Head of Christ is a painting in oil on panel by the Italian Renaissance painter Antonio da Correggio, dated 1521. It depicts the head of Christ, wearing the crown of thorns. In the background there is a white cloth showing that the image represents the Veil of Veronica, but Christ's head is given volume through alternate use of light and dark shadows. The painting is in the J. Paul Getty Museum in Los Angeles. Correggio was known for creating some of the most sumptuous religious paintings of the period. The Getty Museum considers this artwork as one of the masterpieces of painting held by the museum.[1][2][3]
| Head of Christ | |
|---|---|
 | |
| Artist | Correggio |
| Year | 1521 |
| Medium | Oil on panel |
| Dimensions | 23 cm × 28 cm (9.1 in × 11 in) |
| Location | Getty Museum, Los Angeles |
Painting
editThe painting is a small artwork, probably intended for private devotion, which depicts the head of Christ crowned with thorns, in half profile turning his head towards the viewer.[4] Through the use of the alternate use of light and shade; the chiaroscuro technique is used by the artist to highlight the line of the nose, cheekbones and the neck. All this, however, is softened by the muted tones of the nuances he used when depicting the color of the body. The strong shadows and the sculptural treatment of the head make this one of the most distinguishable representations on the Veil of Veronica. According to legend, Christ stumbled on his way to Golgotha carrying the cross. Veronica took off her own veil, and wiped his face with it. Christ's features were miraculously imprinted on the veil.[4][5]
In the early 1520s, Correggio was particularly interested in the study of the characters of the sacred history. Christ has his lips slightly parted, as if he would like to speak to the viewer. Correggio's bold reassessment of the theme filled the face of Christ an intense pathos. He looks at the viewers, as if to implore their mercy. According to art historian John Shearman this kind of depiction is a typical example of a "transitive work", i.e. a work that requires the emotional participation of the viewer and that can only be completed through being in the physical presence of the image.[6][7][8][9][10][11]
See also
editReferences
edit- ^ "Paul Getty Museum Correggio (Antonio Allegri)". www.getty.edu. Retrieved 9 April 2015.
- ^ "antonio-da-correggio-head-of-christ". artprints.getty.edu. Archived from the original on 6 May 2015. Retrieved 9 April 2015.
- ^ "Masterpieces of Painting in the J. Paul Getty Museum".
- ^ a b "Head of Christ". www.getty.edu. Retrieved 9 April 2015.
- ^ Allen, Denise (2003). Masterpieces of Painting in the J. Paul Getty Museum. Getty Publications. ISBN 9780892367108.
- ^ "Correggio". www.correggioarthome.it. Retrieved 9 April 2015.[permanent dead link]
- ^ "Professor John Shearman". The Independent. www.independent.co.uk. Archived from the original on 9 May 2022. Retrieved 9 April 2015.
- ^ "Art and the Spectator in the Italian Renaissance by John Shearman" (PDF). gombricharchive.files.wordpress.com.
- ^ "Art and the Spectator in the Italian Renaissance". press.princeton.edu. Archived from the original on 15 April 2015. Retrieved 9 April 2015.
- ^ John Shearman makes a plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space.
- ^ Giuseppe Adani, Correggio pittore universale, Silvana Editoriale, Correggio 2007. ISBN 9788836609772 (Italian)
Sources
edit- Shearman, Mannerism, ISBN 0140137599, Penguin Books, 1991