral in Parma, Emilia-Romagna (Italy), dedicated to the Assumption of the Blessed Virgin Mary. It is the episcopal seat of the Diocese of Parma. It is an important Italian Romanesque cathedral: the dome, in particular, is decorated by a highly influential illusionistic fresco by Renaissance painter Antonio da Correggio.
The Vision of St. John the Evangelist at Patmos (1520-1522) is a series of frescoes by the Italian late Renaissance artist Antonio Allegri da Correggio. It occupies the interior of the dome, and the relative pendentives, of the Benedictine church of San Giovanni Evangelista of Parma, Italy.
Events from the year 1522 in art.
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. 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.
Antonio Begarelli, also known as Begarino (1499–1565) was an Italian sculptor. In the 16th century, he was the dominant force in terracotta production in Modena.
The Martyrdom of Four Saints is an oil on canvas painting by the Italian Renaissance artist Correggio, dating from around 1524 and housed in the Galleria Nazionale of Parma, Italy.
San Giovanni Evangelista is a church in Parma, northern Italy, part of a complex also including a Benedictine convent and the San Giovanni Old pharmacy.
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.
The Camera di San Paolo or Camera della Badessa is a room in the former Monastery of San Paolo, in Parma, northern Italy. It is painted with frescoes by Correggio in the vault (697x645 cm) and over the fireplace.
Nursing Madonna with an Angel is an oil painting on panel by Correggio, painted around 1524 and now in the Museum of Fine Arts in Budapest. It measures 68.5 by 87 cm and belongs to the Nursing Madonna or Madonna Lactans genre.
Pietà is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.
Mystic Marriage of Saint Catherine or Mystic Betrothal of Saint Catherine is a c.1524 oil on canvas painting by the Italian Renaissance painter Parmigianino. The work is now in the Galleria nazionale di Parma. Art historians argue that the work may be attributed to the period in which Parmigianino was painting his first works in the church of San Giovanni Evangelista, as also emerges from a recent restoration, which has shown that its technique is near-identical to that of Parmigianino - "no underdrawing, pigment use, descriptive speed, drafting of final shadows, using fingers and brush-ends as tools".