19th century, after Caravaggio, Deposition of Christ

19th century, after Caravaggio Deposition of Christ Oil on canvas, 53 x 42 cm Framed, 66 x 54 cm The work in question, an oil on canvas placed inside a gilded frame, recovers the famous iconographic model of The Deposition, considered one of Caravaggio's greatest masterpieces. Created between 1602 and 1604, this canvas, currently preserved in the Vatican Pinacoteca, represents one of the peaks of Merisi's artistic production, which, with its unmistakable style characterized by a strong realism and a dramatic use of light and shadow, offers us a raw and touching representation of the scene of the deposition of Christ from the cross. Commissioned by Girolamo Vittrice for the family chapel in Santa Maria in Vallicella (Chiesa Nuova) in Rome, in 1797 it was included in the group of works transferred to Paris in execution of the Treaty of Tolentino, becoming part of the Pinacoteca of Pius VII after its return in 1816. The artist does not actually depict the moment of burial, nor the Deposition in the traditionally known way, as in this case Christ is not represented in the act of being lowered into the tomb, but when, in the presence of the pious women, he is laid by Nicodemus and John on the Stone of Unction, the tombstone with which the tomb was closed. Around the body of Christ are the Virgin, Mary Magdalene, John, Nicodemus and Mary of Cleopas, on the right, who raises her arms and eyes to heaven in a gesture of extreme dramatic tension. Caravaggio, who arrived in Rome in 1592, was the protagonist of a true artistic revolution relating to the way of treating subjects, the use of color and light, and was certainly the most important personality of the "realist" current of 17th century painting. Light plays a fundamental role here: the intensity strikes the figures in the foreground, creating strong contrasts with the deep shadows, making the scene even more dramatic and realistic. Several artists throughout history have taken up this successful iconographic model, giving it a personal vision. Above all, see the Deposition created by Pieter Paul Rubens between 1612-14, now preserved at the National Gallery of Canada: compared to Caravaggio's version, more intimate and sorrowful, Rubens offers a more grandiose and theatrical interpretation of the event. His Deposition is a celebratory work, which exalts the figure of Christ and his sacrifice. A further iconographic parallel could be found in the famous painting The Death of Marat (1793, Royal Museums of Fine Arts of Belgium): Marat's arm, abandoned on the sheet, clearly recalls the arm of Christ in Caravaggio's Deposition; even the wound to the politician's chest, from which blood flows, recalls the wound to Christ's side, a symbol of his passion and sacrifice. David, through the use of iconographic elements typical of the Christian tradition, intends to elevate Marat to an almost mythical figure, a martyr of the revolutionary cause. In this way, Marat's death becomes an event of historical and universal significance, a sacrifice for a greater ideal. The item is in good condition. With Ars Antiqua it is possible to defer all amounts up to a maximum of € 7,500 at ZERO RATE, for a total of 15 INSTALLMENTS. Ex. Tot. € 4,500 = Monthly installment € 300 for 15 months. Ex. Tot. € 3,600 = Monthly installment € 720 for 5 months. For amounts greater than € 7,500 or for a longer deferral time (over 15 installments), we can provide a personalized payment. Contact us directly for the best quote. LIVE TV – SUNDAY 17.00 – 21.00 Dig.terr. 126 + 809 SKY - THURSDAY 21.00 - 24.00 Dig.terr. 125 + 809 SKY – Streaming on our website www.arsantiquasrl.com and on our social networks Facebook and Youtube All the works offered by Ars Antiqua are sold accompanied by a certificate of authenticity in accordance with the law and a detailed information sheet. You can see the works directly at the Milan showroom gallery, in via Pisacane 55 and 57. We personally organize transport and delivery of the works, both for Italy and abroad.