Deposition of Christ with the Virgin and Saint Mary Magdalene attributed to Jocopo di Antonio Negretti said Palma il Giovane or follower
Oil on canvas representing the scene of the Deposition of Jesus Christ after his descent from the cross, his crown of thorns placed on the ground, with at his side two characters the Virgin Mary and Mary Magdalene. XVIth century period.
This painting is in good condition, canvas mounted on cardboard. The frame is posterior.
Size 32cm X 24cm
Jocopo di Antonio Negretti known as Palma il Giovane
Venice around 1548-1628.
The Deposition, or Descent from the Cross for information.
The body of Christ is taken down from the cross. Joseph of Arimathea, a wealthy and respected man who was a secret disciple of Christ, obtains permission from Pilate to bury the body. Traditional depictions show a ladder against the cross, with Joseph of Arimathea mounted on the ladder descending the body. The Virgin Mary receives the body and kisses the face. Mary Magdalene kisses the left hand and Saint John kisses the right. Nicodeme extracts the nails from the feet.
Negretti for memory
Jacopo Negretti, (or also Giacomo) known as Palma il Giovane, to distinguish him from his great-uncle Jacopo Palma il Vecchio (Venice, September 1549 – October 17, 1628), was an Italian painter from the Republic of Venice, an important exponent of the Venetian school.
Born to Antonio Palma, painter, and Giulia Brunello, belonging to a family with a strong artistic nature, he was immediately initiated into pictorial studies in the footsteps of his father’s uncle, Palma il Vecchio and his mother’s brother , Bonifacio de ‘Pitati, (known as Bonifacio Veronese).
In 1564 the Duke of Urbino Guidobaldo II della Rovere, on a visit to Venice, appreciated the artistic talents of Jacopo who first invited him to court and then, in May 1567, sent four years to Rome as a guest of its ambassador Traiano Mario. The Portrait of Matteo da Lecce dates from Roman times and bears the inscription pitor in Rome from 1568.
He studied and was influenced by Raphael and Tintoretto, he made various copies of Titian, his true master, with whom he later collaborated, also completing the famous painting La Pietà.
He was trained in the days of the Venetian school and Roman mannerism, which he was able to learn during the four years of his stay in Rome.
The beginning of his artistic production is dated around 1565.
In 1582, he married Andriana Fondra, who nevertheless brought many worries to the painter because of her unstable soul, a situation aggravated by the premature death of the couple’s two children, and which led to her death in February 1605.
He had a large fortune in the region of Bergamo, his father’s homeland, and was among the most active at the end of the 16th century.
He died « oppressed by phlegm » in 1628, without any of his heirs (daughters Crezia and Giulia and grandchildren Andriana and Giacomo) continuing Palma’s pictorial acts.