explores the differences between the Catholic Rubens Descent and the Protestant Rembrandts Descent 20 years later.where the emphasis in the Rubens is on action and reaction, in Rembrandts version it is on contemplation and witness, the properly Calvinist. In Rubens original, there are virtually no figures who are not somehow in direct bodily contact with the Savior - touching his flesh, stained by his blood. Even those of us who do not profess either artists faith can only view in wonder the artistic oeuvre that resulted from this period of great religious upheaval. IMG /IMG 1435-38, Museo Nacional del Prado. At the time he was painting the Descent in 1610, the Catholic Church had swung into action to reinforce Catholic faith and doctrine in the face of the rise of Protestantism, and art was to be one of its prime strategies. Aside from composition, the painting is quite interesting in terms of its historical context, from the connection between its subject matter and Rembrandt's family situation to its endangered location during World War. Credit: ( see original file ).
Moreover, Rembrandt was working off of an etched engraving of Rubens Descent by another artist and had no idea of the chromatic power in Rubens who used color as the driving engine of his draftsmanship. However, Rembrandts treatment can also be seen in view of the Protestant downplay of Mary worship and strong focus on the suffering of Christ. Cover photo is available under :me 'Unknown' license. Condition, not specifiedMintNear mintGoodAveragePoor, private notes, only visible to you or). He centers Christ in a classic Laocoon-like pose, with an oddly very blonde Magdalen kneeling before his body. IMG /IMG, caravaggio Deposition of Christ,1600-04, Pinacoteca Vaticana, Vatican City. John the Evangelist in his vivid red robe, receiving Christs body open-armed and in that moment taking on his lifes work. Mary is seen in shadowed darkness, having collapsed at the scene, which minimizes her participation in the activity of the deposition.
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