Pontormo, The Entombment of Christ발음듣기
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Pontormo, The Entombment of Christ
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We're looking into the chapel, just to the right of the entrance, where we see Pontormo's great altarpiece.발음듣기
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Steven: It's kind of a funny situation because the painting is clearly in the early mannerist style, and yet the chapel is a small, perfectly cubic space that was designed by Brunelleschi and is very much in the early Renaissance style, so there's this funny contrast.발음듣기
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That's a powerful [combination] because you have this moment of Gabriel coming to announce to the virgin Mary that she will bear Christ, and then this much more mournful scene much later, when Christ has been lowered from the cross, is about to be entombed, and Mary is mourning his death.발음듣기
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Beth: And above that in the pendentives, we see roundels, also by Pontormo, showing the four evangelists.발음듣기
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Steven: I think that this notion of whether or not it's an entombment or a deposition is the result of the fact that Pontormo has taken out many of the symbols that we would expect in either of those scenes.발음듣기
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What's here instead is a very spare image of figures, and really nothing but figures, with the exception, perhaps, of a little bit of ground and some clouds above.발음듣기
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Beth: If this was a deposition, we would expect to see a ladder, the lowering of the body of Christ from the cross.발음듣기
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He's also not situated it in any kind of an earthly space that's understandable, which is such a difference from the style of the high Renaissance, where providing an earthly setting for the figures was so important, including using linear perspective.발음듣기
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Beth: And look at the two figures on either side, how elongated their bodies are, and that figure in the left foreground. Look at his legs.발음듣기
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Beth: We also think about the high Renaissance in terms of a pyramid composition and of stability and balance, and here, there's a sense almost of things moving in lots of different directions at once.발음듣기
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If you think about Leonardo's Last Supper, where the artist so clearly draws our eye to the vanishing point, with Pontormo, it feels like there's really no place for our eye to rest.발음듣기
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Beth: We also expect in the high Renaissance to see figures who have a sense of weight to their bodies.발음듣기
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Steven: It seems to me that these are not so much the emotions of a person so much as symbols of emotions, almost like masks.발음듣기
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Beth: And that sense of masking of artificiality, of an art that's not based on nature is really typical of mannerism, and I think it's really important to remember that we're here in Florence, and Florence is no longer a republic.발음듣기
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There are also other historical considerations like the Protestant Reformation and Copernicus discovering that the Earth revolves around the Sun.발음듣기
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I think that issue of the Medicis' return and they're abolishing the Republic is crucial, and of course the challenge that Martin Luther is posing.발음듣기
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Beth: Some people have seen the mannerist style as like a style that expresses a new spirituality as opposed to the naturalism of the early Renaissance and that spirituality coming from the attacks on the Church by Martin Luther.발음듣기
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Steven: It'll be really interesting to see how, over the next hundred years, the Counter-Reformation really causes significant shifts in the style of art and breaks with Renaissance conventions.발음듣기
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