Pieta Veronese (Paolo Cagliari) (1528-1588)

Description of Paolo Veronese’s painting The Mourning of Christ

The fine art of the time of the Renaissance speaks of a complete spiritual change in the popular foundations. Another time is coming when some things are no longer relevant and some things are gaining public acceptance. Thus artists seek new ideas in accordance with popular sentiment.

Paolo Veronese, as one of the most brilliant representatives of the Venetian school of Italian painting, had an overwhelming influence on both contemporary creators and artists of subsequent decades.

In his earlier period of creativity the author was attracted by life-affirming motifs, colorful ornate compositions. Being older, Veronese began to reach for tragic subjects, creating several works devoted to religious themes. The existing canvases showing the lamentation of Jesus Christ are recognized as Veronese’s most significant and magnificent works.

The compositional structure seems elementary, but this only enhances the picturesqueness of the figures on the canvas. Our Lady is leaning over the dead Jesus, with an angel carefully supporting his wounded hand. The expression of Our Lady’s face is mournful, a white apostle covers his forehead. The pink appearance of the angel, his golden curls create a contrast with the dead, cold body. The color scheme draws the viewer’s attention to an atmosphere of mourning and grief. The dim, fading colors shimmer as if fading into the shadows.

The work was painted around 1576-1582 for the church of Saints John and Paul in Venice. It then ended up in the hands of the King of England. After Charles I’s collection was sold out, The Mourning of Christ went into the hands of the Duke of Longueville, the representative of the power of Lenin, Count d’Armagnac, Croesus. After a long way, the canvas ended up in the Hermitage in 1772.