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The Pietà (Italian: [maˈdɔnna della pjeˈta]; "[Our Lady of] Pity"; 1498–1499) is a Carrara marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Virgin Mary by Michelangelo Buonarroti, in Saint Peter's Basilica, Vatican City, for which it was made.
Pieta of Kampbornhofen, Germany. Several Pietà images have received a pontifical decree of coronation, including the Pieta of Saint Peter's Basilica in Rome, those in the Marienthal Basilica in France, the Franciscan church in Leuven, Belgium, Kamp-Bornhofen, Germany, and Our Lady of Charity in Cartagena, Spain.
The Pietà is an oil on canvas painting, one of the last paintings by Titian, from 1575-1576.In its final, extended state it was left incomplete at his death, in 1576, to be completed by Palma Giovane.
The Deposition (also called the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance master Michelangelo.The sculpture, on which Michelangelo worked between 1547 and 1555, depicts four figures: the dead body of Jesus Christ, newly taken down from the Cross, Nicodemus [1] (or possibly Joseph of Arimathea), Mary Magdalene and the Virgin Mary.
The Rondanini Pietà is a marble sculpture that Michelangelo worked on from 1552 until the last days of his life, in 1564. Several sources indicate that there were actually three versions, with this one being the last.
The Palestrina Pietà is a marble sculpture of the Italian Renaissance, dating from c. 1555 and now in the Galleria dell'Accademia, Florence.It was formerly attributed to Michelangelo, but now it is mostly considered to have been completed by someone else, such as Niccolò Menghini [1] or Gian Lorenzo Bernini. [2]
The theme of the Pietà, so dear to the sculptor Michelangelo, is addressed in a highly emotional composition, as in the Crucifixion for Colonna. The dead Jesus is cradled between the grieving Mary's legs, who raises her arms to heaven as two angels also raise Christ's arms at right angles.
Pietà, Swabian, c. 1435-40. It was acquired by the Cloisters in 1948 using the Jacob S. Rogers fund, having previously been in the collection of the collector and art historian Lucien J. Demotte, [9] of Paris and New York. [7]