Deposition. The Deposition from the Cross is an altarpiece, completed in 1528, depicting the Deposition of Christ by the Italian Renaissance painter Jacopo Pontormo.
It is broadly considered to be the artist's surviving masterpiece. Painted in oil on canvas, the painting is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence.
This painting suggests a whirling dance of the grief-stricken. They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors.
The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body and their grief.
No Cross is visible; the natural world itself also appears to have nearly vanished: a lonely cloud and a shadowed patch of ground with a crumpled sheet provide sky and stratum for the mourners. If the sky and earth have lost color, the mourners have not; bright swathes of pink and blue envelop the pallid, limp Christ. Pontormo's undulating mannerist contortions have been interpreted as intending to express apoplectic and uncontrolled spasms of melancholy. The Virgin, larger than her counterparts, swoons sideways inviting the support of those behind her; the Swoon of the Virgin was a controversial moment at the time. The assembly looks completely interlocked, as if archit
It is broadly considered to be the artist's surviving masterpiece. Painted in oil on canvas, the painting is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence.
This painting suggests a whirling dance of the grief-stricken. They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors.
The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body and their grief.
No Cross is visible; the natural world itself also appears to have nearly vanished: a lonely cloud and a shadowed patch of ground with a crumpled sheet provide sky and stratum for the mourners. If the sky and earth have lost color, the mourners have not; bright swathes of pink and blue envelop the pallid, limp Christ. Pontormo's undulating mannerist contortions have been interpreted as intending to express apoplectic and uncontrolled spasms of melancholy. The Virgin, larger than her counterparts, swoons sideways inviting the support of those behind her; the Swoon of the Virgin was a controversial moment at the time. The assembly looks completely interlocked, as if archit
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