Dosso Dossi, 'Lamentation over the Body of Christ', about 1517-18
About the work
Overview
The Three Marys mourn Christ after his crucifixion. The Virgin Mary kneels at Christ’s feet, her outstretched arms framed by her dark mantle. Christ’s crown of thorns lies on the ground, and beside it are the dice thrown by the soldiers who gambled for his clothes. Mary Magdalene kneels by Christ’s head, her arms raised. Mary Cleophas stands behind her clutching her head and tearing her hair with grief. The demonstrative gestures, distorted anatomy and colour contrasts are typical of Dosso’s early work.
In the distance, three crosses stand on the summit of Calvary against the sky. The cross on the left seems to have been Christ’s as the bodies of the two thieves still hang on the other crosses. The way that the figures on the hill behind the Virgin are merely suggested is a remarkable example of Dosso’s dramatic handling of paint, and adds to the expressiveness of the grieving figures.
Key facts
Details
- Full title
- Lamentation over the Body of Christ
- Artist
- Dosso Dossi
- Artist dates
- about 1486 - 1542
- Date made
- about 1517-18
- Medium and support
- oil on wood
- Dimensions
- 36.5 × 30.5 cm
- Acquisition credit
- Sir Claude Phillips Bequest, 1924
- Inventory number
- NG4032
- Location
- Not on display
- Collection
- Main Collection
- Frame
- 16th-century Venetian Frame
Provenance
The Lamentation was among the 15 pictures that Sir Claude Phillips bequeathed to the National Gallery in 1924. Not much can be reconstructed of the painting’s previous history. A seal from the Milanese customs (Dogana di Milano) with the Imperial eagle suggests that the picture was exported from Italy at the time of the Lombard-Venetian Kingdom (1816–59). A label stuck to the back of the panel states that the painting had been bought by ‘Baron Bernard de Rothem, who brought it from Hungary, in whose family it was upward of 100 years’. The label was probably cut out of the catalogue for the sale at which it had been bought by Phillips. In an article published in December 1906 issue of the Art Journal he wrote that he had found the picture ‘some twelve months ago in a London auction room’.
A Pietà by Dosso is listed in the 1592 inventory of Lucrezia d’Este, granddaughter of Duke Alfonso I and Lucrezia Borgia. Another is mentioned in the 1703 inventory of the Sienese nobleman Ranuccio Bandinelli. There is no reason to suppose that the present painting can be identified with either of these.
Additional information
Text extracted from the ‘Provenance’ section of the catalogue entry in Giorgia Mancini and Nicholas Penny, ‘National Gallery Catalogues: The Sixteenth Century Italian Paintings’, vol. 3, ‘Bologna and Ferrara’, London 2016; for further information, see the full catalogue entry.
Exhibition history
-
2008Amico Aspertini: pittore bizzarro nell'età di Dürer e RaffaelloPinacoteca Nazionale (Bologna)27 September 2008 - 26 January 2009
Bibliography
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1962Gould, Cecil, National Gallery Catalogues: The Sixteenth Century Italian Schools (excluding the Venetian), London 1962
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1987Gould, Cecil, National Gallery Catalogues: The Sixteenth Century Italian Schools, London 1987
-
2001
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
-
2016Mancini, Giorgia, and Nicholas Penny, National Gallery Catalogues: The Sixteenth Century Italian Paintings, 3, Bologna and Ferrara, London 2016
Frame
This sixteenth-century cassetta frame from Veneto is crafted from pinewood, and features a pastiglia frieze. The frame has been gilded several times, including a layer containing silver leaf covered with yellow varnish, known as meccatura. The pastiglia features a scale-like pattern, with each segment defined by beads and delicate raised lines. Now covered by a greyish layer, it was originally painted in a low-quality ultramarine blue.
The pastiglia pressed decor is composed of a mixture of calcium sulphate and animal glue. This technique is distinctive to the Veneto region and was commonly used in various ornamental designs during this period.
The frame was bought in 1995. The frame had already been resized, with the mitres covered by moulded leaf strips, probably added in the nineteenth century.
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.