Mantegna Paintings
1431 - 1506 Italy, Early Renaissanse
The Lamentation over the Dead Christ, c.1490
Tempera on canvas, 26.77 x 31.89 inches [68 x 81 cm]
Pinacoteca di Brera, Milan Religious Paintings
The dating of the painting of Mantegna The Lamentation over the Dead Christ is debated, there are several assumptions ranging from the end of the Paduan period of the artist (c. 1457) to 1501. The most remarkable aspect of the painting is the perspective construction whereby the image of the Redeemer appears to "follow" the spectator around the room through the use of an illusionistic technique.
In a letter written on October 2, 1506 to the Duke of Mantua, Ludovico Mantegna mentioned a "Christ in foreshortening" among the works left by his father. It probably dates to the 1570's. In that case it must have remained in Mantegna's studio for a long time, and may have been intended for his funeral. In fact it was shown at the head of his catafalque when he died. Subsequently it was acquired by Cardinal Sigismondo Gonzaga, and it entered the Brera in 1824.
It is typical of Mantegna's art that the simple window-like framing of the confined space in this painting architecturally defines it as the cold and dismal cell of a morgue. Looking in we see an almost monstrous spectacle: a heavy corpse, seemingly swollen by the exaggerated foreshortening. At the front are two enormous feet with holes in them; on the left, some tear-stained, staring masks. But another look dissipates the initial shock, and a rational system can be discerned under the subdued light. The face of Christ, like the other faces, is seamed by wrinkles, which harmonize with the watery satin of the pinkish pillow, the pale granulations of the marble slab and the veined onyx of the ointment jar. The damp folds of the shroud emphasize the folds in the tight skin, which is like torn parchment around the dry wounds. All these lines are echoed in the wild waves of the hair.
Mantegna's realism prevails over any esthetic indulgence that might result from an over-refined lingering over the material aspects of his subject. His realism is in turn dominated by an exalted poetic feeling for suffering and Christian resignation. Mantegna's creative power lies in his own interpretation of the "historic," his feeling for spectacle on a small as well as a large scale. Beyond his apparent coldness and studied detachment, Mantegna's feelings are those of a historian, and like all great historians he is full of humanity. Mantegna has a tragic sense of the history and destiny of man, and of the problems of good and evil, life and death.
