Rosso Fiorentino, the Dead Christ with Angels

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Rosso Fiorentino, the Dead Christ with Angels발음듣기

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(lighthearted music) [Male Voiceover] Where do you go after the perfection of the high Renaissance?발음듣기

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[Female voiceover] Exactly, if you're an artist in the 1520s, looking back at, for example, Michelangelo's David, or Raphael's frescoes in the Papal Palace, how could art be more perfect than it had been made by Michelangelo and Raphael and Leonardo?발음듣기

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[Male voiceover] This style that develops in the courts of Rome immediately after the high Renaissance, a period that we call Mannerism, is defying, in fact, the strictures of that perfection, and is looking towards a kind of virtuosity that has to do with distortion and remaking of form.발음듣기

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[Female voiceover] Mannerism is borrowing from the high Renaissance, but as you said, it's changing it and distorting it.발음듣기

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[Male voiceover] We can see that in one of the great treasures of the Museum of Fine Arts in Boston; a painting by Rosso Fiorentino.발음듣기

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[Female voiceover] This painting show the dead Christ with angels.발음듣기

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Normally we would see much more of an emphasis on Christ's suffering and on the angels mourning the dead body of Christ.발음듣기

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It's not unusual in mannerist paintings for us to have elements that are hard to figure out, where the iconography has been changed.발음듣기

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He's really minimized the usual clues we have about Christ's suffering; we can't easily see the wounds in Christ's hands or feet, even the wound in His side that Christ received while.발음듣기

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He was on the cross seems devoid of blood.발음듣기

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All that is unusual. Normally an artist would present us with those attributes, and really have us meditate on Christ's physical suffering, and we're not given those clues here.발음듣기

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[Male voiceover] Even the angels don't seem to be mourning, because they might be in more traditional paintings.발음듣기

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You can see Rosso playing fast and loose in a number of different ways in this painting.발음듣기

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Not only do you have Christ, this very large figure, in fact, almost too large for the size of this canvas, surrounded by the four angels that seem almost too close, but you have this very indeterminant space pushed very close to the foreground, and you have distortions in the relation of the scale of the bodies.발음듣기

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Look at the size, and the mass, and weight of this dead Christ in relationship to those angels in the background.발음듣기

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[Female voiceover] Christ seems way too large, almost like he's going to break out of the space that He's in.발음듣기

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It's been suggested that there's not so much emphasis on Christ's suffering here, because there's more of an interest in the idea of Christ's resurrection, and perhaps, that idea of Him breaking the bounds of the confines of this canvas suggests that idea.발음듣기

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[Male voiceover] Well, certainly the two torches held by the angels are a traditional symbol of the resurrection, so that absolutely works.발음듣기

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But Christ is so interesting here because there's a real sensuality to that body.발음듣기

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It's a beautiful body, and it's got this elegant curvature to it, and yet, it's also dead and kind of yellow.발음듣기

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[Female voiceover] It's not unusual for mannerist artists to make art, make paintings, based on other paintings, and we definitely see that here in the way that Rosso recalls Michelangelo's figures on the Sistine ceiling.발음듣기

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Look at His right thigh, it doesn't make any sense.발음듣기

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It's impossibly long, the way that it connects to His hip doesn't seem anatomically plausible, and the length to the knee doesn't seem anatomically plausible.발음듣기

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[Male voiceover] Even the other thigh is too large for the torso.발음듣기

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[Female voiceover] We have a really hard time figuring out how those feet would carry the weight of this body; in fact, how He's being supported at all.발음듣기

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[Male voiceover] So, those distortions that you're talking about, we've seen so much mannerist work, you might think of Parmigianino's The Madonna of the Long Neck, for example.발음듣기

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But it's not that this is a mistake, it's that mannerist artists like Rosso were restructuring the body in order to express, not only their virtuosity, but in a sense, to be able to manipulate form as if it was a plastic medium.발음듣기

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[Female voiceover] And perhaps to heighten the spirituality of the moment, maybe by exaggerating the body, or by elongating it, or twisting it.발음듣기

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There's a sense of transcending the earthly and the physical.발음듣기

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[Male voiceover] And stylistically, we can certainly say that mannerist artists transcended the strictures, the perfection of the High Renaissance. (lighthearted music)발음듣기

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