Entombment Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Entombment
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Painter: Michelangelo Merisi da Caravaggio
Location: Vatican Museums (Musei Vaticani), Vatican.
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Ever since Michelangelo Merisi da Caravaggio became the personal painter of Cardinal Francesco del Monte, he began to receive many commissions, including religious subjects. One such painting, entitled The Sepulchration, he painted for the Roman temple of Santa Maria della Valicella. It is considered one of the best of the artist’s work. In this picture, as in the other paintings of Caravaggio with religious themes, there is characteristic for the artist’s contrast of light and darkness.
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Description of Michelangelo Merisi da Caravaggio’s painting The Posing in the Coffin
Ever since Michelangelo Merisi da Caravaggio became the personal painter of Cardinal Francesco del Monte, he began to receive many commissions, including religious subjects. One such painting, entitled The Sepulchration, he painted for the Roman temple of Santa Maria della Valicella. It is considered one of the best of the artist’s work.
In this picture, as in the other paintings of Caravaggio with religious themes, there is characteristic for the artist’s contrast of light and darkness. Against the background of gloomy and impenetrable darkness stands a group of people - in the foreground John and Nicodemus are holding the body of Christ, with the intention of lowering it into a stone coffin. Behind them are Jesus’ mother, Mary Magdalene and another Mary.
The young Mary is frozen in a silent cry, raising her hands to heaven, her hair sticking out in different directions-apparently she tore it up in wailing. Mary Magdalene’s head is mournfully lowered; he hides his tears, worrying over his loss. Jesus’ mother does not weep or shout; she stares silently at her son’s face, knowing she will never see him again. The men’s faces are focused and mournful.
John frowns at the lifeless face of his Master, while the strong and stout Nicodemus looks down at the bottom of the tomb, straining under the weight of Jesus’ body. Christ’s body is devoid of any cadaverous hues, it is pale, as if deprived of all the colors of life.
The composition of the Entombment is structured in such a way that the viewer becomes involuntarily part of the picture. The stone tomb in which they want to put Christ, one of the corners turned toward the viewer - a corner as if to break the thin barrier between the world of the picture and ordinary reality. The impression is intensified by the sharp elbow of Nicodemus holding Jesus by the feet. They seem to want to convey the immovable body of Christ to whoever is looking at the painting.
COMMENTS: 3 Ответы
В чем новаторство Караваджо как гения?, ведь даже существует такое направление как караваджизм. Скоро я дам личную оценку согласно далианской таблице
Моя оценка творчества Караваджо. Высший бал-20. Техника 15, Вдохновение 19, Цвет 15, Сюжет 16, Гений 20, Композиция 20, Оригинальность 19, Тайна 18, Подлинность 20. У С. Дали на 1 месте Вермеер, далее Рафаэль и Веласкес. Как можно в общем охарактеризовать творчество Караваджо. Он первый стал применять очень тёмный грунт. Почти все картины на чёрном фоне, что оказало большое влияние на Рембандта. В свою очередь этот прием перенял Караваджо у да Винчи. Ну и самым главным коньком можно считать то, что он первый широко стал использовать рисование с натуры какая она есть без прикрас, что обескураживало современников. Своей натуралистичностью он оказал сильное влияние на настоящее и будущее поколение. Также масштаб полотен вызывает уважение, гений однозначно.
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The deceased individual lies pallid and limp, draped in a simple white cloth. The stark contrast between this lifelessness and the active figures around him amplifies the sense of loss. His face is turned slightly towards the viewer, allowing for an intimate encounter with death itself.
Behind the central figure, three women are positioned, their gestures indicative of deep mourning. One woman, veiled in white, raises her arms in a gesture of lamentation. Another, clad in green and red garments, extends her hands upwards as if pleading or despairing. The third woman, to the right, mirrors this posture, her expression conveying anguish. Their varied expressions contribute to the emotional complexity of the scene.
The artist employed a dramatic use of chiaroscuro – a stark contrast between light and dark – to heighten the emotional impact. A strong beam of light illuminates the figures in the foreground, drawing attention to their suffering while plunging the background into near-total darkness. This technique not only creates a sense of theatricality but also isolates the group from any external context, focusing solely on their internal drama.
The limited palette – dominated by reds, whites, and browns – further reinforces the somber mood. The red garments worn by some figures may symbolize sacrifice or suffering, while the white represents purity and mourning. The rough-hewn stone of the tomb provides a grounding element to the scene, anchoring the emotional turmoil in a tangible reality.
Subtly, there is an underlying sense of human vulnerability present. Despite the strength displayed by the man bearing the body, he is ultimately powerless against death. The womens grief underscores the universality of loss and the fragility of life. The composition seems to explore not only the immediate sorrow of a specific event but also broader themes of mortality, faith, and compassion.