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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 tempera on wood, it is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence.
Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought. In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context.
The composition of this picture exhibits the Saviour naked all but the loins, attached to a lofty cross, which several men are exerting their efforts to raise; one of them, partly clad in armour, is pulling in front; while a second is aiding behind, and a third is at the side.
Crucifixions and crucifixes have appeared in the arts and popular culture from before the era of the pagan Roman Empire.The crucifixion of Jesus has been depicted in a wide range of religious art since the 4th century CE, frequently including the appearance of mournful onlookers such as the Virgin Mary, Pontius Pilate, and angels, as well as antisemitic depictions portraying Jews as ...
Rosso Fiorentino. Descent from the Cross. 1521.Oil on wood. 375 × 196 cm. Pinacoteca Comunale di Volterra, Italy.. 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, John 19:38–42).
Descent from the Cross (1634), by Rembrandt Harmenszoon van Rijn, is one of his many religious scenes. The piece is oil on canvas and now located in the Hermitage Museum in St. Petersburg. The piece is intriguing stylistically in its unique figural composition and variety of lighting effects.
The Elevation of the Cross is an accurate biblical representation of the crucifixion of Christ, in keeping with the specific guidelines for art produced following the Council of Trent. [3] Rubens reflects the spirit of the Counter-Reformation by representing the victorious nature of Christ's death while maintaining his divine nature. [2]
The use of a hypercube for the cross has been interpreted as a geometric symbol for the transcendental nature of God. Just as the concept of God exists in a space that is incomprehensible to humans, the hypercube exists in four spatial dimensions, which is equally inaccessible to the mind.