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Classicism in “The Lamentation over the Dead Christ”

The Renaissance Era was an epoch of artistic resurgence in the history of Europe. This period was marked by developments in Italian Renaissance paintings with the renewal of classical forms, motifs and subjects. Renaissance classicism introduced a host of elements into

European culture, including the application of Greek mathematics, by using perspective and foreshortening and chiaroscuro, the contrast between light and shadows into art. Andrea Mantegna (), in particular, modeled his work entitled “The Lamentation over the Dead Christ “after these classical Greek thoughts. Examples of this appeal to classicism included his work The Lamentation over the Dead Christ (c.1480). Studying ancient Greek became regarded as essential for a well-rounded education in the liberal arts.

In this period, Classicism took on more visibly structural insinuations of the use of geometry, chiefly by the Foreshortening. Foreshortening occurs when an object appears compressed when seen from a particular viewpoint, and the effect of perspective causes distortion.

Foreshortening is a predominantly constructive creative mechanism, used to give the sense of three-dimensional capacity and generate excitement in a picture. To sensationalize the supine Christ in perception, Mantegna paints his light source higher up the horizon line, to create illusion that the viewer will appear to be looking at an angle. The more askew the vanishing point, the more slanted the icon will be. Because the body is supine and symmetrical, the vanishing point is diametrically in the core of the perspective line. Because the spectator's plane is parallel to Christ's head, the line is horizontal. This imaginary line gives the fundamental, "foreshortening" perspective. The farther away the image is from the viewer, the nearer the illusion is to being perpendicular to the portrait plane, as seen in the Dead Christ. An innovative position of the mourners (Virgin Mary and St. John) is now selected, on the horizon line, to the left the desertion point, as another foremost model to carry this position. The expanse from this point to the vanishing point denotes the distance of the viewer from the painting. If the point is isolated from the vanishing point, the mourners will appear condensed, and distant. If it is too close, they will emerge lengthened, as if it is too close to the observer. Essentially distorting the ray of light traveling from it's origin to the onlooker's judgment. This element is key to understanding Mantegna's perspective in this fresco. In the case of the holes in Christ's

hands and feet, the area of the holes also represents the picture plane (at an angle), when the light hits the area of the hole, it has also hit the appropriate spot in the picture plane. In order for the resulting image to appear identical to the intended scene, the eyewitness of the perspective must scrutinize the image from the exact vantage point used in the geometric calculations comparative to the Christ. This abandons what would appear to be alterations in the painting when analyzed from a discrete point. These conspicuous distortions are more evident moving away from Christ's thorax, as the perspective, estimated from the surroundings to the spectator becomes more finely tuned and comparative to the portrait base. In application, unless the viewer desires an radical perspective, like viewing the body of Christ from the base, the perspective on the whole, is in all probability correct. It has been recommended that a painting in standpoint still seems to be in perspective at other spots because the individual still distinguishes it as a painting, because of the quality in its profundity of field indications of foreshortening. For a emblematic perspective, conversely, the field of view in the Dead Christ is tapered to the point, that the distortions are negligible and the fresco can be viewed from a site other than the tangible designed vantage point without seeming distorted, which in turn, buttress' Mantegna's conclusion to paint the feet of Christ less significant than the customary individuals. At a summit speaking on Greek mathematics and philosophy, Plato (429-347 B.C.E.)was quoted in repute to artwork, as stating,

Thus (through perspective) every sort of confusion is revealed within us; and this is that weakness of the human mind on which the art of conjuring and of deceiving by light and shadow and other ingenious devices imposes, having an effect upon us like magic... And the arts of measuring and numbering and weighing come to the rescue of the human understanding... (Plato)

The applied use of the expression “chiaroscuro”, is the outcome of light representation in painting, in which three-dimensional capacity is advocated by the measure of color and the systematic partition of light and shadow contours on a two dimensional plane in a model of artwork. The creation of these belongings in the West, Skiagraphia or "shadow-painting" to the primeval Greeks, was attributed to the celebrated Athenian painter of the 5th century BC, Apollodoros. In the print of the Dead Christ, the light is approaching in from one encoded course exceeding Christ's body, then light and silhouette will match to a set of natural conventions. An underscore of luminosity on Christ's shroud symbolizes the summit where the brilliance is being revealed most unswervingly. This is most often attributed as a lightened white area, as seen in the shroud in 1. As the viewer's eye moves away from this emphasis, radiance strikes the article less candidly and consequently broadcasts a darker assessment of hues on the shroud. This changeover continues until the onlooker reaches the point where the darkness of the piercingly drawn material meets the lighted portion of the shroud. Here, there is a more abrupt conversion to darker values since no light is salient between Christ's feet. Some oblique light is offered on the underside of Christ's feet as the muted side does not turn unyieldingly dark. This is the product of reflected and refracted daylight that logically become apparent within the painting. As the viewer looks at the intense frame of the body of Christ, it is noticeable that it is patently lighter than the shadowed area of the mourners. Light in the environment is illuminating the background. The throw shadows are at odds, with separate values as well. Then, as light becomes more available, the same cast shadow lightens in increments until it reaches the shadow's circumference. Craigie Aitchison (1923-2009), a critically esteemed Royal

Academian, recalls the Dead Christ as his favorite painting, stating, “I like it because it tells a story”. Mantegna dominates and operates this modus operandi to generate a philosophical sense of pathos in the mourners and character in the Dead Christ. The Mantegna painting, with light entering from above, illustrates both subtle modeling chiaroscuros to give quantity to the body of Christ, and also the strong influence of ancient Greek culture in this fresco.

Mantegna was so amiable in all his acts that he will always be remembered, not only in his own country, but throughout the world. Thus he deserves the reference for the excellence of his painting.

Craigie Aitchison on Andreas Mantegna's `The Dead Christ': MY FAVOURITE PICTURE From: The Independent (London, England) |Date: September 16, 1997 |Author: Richard Ingleby