Scene of Lamentation for Jesus Christ in Northern and Southern Renaissance - Assignment Example

Scene of Lamentation for Jesus Christ in Northern and Southern Renaissance by Quentin Massys Lamentation depicts the scene of the most tragicmoment from Old Testament when Jesus Christ was taken from the cross after crucifixion. His dead body is lying on the ground surrounded by desperate witnesses of his death. Mary Magdalene is apparently one of the Biblical characters that could be recognized on the picture is portrayed watching the bleeding stigmas on his feet. Dead bodies of the thieves hanging on the crosses are still visible on the background. The landscape is nevertheless pleasant and tranquil. Several particular features give hint on the fact that this picture can be attributed to Northern Renaissance. The material and the type of canvas are among the most obvious. Oil on panel was commonly used by Northern artists as it permitted to preserve brightness of colors for a long time. The painting is very detailed and vivid with elaborated landscape. Apparently, the author underlines human`s side of Jesus Christ showing his tortured body and concentrating on the minor details of it. Ribs that got visible through skin because of starving, injuries that bleed, closed eyes of a dead man- there is no presence of God on this picture as the author tells us that Christ was suffering as much as we did. Despair, sympathy and sorrow can be read on the faces of Christ`s followers who came to him. Nothing on the picture suggests that Christ will resurrect as he is portrayed as an ordinary human being who was suffering enormously. Massys does not concentrate nature in his painting, for him it is still the man and his suffering which matters the most but still the city o the background and the crosses thought-out ad realistic. Northern and Southern painting styles were different due to numerous reasons: they appeared in different geographical regions and were formed under the influence of different sources. Northern style was originated on the territory of modern Netherlands and Germany. Since the regions were mainly Protestant the approach to religion was slightly different as well. There was still serious medieval influence with its Gothic style clearly visible in architecture and painting. The visual art of Northern Renaissance lacked secular pomposity and was mostly dedicated to a simple life. The pictures of Northern painters depicted people doing their daily things in mundane situations. Southern direction also had its peculiarities. It was originated on the territory of Italy and was inspired by the ideas of humanism and antiquity. However, the accent was made on the divine powers and Roman-Catholicism. Artists living in Italy were supported by wealthy patrons were not humble in depiction people or scenes from Bible. The accent was made on religious motives. Frescos were favorite type of canvas as the climate was favorable (Estep 1986, 45). Both paintings show one and the same scene but the painters chose different means and got slightly different meaning in the end. Massys depicts Christ lying from the right to the left with his head lifted up by pitiful woman and one of his followers. His feet touch the ground the whole body position shows how heavy he is and how much his body is influenced by gravitation. It is almost possible to feel how hard it was to move his body from the cave for all these tender women. The surrounding people look lost and frightened, they are desperate to learn why the person they believed so much is dead and how that could happen. The woman sitting behind his feet is probably the most eloquent in her gestures. She feels enormous sympathy to Jesus and seeing his stigmas in unbearable for her. She seems to forget herself in grief. To express the power of death and the despair that follows Massys chooses oppressive background. Two more dead bodies hanging from the tree and the distant places show how all the people are lonely and powerless before destiny. Therefore, Massys showed typically human scene of grief and lamentation for those who have lost a dear person, a human. The colors are bright and saturated but slightly muted to remain realistic. The fresco of Giotto has completely different atmosphere. The central figure is Christ as well but he is lying in the opposite direction and the rock depicted on the background creates some illusion of levitation. It seems that the body of Christ is weightless and those who hold him do not feel any burden. His body does not resemble normal human body as it is glowing from within. There are no signs of injuries except for tiny stigma on his feet and the author did not paint any blood on his forehead. The accent from suffering of the man is shifted to the aspiration of his resurrection and to amazement of the people. The resurrection of Christ is felt in the air since everyone is sure that he is God`s son. Beautiful small angels adorn the sky flying and watching the miracle from above. They feel sympathy towards Jesus but they understand his destination. Most of the people surrounding Jesus are saint as they are painted with halos. Women seem a bit more impressed by seeing Christ`s body as their faces express grief while men look tranquil. Their movements are light and delicate; they understand the solemnity of the moment and they are more astonished then shocked. The colors the author chose are unnatural; the bodies are excessively white while the halos attract all the attention by their gold. The landscape on the background is absolutely simple and even poor. People standing behind the backs of the witnesses create atmosphere of mass and importance of the moment. Therefore, obviously Northern painting was closer to life and denied miraculous nature of religion and common Catholic attributes. It was still influenced by Middle Ages and regarded God as a superior power to a human leaving the last with his physical suffering and daily struggles. Italian painting was atmospheric and elevated in style. Human being was regarded as the greatest God`s masterpiece. It was also more secular and much more symbolic. Visiting museum gives an exceptional opportunity to see the picture alive and to feel its spirit. Printed reproduction or electronic copy leaves no space for imagination and emotional feedback. It is impossible to perceive how paints interact with canvas and how they change with time. Seeing colors in the full brightness with hundreds of hues also gives an important cue to understanding the picture. However, it is also necessary to distinguish the size of the painting which can be understood only in close contact. Looking on the picture from different perspectives makes the viewer understand the aspects of composition better. Seeing the picture at hand distance allows imagining yourself on the place of the painter and assessing his efforts. References Estep, William. 1986. Renaissance and Reformation. Seattle: Eerdmans Publishing Company. Read More