This research paper critically examines the subject of the “The Lamentation of Christ”, which was the work of Peter Paul Rubens (Flemish 1577-1640). This subject is very common in the Christian art whose history can be traced from many years back in the High Middle ages to the Baroque. A large number of artists have depicted the event revolving around the crucifixion of Jesus Christ, whose body was taken away from the cross and many people mourned over his body. The main findings of the investigation on this topic indicate that the works of lamentation were mostly concerned with the cycles of the life of Christ, and thus forming the subject which many writers have written about.[1] The depiction of this scenario is also evident in one specific kind of lamentation where the mother of Jesus, Mary was seen cradling his body.[2] This paper is based on the interdisciplinary approach, which combines the historical applications of the painting of Peter Paul Rubens together with its technical investigation.
The Painting’s Presentation and its Environmental Setting
The painting presented in Figure 1 in the appendix provides valuable information concerning the painting of Ruben, depicting what he calls “The lamentation of Christ.” The description of this artwork may be short though it shows both the painting as an independent cultural and physical object and its tangible and intangible form as a part of a whole work of Rubens. Perhaps, one gets to establish the relationship between the painting and the church as an interdependent phenomenon through the presentation of the painting.[3] The painting defines the inventories of the church, its landscape, cultural entity, and its external appearance. Most importantly, the painting shows the scene after Christ was removed from the cross and prior to his entombment. Around him (Christ) is the Virgin Mary who appears to be leaning over his body, together with Magdalene kneeling at his feet. The circle of mourners is completed by lamenting women, Nicodemus, and Joseph of Arimathea.[4] A closer look at the picture reveals the seal of the noble Colonna family of Rome at the back of it. In this case, the typical position of the body of Christ shifts from being flat on the slab or slab to the upper torso, which Mary or others are seen raising it. At this point, it is usually viewed in the profile across the centre of the picture. Lastly, the body is seen being held in a near-vertical position, across the lap of Mary, or seen frontally. On the other hand, Mary Magdalene is holding the feet of Jesus, and the older bearded man appearing in the painting is Joseph, who is also richly dressed.
Art Historical Analysis
The painting appears in list of the art treasures’ 1783 inventory in the Colonna palace, which was outside Rome. Since 1605 through 1606, Philip, Rubens’s brother, contributed to this artwork since he was working as the secretary and librarian to Cardinal Ascanio Colonna (1559 – 1608).[5] There is a likelihood that the Cardinal took part in commissioning this painting. The painter Giuseppe Cades (1750 – 1799) was given this picture, who signed its declaration of ownership which still appears on the back of the painting.[6]
Numerous scenes have been developed to cover the period between the Jesus’ death on the Cross and his placement in the tomb. Such scenes have resulted from the increase in the complexity of the depiction of the Passion of Christ towards the end of the first millennium.[7] Tracing back in the history of Christian art, lamentations never appeared in art north of the Alps up to the 14th century. The painting became very prominent during that time. The subject has increasingly emerged as a separate devotional image, whose concentration is on the grief of Mary for her son. Less emphasis has been placed on the narrative, and the logical result of this trend was the Pietà, reflecting the suitability of this picture for sculpture.[8]
There remarkable evidence that some paintings with similar basic iconographical elements like that of Ruben painting are given the same title “Lamentation of Christ” and others bear the title of Pietà. In pursuit of trying to offer clarity in which category the Ruben’s painting appears and why there is such iconographical distinction, is a demand prior to proceeding to any other action, instead of personal choice. In art history, each iconographical type is characterized by a stylistic development and has its own specific characteristics.[9] Indeed, this artwork is not different from this rule, and thus any information obtained from such a process is likely result in some specified investigative guidelines. In this analysis, the archival documents were collected from the Regional State Archive, where the painting depicting the Deposition from the Cross and “The lamentation of Christ” has been mentioned. Some researchers have suggested that this title should be excluded since, in the particular subject, Christ is in a continuous process of descending from the cross.[10] However, the scene clearly depicts the lamentation of Mary for her crucified son, and thus forming the title of the painting. With this understanding, one can also call it a Pietà.
There is increased concern on whether painting is a lamentation or a Pieta. Ruben’s painting thematically falls in the category of religious painting. Nonetheless, there is lack of evidence concerning its specific role in the place where it was originally desired to be. Talking of its role is indicative of the different purposes of use of the religious art, including devotional or decorative. The painting depicts a decorative attribute seen in its presentation.[11] Additionally, the way it has been placed in churches reveals its devotional character. Pietà is mostly seen to be composed of the mourning Virgin, showing pity for the body of her dead son on her lap. With this understanding, a Pietà is given a devotional characteristic which makes it distinctive from the subject of Lamentation, involving many historical people and thus possesses a biblical and narrative character.
