The painting may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. Museo di San Marco 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. More blood runs down the cross to the rock at the base, a stylized representation of Golgotha. Fra Angelico stops short of portraying the figures lamenting Christ's death in the agonies of grief; instead he shows them in languorous contemplation of their inner sorrow. The scene was usually included in medieval cycles of the Life or the Passion of Christ, between the Crucifixion and the Entombment of Christ. This article incorporates material from the Wikipedia article Deposition of Christ (Fra Angelico) published under the GNU Free Documentation License. In this detail the towered buildings confirm the landscape as Italian. The foreground rocks are insufficiently distant to be mellowed, and are shown with all their facets and angularity. Other figures not mentioned in the Gospels who are often included in depictions of this subject include John the Evangelist, who is sometimes depicted supporting a fainting Mary (as in the work below by Rogier van der Weyden), and Mary Magdalene. Even in early depictions the details and posing of the composition, and especially the position of Christ's body, are varied. Deposition from the Cross (detail) 1437-40 Tempera on panel Museo di San Marco, Florence: The cross has no upper limb, thereby blunting the pointedness of the arch behind which it stands. 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. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. The Descent from the Cross. Mary Magdalen kneels before Christ, taking his feet in her hands and kissing them. The San Marco Museum also houses a number of works by Fra Bartolomeo (1472-1517), including a famous portrait of Savonarola. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), 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 (John 19:38–42). 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. 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. She is partly screened from the viewer by the winding sheet held before her. The hills stretch out into the distance, softened and smoothed by the light, peppered with gleaming villages and farmhouses. In the background the road begins to wind its way up to Jerusalem. 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. Deposition from the Cross (Pala di Santa Trinità) 1437-40 Tempera on panel, 176 x 185 cm Museo di San Marco, Florence: This work 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. 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. A row of trees again screens the landscape, emphasizing its distance. There is room at the top only for a view of the mocking panel which declares Christ King of the Jews. Fra Angelico, Deposition from the Cross (detail, city) , 1437-40, tempera on panel, 176 x 185 cm, Museo di San Marco, Florence. 1633. https://en.wikipedia.org/w/index.php?title=Descent_from_the_Cross&oldid=976164541, Creative Commons Attribution-ShareAlike License, This page was last edited on 1 September 2020, at 14:42. 50121 Firenze When Angelico took over the commission he found himself cribbed and confined by Monaco's ready-made triple-arched Gothic frame. 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. More blood runs down the cross to the rock at the base, a stylized representation of Golgotha. (b. ca. Beneath their feet, indicative of Angelico's enjoyment of the portrayal of nature, is the richly leafed and flowered turf which is common to so many of his paintings. All products are produced on-demand and shipped worldwide within 2 - 3 business days. The cross has no upper limb, thereby blunting the pointedness of the arch behind which it stands. San Marco Museum | www.firenzemusei.it. The Descent from the Cross is the 13th Station of the Cross. The other holy women stand in positions of contemplation or prayer; one wipes a tear from her eye. This last is especially important in Orthodox art, where it is shown on the Epitaphios. Christ is covered with the weals of the flagellation, and blood trickles from the lance wound in his side. Like the women each is contemplative, reticent and mournful. 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. Kneeling in the foreground of the picture is a Beato.