The Bible In Paintings 105B: The Crucifixion's Aftermath, Part 2 – MARY'S LAMENTATION, THE PIETÀ

c.2,200 BC - c.95 AD | by the Father, Son & Holy Spirit

[Albion Wilde]

An extremely difficult subject. The Pogliaghi sculpture #43 stands out. Its formal composition removes the horror of a floppy, bloodied body and makes the event an icon for contemplation.

Bouguereau's Pietà #22 (1876) is lovely as a work of art. Mary's embrace of her son's body is heartrending. The washing urn and discarded crown of thorns below ground the scene.

Bouguereau's romanticized, hyperreal angels, traditional representationalism and religious sincerity were sneered at by the French academy in the era of bohemian Impressionism with which his work competed. Bouguereau fell into disfavor for awhile, but interest in his work has been recently revived, with a traveling museum retrospective in the U.S that started in 2019. Here is one of my favorites, The Virgin with Angels, 1881:

It is poignant to compare the body language and facial expressions in Bouguereau's The Seated Madonna (1888) with those in today's Bouguereau of the deposition of Christ at #22, offered up by Dan:

[Hebrews 11:6]

I was already becoming an ardent admirer of Bouguereau, but now you’re making me a bigger fan.

[etabeta]

Love his work too! Gentleness, dignity, technical mastery.

[Albion Wilde]

The subject matter of the past few threads has been especially harrowing. We are so fortunate and blessed to serve a Lord who gave everything for us.

etabeta, I so much apprecaiate your depth of information and deep appreciation of so many of these masterworks, and today, you have again pointed up, with the Fouquet and the topmost Botticelli, exquisite details that others (including yours truly) might otherwise have missed. It's wonderful how the various artists grab the hearts of us individually. This ongoing project has been exciting, like a seminar, and your insights in commenting on Dan's exhaustive labor of love have been so valuable.

Just one more note: case in point of how various works grab us individually: the Giotto #16, Lamentation, is one that also struck me in spite of its primitive qualities and broken paint surfaces. It is probably one of the oldest works here, since he worked in the 14th C. It's moving to me. Cannot even explain it.

[Hebrews 11:6]

The subject matter of the past few threads has been especially harrowing.

I slogged through preparing them during August, and doing so dragged me down. Imagine, then, how much better I feel now, and how you will feel in three weeks: five minutes ago I finished the Ascension threads. Better days are coming!

[etabeta]

Thank you for your kind words. When I had my art page on FB, I always took details from paintings. By studying them one can deepen our appreciation and knowledge also about the times and culture in which they lived. In the Botticelli Pieta, we may see some of the influence that Savonarola had in his later years, he got away from the idealized figures of the past paintings to infuse his work with religious flavor and feelings.
Giotto is magnificent. He was an innovator, breaking away from the Byzantine style and paving the way for the future of art. He brought movement and emotions into his paintings, he was justly called the “Father of Renaissance”.

[Hebrews 11:6]

We are so fortunate and blessed to serve a Lord who gave everything for us.

In the rush of my enthusiasm last night at finally reporting on Jesus' ascension, I ignored your main point, which is the main point of all main points. It cannot be proclaimed too often. Thank you, Albion.

[Albion Wilde]

Giotto is magnificent. He was an innovator, breaking away from the Byzantine style and paving the way for the future of art. He brought movement and emotions into his paintings, he was justly called the “Father of Renaissance”.

I knew of him, but not in depth. I must look into more of his work. Thank you!