The painting also bears religious subjects occupying many works of Ruben. They include the most famous depictions of the Biblical and Saints events, and particularly Christ’s. The aspects that have been given weight to the categories of Christ as the man of sorrows, the lamentation of Christ, and his Crucifixion.[12] It has been argued that there is a need to have a vivid view concerning the number of the lamentation scenes that needs to be investigated from most of the available books and catalogues for a given artist. It might appear impossible to achieve the consideration if the catalogue of the work of Ruben has been done several times and its implication would be that it is the works that have not been associated with utmost safety or works that likely remain unknown. This fact is useful in the investigation, and there is a need to ensure that no copies in the Ruben’s painting output exist, indicating that there should be no replicas of the workshop in the narrower perspective.[13] Perhaps, the remarkable fact is the art’s historical analysis.
Art Technical Analysis
This analysis comprises the documentation of materials and the techniques used in the painting. A more solid analysis is performed on the basis of the stylistic characteristics with respect to their theological perspective. A closer inspection of the image gives theological definition of its stylistic characteristics in a specific period.[14] The model that most researchers have used focuses on the analysis of some basic elements of the painting. In this case, the key elements contributing to a desired understanding of the painting of Ruben are based on two main categories. Such categories comprise the chromatic synthesis and symbolism of color and the geometrical structure of the painting scene.[15] It is worth mentioning that the types and lines of the diverse elements of the painting can also constitute the drivers to its stylistic categorization. Their analysis, however, is a difficult job that exceeds the goal of this paper. The painting has renaissance qualities including geometrical perspective as well as the naturalistic representation of its images.[16]
The organization of the scene of lamentation of the painting is strictly based on a geometrical structure. The “geometrical structure” means that the painting to show specified the geometrical types and their relationship with one another in the context of the religious subject of the Lamentation of Christ and via the Renaissance ideal.[17] The first aspect to consider is the dimensions of the painting. It is an oil painting done on a wooden support, and particularly panel painting. The panel’s dimensions are given as: 11inches by inches.[18] The method that has been employed is that of chiaroscuro which offers volume to the images making them to appear naturalistic. The construction of the synthesis in levels further brings about an illusion of depth. The body of Christ has been inclined in a three-quarter position leaning towards the viewer and also has the naturalistic utilization of shading and light.[19] In this case, the painter managed to give space and depth to the scene.
In perspective of the geometrical arrangement of the synthesis in renaissance art, proportions and geometry have played a central role. In the figures of the Lamentation scene, the arrangement of the heads of Mary Magdalena, Christ, and Mary shows them occupying the three angles of an isosceles triangle.[20] The painter must have used the golden ratio since the placement of the heads of Mary Magdalena and Christ is on the upper horizontal golden section while that of Mary is positioned between the two vertical golden sections. This geometrical presentation is as shown in Figure 2 (Appendix). The algebraic expression of the golden ratio is Φ = AB/AC=ΑC/ΒC.[21]
Also, closely looking at the painting, the construction of the scene of lamentation comprises a strict geometrical pattern with its main element in the form of a rhombus. In this case, a rhombus takes central part in the scene, whose determination is on its upper triangular section from the Christ-Mary-Mary Magdalena heads.[22] With such features of the rhombus, the painter was able to gradually create a focus on attention from outside to inside, heading to the scene’s heart, depicting the lament of Mary for her son who is dead.
In the lamentation scene, researchers have also considered the chromatic synthesis of the painting by focusing on the aspects of colors and gold. In the context of colors, Christian art has shown the conventions concerning the use as well as the color symbolism.[23] Notably, the symbolism of colors has been expressed via the color of the background and the clothing of the figures. Christ is clothed in a white loincloth and also his body is put on a white shroud or cloth. The symbolic meaning of color white is holiness and purity.[24] Mary is putting on a deep red-brown robe together with a white veil which covers her head and the robe’s upper portion, whose is like the one mentioned above.[25] On the other hand, the symbolization of gold is described as the God’s grandeur, power, and eternal light and divine heaven and greatness. This meaning explains the reason for gold has been used in the background of pictures of the people who are pure and holy. There is remarkable evidence that the humanistic ideals are used in the form and arrangement of the figures of image and as well in the backgrounds, whose aim is to reveal the natural world as naturalistic environment.[26] Furthermore, gold is preferred in renaissance works to place emphasis on the details like haloes instead of covering the entire panel painting’s background.[27]
Conclusion
Many artists have investigated this subject and presented the events which revolve around the life cycle Jesus Christ, his crucifixion, and reflection. The arguments raised in the paper are on the basis of the interdisciplinary techniques combining the historical use of the painting of Peter Paul Rubens and technical examination. The presentation of the painting in relation to its environment has been discussed. Additionally, the analysis has taken into account the art historical aspects and the technical evaluation of the art. Finally, the topic of “The Lamentation of Christ” has been cited by many artists, who have addressed the issues related to it in different ways and this would make the analysis confusing if not difficult.
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