Venetian School, 17th Century, Transport Of Christ To The Tomb

Venetian School, 17th century
Transport of Christ to the tomb
oil on canvas, cm 40 x 104,5
The exhaustion of the tardomanieristic currents matured in the capital work of Titian, Veronese and Tintoretto caused a general spirit of formal revival of the great masters. Not only the direct students of the workshop, but also the exponents of various artistic and regional fraglie began to profess a blind imitation, often not fully understanding the artistic reasons of the great inspirers. The most brilliant and far-sighted exponents of the tails of the masters were gathered by Boschini in the circle of the so-called seven ways. This Venetian genius, started with Jacopo Negretti called Palma il Giovane (1548 ca-1628) in a "strong and strong" manner, theoretically ended with Gerolamo Pilotti, who died in 1649, passing through Andrea Vicentino (1542 ca.-1617), Santo Peranda (1566-1638)Antonio Vassillacchi known as l'Aliense (1566-1629), Pietro Malombra (1566-1618), Leonardo Corona (1561-1605). Palma the Younger was one of the two most prolific Italian artists, surpassed only by Luca Giordano. Thanks to a stay in Urbino and the fundamental Roman pause, Negretti preferred to reap the seeds of Tintoretto rather than Titian: his personal declination of Venetian art, shaded by Roman hyperbole, However, it allows us to bring the present closer to some of his homologous works. Subject dear to the artist and replicated on several occasions, the painting in fact approaches the late Christ died of the Gallerie dell'Accademia Veneziana for the representation of angels, similar to that of the Museo Civico d'Arte e Territorio Gianni Bellini of Sarnico. The Christ of the Civic Museum of Belluno, as well as that of the Fondazione Cassa di Risparmio di Reggio Emilia Manodori, instead approach the soft brushstrokes of the present, illuminated by a vibrant use of colors tested on the Venetian tonalism.
The refined chromatic combinations, well calibrated between warm and cold shades used for the clothes of the angels, in contrast to the acid shades of the incarnation of Christ to emphasize the condition of death indicate the origin of the work by a painter belonging to the Venetian school of the sixteenth century. The references to this school can be seen from the comparison with the works of the famous Venetian masters such as Tintoretto and Veronese, who in their paintings of similar theme are used to fill the space, with great theatricality, characters, playing on the chiaroscuro contrasts intensified by the often nocturnal setting that also accentuates the emotional charge of the subject, along with the use of particular shades of intense and sometimes acid colors.  Competitively the work finds analogies with the Lamentation over the dead Christ of Tintoretto where the prominent positioning of Christ, surrounded this time by pious women, repents. 
The object is in good condition
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