Raphael, genius of the High Renaissance, spent his youth in Umbria, which at the time was fraught with political instability and clan violence. Umbrians resented the Popes’ hold over their land, but were nevertheless aware that all power lay with the Papacy.
The Deposition was commissioned in 1500 by a noblewoman of a powerful Umbrian family, Atalanta Baglioni, as a votive offering in memory of her son, Grifonetto, killed in a piazza in Perugia, victim of a feud between rival clans. When offered the commission, Raphael realized that this was his chance to go to Rome, but was reluctant to leave Umbria.
The Deposition was completed in 1507. Though several years had elapsed since the death of Grifonetto, the event had a huge impact on the artist, and the painting clearly recalls the young man’s tragic death: every brushstroke of The Deposition has its own significance. It was an extremely political work for the time: taking sides in such a heated political climate meant risking career and life
The painting is divided into two groups. On the left, three disciples drag the body of Christ towards his tomb. One of these bears most of the weight, with Christ’s head lolling on his chest, as he gropes with his foot to step up towards the tomb. Next to him St. Peter supervises the transportation of the body, while over his shoulder peers St. John, guardian of the tomb’s entrance.
The leading figure in the right-hand group resembles Grifonetto, who seems to want to pull Christ back to Umbrian earth. The group of pious women who support the grieving Atalanta also pull our attention Umbria-wards. In their Etruscan features and regional dress, the women seem to represent the Umbrian towns governed by the Baglioni family.
Between the two groups, resembling Mary Magdalene, stands Zenobia, Grifonetto’s Roman sweetheart who lived for a long time in Perugia. Her presence serves to reflect Raphael’s twin loyalties: his love for Perugia, the dark, atmospheric city of his youth, in conflict with the hope of a more peaceful life and a brighter future in Rome.
The landscape in the background is a reflection of the artist’s devotion to two cities: on the left a whimsical landscape which recalls Rome (lakes, almost Baroque towers); on the right, Raphael’s memories of the steep ravines between Umbria and Tuscany, the castles which dominate the traveler’s view.
Just beneath Golgotha, on the hill on the extreme right, Raphael paints a castle, symbol of the Baglioni family, and on the left, a building in the style of Bramante. The right side of the painting represents the Umbrian countryside and the independent land of the Papacy, while the left side is devoted to Rome and its power.
Christ, depicted for the first time being transported to the tomb, is the symbol of true faith, for which everyone struggles. On the right he his pulled by Grifonetto, symbol of independence against Papal tyranny; on the left, by the disciples who bear Christ into the realm of ecclesiastical faith. Raphael signs the work on the step to the left hand side, to make it clear where his true allegiance lies.
The single dandelion in the foreground represents the Gospel whose seed is set to spread throughout the land. The painting represents the victory of the Papacy over the rebels, and can also be regarded as the work which clarified matters in Raphael’s own mind as regards his Umbrian and Roman allegiances. In 1508, just a year after the completion of The Deposition, the artist was already working on decorating a room for the greatest enemy of the Baglioni family: Pope Julius II.
60 of Raphael’s masterpieces, including The Deposition, are on display at the Galleria Borghese (Piazzale Scipione Borghese, 3. Tel 0632810) until 27 August. Entrance €12.50. Phone to book at least a day in advance.
The painting is divided into two groups. On the left, three disciples drag the body of Christ towards his tomb. One of these bears most of the weight, with Christ’s head lolling on his chest, as he gropes with his foot to step up towards the tomb. Next to him St. Peter supervises the transportation of the body, while over his shoulder peers St. John, guardian of the tomb’s entrance.
The leading figure in the right-hand group resembles Grifonetto, who seems to want to pull Christ back to Umbrian earth. The group of pious women who support the grieving Atalanta also pull our attention Umbria-wards. In their Etruscan features and regional dress, the women seem to represent the Umbrian towns governed by the Baglioni family.
Between the two groups, resembling Mary Magdalene, stands Zenobia, Grifonetto’s Roman sweetheart who lived for a long time in Perugia. Her presence serves to reflect Raphael’s twin loyalties: his love for Perugia, the dark, atmospheric city of his youth, in conflict with the hope of a more peaceful life and a brighter future in Rome.
The landscape in the background is a reflection of the artist’s devotion to two cities: on the left a whimsical landscape which recalls Rome (lakes, almost Baroque towers); on the right, Raphael’s memories of the steep ravines between Umbria and Tuscany, the castles which dominate the traveler’s view.
Just beneath Golgotha, on the hill on the extreme right, Raphael paints a castle, symbol of the Baglioni family, and on the left, a building in the style of Bramante. The right side of the painting represents the Umbrian countryside and the independent land of the Papacy, while the left side is devoted to Rome and its power.
Christ, depicted for the first time being transported to the tomb, is the symbol of true faith, for which everyone struggles. On the right he his pulled by Grifonetto, symbol of independence against Papal tyranny; on the left, by the disciples who bear Christ into the realm of ecclesiastical faith. Raphael signs the work on the step to the left hand side, to make it clear where his true allegiance lies.
The single dandelion in the foreground represents the Gospel whose seed is set to spread throughout the land. The painting represents the victory of the Papacy over the rebels, and can also be regarded as the work which clarified matters in Raphael’s own mind as regards his Umbrian and Roman allegiances. In 1508, just a year after the completion of The Deposition, the artist was already working on decorating a room for the greatest enemy of the Baglioni family: Pope Julius II.
60 of Raphael’s masterpieces, including The Deposition, are on display at the Galleria Borghese (Piazzale Scipione Borghese, 3. Tel 0632810). Entrance €12.50. Phone to book at least a day in advance.
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