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The dead body of Christ, seeming unnaturally light, is supported by the Virgin Mary at left and Saint John the Evangelist at right. The hand of Christ is placed in the foreground on a marble slab, on which is Bellini's signature and a phrase taken from the Elegies of Propertius : HAEC FERE QVVM GEMITVS TVRGENTIA LVMINA PROMANT / BELLINI POTERAT ...
An image consisting only of a dead Christ with angels is also called a Pietà, at least in German, where Engelpietà (literally "Angel Pietà") is the term for what is usually called Dead Christ supported by angels in English. [2] Pieta of Kampbornhofen, Germany. Several namesake images have merited a Pontifical decree of coronation, including ...
Pietà or Dead Christ Supported by Angels is a tempera-on-panel painting by the Italian Renaissance artist Giovanni Bellini, now in the city museum of Rimini.It is dated to around 1470, making it one of his early mature works, around the same time as another of his Pietà (Brera).
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The Pietà or Christ's Body Supported by the Virgin Mary and St John the Evangelist is a tempera-on-panel painting by the Italian Renaissance artist Giovanni Bellini, now in the Accademia Carrara in Bergamo. Dated to around 1455, it is one of his earliest independent works and the prototype for his series of pietàs. It draws on Byzantine icons ...
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.
Dead Christ Supported by Two Angels is a tempera painting on panel by the Italian Renaissance painter Giovanni Bellini, created around 1460. It is now in the Museo Correr in Venice . The panel is one of Bellini's earliest Pietà compositions, together with those in the Accademia Carrara of Bergamo and in the Museo Poldi Pezzoli of Milan .
The composition is stable, with the Virgin's hands together in prayer, rather than clutching the body of Christ. [2] The curved back form of Christ's body is highly original, and the stark, motionless dignity of the other figures is very different from Italian or Netherlandish depictions.