The descent from the cross

Giorgio Vasari • Painting, 1540, 311×210 cm
About the artwork
Art form: Painting
Subject and objects: Religious scene
Style of art: Mannerism
Technique: Oil
Materials: Canvas
Date of creation: 1540
Size: 311×210 cm
Artwork in collection: My collection Tatyana Somova
Artwork in selections: 15 selections

Description of the artwork «The descent from the cross»

"The descent from the cross" – picture by Vasari stored in Camaldoli, near Tuscany. If you were to explain to someone ignorant of what mannerism as a creative method, it would be one of the speakers and appropriate illustrations.

It is considered that the contribution of Giorgio Vasari in art history invaluable, but a painter he is quite mediocre. This is probably so. Although Vasari, of course, was reputed to be master capable and skillful in life as an artist was very popular. Many of the monasteries of Tuscany, Florentine churches and Roman palaces with frescoes and paintings by Vasari. However, all of them, although discovering a good knowledge of the basics of the art of the Renaissance, already belong to the period of the crisis, postmastergeneral. In the art of Italian XVI it is called mannerism.

The descent from the cross is a very common scenic plot. That is why the comparison of how it writes Vasari and artists of other approaches (1, 2, 3, 4, 5), reveals the essence of mannerism and its difference (not in favor of the latter) from the previous scenic achievements. The descent from the cross from the Italian painters may be harsh, tragic, powerful, poignant or peaceful.

Vasari have the descent from the cross theater. Theatrical.

He is the Apostle in the right corner of the picture turns his hand and puts the foot, like he was a dancer. And the other, at the left edge of the fabric, Flex the hand, like a modern bodybuilder, admiring their muscle relief. Both look really busy and a little involved in accomplishing the event.

Here in the lower left corner reclines Maria, turning the body and arm in one direction, and the head and legs in another. It is obvious that Vasari is just trying to copy the helical twist of the body, a favorite technique of his teacher Michelangelo. But Buonarroti such a powerful helical motion conveys the internal struggle of the characters, and Vasari seems formal, decorative. It demonstrates technical skill, but not an essential necessity.

Mary surround and compassionately supports other women. Are they like the Holy myrrh-bearers? No. Rather sleek for a lady's maid with sleeves-smocking and hard stacked hairstyles.

Five people are directly involved in the removal of the Saviour from the cross. Like many other works by Vasari, the picture space seems congested, too crowded. The artist sincerely preferred compositions complex and multi -. "Cut off all unnecessary" by the method of his idol Michelangelo ("I just take a stone and cut off all the excess"), it seems, never were the task of the Vasari. And this is also a reflection postmastergeneral crisis: the masters of the "lost settings" hierarchy lost, lost the understanding of what is important and that no matter what you need to image, and that too.

However, it is possible that technically five is just the right amount of people to careful to remove the body and pull it down, then Vasari is quite true. But let's see how exactly does the removal: almost is not read by any force, muscle tension. In reality, the inevitable brutality of this scene softened and ennobled. Removing (especially those situated at the top) support of Christ under the hands of some truly ballroom courtesy. There are a lot of grace and no tragedy. The first completely eliminates the latter. To the question, what do many of the characters in the film, the most accurate answer will be "roll your eyes".

The task of the Vasari don't seem to be the meaning of the biblical events, but to "make the audience well." This captures the essence of mannerism.

Author: Anna Yesterday