In the background the road begins to wind its way up to Jerusalem. The cross has no upper limb, thereby blunting the pointedness of the arch behind which it stands. The Mannerist version of Rosso Fiorentino is usually regarded as his most important work, and Pontormo's altarpiece is perhaps his most ambitious work. It is now housed in the National Museum of San Marco, Florence. Fra Angelico Other works by Fiorentino: Deposition from the Cross, 1528: Six years later, Rosso would tackle the Deposition again, this time for the Confraternity of Santa Croce in Florence. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. Fra Angelico, Deposition from the Cross (detail, city) , 1437-40, tempera on panel, 176 x 185 cm, Museo di San Marco, Florence. The Deposition from the Cross was originally commissioned by Palla Strozzi from Lorenzo Monaco, for the sacristy of the church of Santa Trinità in Florence, but by the time of Monaco's death only the pinnacles of this work had been painted. The cross has no upper limb, thereby blunting the pointedness of the arch behind which it stands. In this detail the towered buildings confirm the landscape as Italian. This last is especially important in Orthodox art, where it is shown on the Epitaphios. The Bearing of the body, showing Christ's body being carried to his tomb, and the Anointing of Christ's body, showing the body laid flat on the top of the tomb or a similarly-shaped "anointing-stone" are other scenes that may be shown. This detail demonstrates Fra Angelico's skillful treatment of landscapes. Christ is covered with the weals of the flagellation, and blood trickles from the lance wound in his side. Dec 11, 2019 - Deposition from the Cross is a painting by Fra Angelico which was uploaded on February 6th, 2013. Piazza di San Marco, 1 Although the work is painted on one panel, the three arches of the frame find an echo in the placing of the figures in three groups. All products are produced on-demand and shipped worldwide within 2 - 3 business days. San Marco Museum | Christ is covered with the weals of the flagellation, and blood trickles from the lance wound in his side. During this same period, the building was endowed with an extraordinary cycle of paintings by Fra Angelico who lived and lived in the monastery in 1387 and 1400-1455. On the ground floor, the rooms formerly used for community life: the Hospice for the pilgrims next to the entrance, the Chapter Hall, the Washroom, the Refectory and the adjoining room used for the kitchen and other facilities; there is also a small 15th-century cloister, called Chiostro della Spesa, and a courtyard, the so-called Granary Courtyard. The Virgin kneels, her hands clasped, head on one side in reflective misery, with an air of particular detachment. Kneeling in the foreground of the picture is a Beato. The Descent from the Cross is the 13th Station of the Cross. The subject was painted several times by both Rubens and Rembrandt, who repeated one of his paintings (now in Munich) in a large print, his only one to be mainly engraved, as well as making two other etchings of the subject. Like the women each is contemplative, reticent and mournful. Christ's head lies almost horizontally, his passive face marked only by thin dribbles of blood from the pricks of the crown of thorns. He ignored these constraints, however, making skilful use of the three arches in his composition to provide a scene of stunning beauty and subdued yet poignant emotion, set in an expansive Tuscan landscape. The foreground rocks are insufficiently distant to be mellowed, and are shown with all their facets and angularity. Fra Angelico intervened to complete this altarpiece when it had been already begun by Lorenzo Monaco for the Strozzi Chapel in the Florentine church of Santa Trinita. Other figures not mentioned in the Gospels … The Lamentation of Christ, or Pietà, showing the body of Christ held by Mary, may intervene between these two, and is common as an individual image, especially in sculpture. There is room at the top only for a view of the mocking panel which declares Christ King of the Jews. The painting may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. Overall, the building is a monumental complex with all the sobriety and elegance typical of Florentine Renaissance architecture. Mary Magdalen kneels before Christ, taking his feet in her hands and kissing them. Michelozzo attempted to use as much as possible the walls of the old building to create a monastery whose rooms and layout are in line with completely modern criteria of functionality, still recognisable today. A number of the ground-floor rooms house a remarkable collection of panel paintings by Fra Angelico: particularly fine are the Last Judgement, the Linaioli Tabernacle, the Deposition, the Silver Wardrobe doors. 50121 Firenze A foreshortened arm extends out towards the viewer, drawing us into the scene before us. Such It now holds a precious collection of over a hundred illuminated choir books from the Middle Ages and Renaissance, originating from this monastery and other suppressed monasteries and convents. 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.


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