Van der Weyden, Deposition발음듣기
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Van der Weyden, Deposition
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It is about 7 feet tall and 8.5 feet wide, representing Christ being removed from the cross.발음듣기
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[Male] And they're about to place him in his mother's lap, the Virgin Mary, who's fainted from grief at the crucifixion.발음듣기
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[Female] So after this might be the lamentation and then the entombment and then the resurrection ...발음듣기
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In a way, we could talk about this image as a typical Flemish painting from the early to mid 1400s.발음듣기
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It's got those heavy, very heavy, complicated angular folds of drapery that we see on Mary, also some figures at the far ends.발음듣기
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[Male] The paper-like angular folds, the rather elongated figures that are crammed into a small space.발음듣기
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[Female] Also that gold embroidery on the figure just to the right of Christ; the way that there's that interest in the light shining on that metallic embroidery is very Northern Renaissance.발음듣기
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[Male] The fir collar, the faces, the hair, the fabric; everything has this meticulous, almost microscopic attention to detail and texture that's typical of a Northern painter.발음듣기
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[Male] Also this would not be mistaken for anyone but van der Weyden, because even though those are all general characteristics of Flemish art from the period, there are some things that he does that are quite different from other contemporaries.발음듣기
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[Female] Right. We don't see that deep space that we see, for example, in van Eyck in the Ghent Altarpiece.발음듣기
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[Male] Exactly. Van der Weyden's compositions are usually confined to a very, very shallow space that really pushes the figures right up against the front of the picture plane.발음듣기
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Then, of course, that goes hand-in-hand with the very emotional behavior of the people in his paintings.발음듣기
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But van der Weyden instead gives them great emotional intensity, like we see in this figure of one of the Marys who is crying.발음듣기
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[Male] Here you can really talk about the attention to the effects of light as the light reflects off of, but also refracts through the tears that are flowing down her cheek.발음듣기
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As you're looking at that, it almost looks like it's about to go into her mouth, and as you're looking at it, it's almost as if you can taste what a tear tastes like.발음듣기
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[Male] Exactly. It really helps you to empathize and makes you feel like you're there in front of these people.발음듣기
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[Male] Also, the way that you can still see all the creases that have been ironed into the white fabric.발음듣기
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It creates a kind of wavelike downward and leftward movement through the composition that underlines the direction of his body in this narrative.발음듣기
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They share a relationship with each other that is not shared with anyone else in the painting; therefore, their similar poses establish that link.발음듣기
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[Female] And I think we're supposed to empathize here with Mary, too, and what this moment must have been like for her.발음듣기
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[Male] As we see, she's extremely pale, not only because she's pure and virginal, but here also because she's fainted.발음듣기
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I think there's a connection there, too, because Mary has fainted, but she will, like other people who faint, soon regain consciousness and wake up again.발음듣기
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I think we need to understand a connection to Christ in this painting too because, although he's dead, having died on the cross, according to traditional Christian teaching three days later he will be resurrected from the grave.발음듣기
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[Female] Something that I always think about is that skull down there, which one is tempted to think of as a memento mori, as a reminder of death, but actually is part of another traditional Christian teaching.발음듣기
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[Male] It could be remind you of death, but its more literal meaning is that there was a belief that Christ was crucified on the spot where Adam, from Adam and Eve, was buried.발음듣기
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So frequently you see a skull and bones at the foot of the cross, that are supposed to be representing Adam.발음듣기
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Just as Adam was the old man of the Old Testament, Christ is in a way the new Adam, the birth and the presence of the new man under the Christian law of the New Testament.발음듣기
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[Female] Right. So Adam having caused Adam and Eve, having caused the fall of mankind into sin and Christ and Mary redeeming mankind from that original sin.발음듣기
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[Male] One other thing we can talk about briefly is the way that van der Weyden arranges his composition.발음듣기
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We talked about the positioning of Christ and Mary but I'd also call you attention to the fact that there are four people on the left, but only three people on the right.발음듣기
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You might expect that that would throw the composition off kilter and make it seem off balance, but what he's done is, you'll notice the figures on the right, where's there's only three people, have much more elaborate clothing, with fancy brocade, or Mary Magdalene on the far right is in clothing with three or four different colors, whereas everyone on the left is in plain, solid clothing with no patterns, very few colors used.발음듣기
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I also always noticed how the figures on either end are kind of curled inward to sort of focus our attention to the center, on Christ; almost like brackets that enclose the image.발음듣기
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