Venetian school, 17th century, Transport of Christ to the tomb

Venetian school, 17th century

Transport of Christ to the tomb

oil on canvas, 40 x 104,5 cm

The exhaustion of the late mannerist currents that developed within the capital works of Titian, Veronese and Tintoretto caused a general spirit of formal revival of the great masters. Not only the direct students of the workshop, but also the exponents of various artistic and regional branches began to profess blind imitation, often not fully understanding the artistic reasons of the great inspirers. The most brilliant and far-sighted exponents of the masters' ranks were brought together by Boschini in the circle of the so-called seven manners. This Venetian genius, which began with Jacopo Negretti known as Palma il Giovane (ca. 1548-1628) in a "strong and vigorous" manner, ended theoretically with Gerolamo Pilotti, who died in 1649, passing through Andrea Vicentino (ca. 1542-1617), Santo Peranda (1566-1638), Antonio Vassillacchi known as l'Aliense (1566-1629), Pietro Malombra (1566-1618), Leonardo Corona (1561-1605). Palma the Younger was one of the two most prolific Italian artists, surpassed only by Luca Giordano. Strengthened by a stay in Urbino and the fundamental Roman break, Negretti preferred to pick up on the ideas of Tintoretto rather than Titian: his personal declination of Venetian art, tinged with Roman hyperbole, nevertheless allows us to bring the present closer to some of his homologous works . A subject dear to the artist and replicated on several occasions, the painting is in fact similar to the lament on the dead Christ of the Galleries of the Venetian Academy for the figuration of the little angels, similarly to that of the Gianni Bellini Civic Museum of Art and Territory of Sarnico. The Christ of the Civic Museum of Belluno, as well as that of the Cassa di Risparmio di Reggio Emilia Manodori Foundation, instead approach the soft brushstrokes of the present, illuminated by a vibrant use of colors tested on Venetian tonalism.

The refined color combinations, well calibrated between warm and cold tones used for the angels' robes, in contrast with the acid tones of Christ's complexion to underline his condition of death, indicate the provenance of the work by a painter belonging to the Venetian school of Five hundred. The references to this school can be recognized by comparison with the works of the famous Venetian masters such as Tintoretto and Veronese, who in their paintings of a similar theme usually fill the space, with great theatricality, with characters, playing on the chiaroscuro contrasts intensified by the setting often nocturnal which also accentuates the emotional charge of the subject, together with the use of particular shades of intense and sometimes acidic colours. Competitively, the work finds analogies with Tintoretto's Lamentation over the Dead Christ where the marked positioning of Christ is seen, this time surrounded by the pious women. 

The object is in good condition

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