Lament over the Dead Christ is a 1526–1530 oil on canvas painting by Moretto da Brescia, now in the National Gallery of Art in Washington. Painted late in the painter's youth, it shows strong similarities to the central panel of Paolo Caylina the Younger's Deposition Altarpiece from around the same time, though there are also notable differences in their use of color, such as the brighter and clearer colors used by Moretto. Some of the elements reused by Moretto in Lament recurred later in his career, so the work gives a clear idea of Moretto's training and education as an artist.
Created in 1540 during the 1500-1550 period, this work belongs firmly within the power & politics tradition. Moretto da Brescia worked at a moment when the rediscovery of classical antiquity reshaped what a painting could mean. Every gesture, fabric, and gleam of light was decoded by contemporary viewers like a private language.
Executed in Oil on canvas, measuring 166 × 47 cm (65 3/8 × 18 1/2 in.); Framed: 181 × 66.1 × 5.1 cm (71 1/4 × 26 × 2 in.), the surface rewards close looking. Moretto da Brescia builds the composition through layered glazes and a tightly controlled palette, letting cool shadows recede so that the warm, lit passages step forward. The brushwork shifts from the precise to the almost dissolved — a hallmark of mature Renaissance practice.
“A silence so complete it becomes its own witness.”
What the painting depicts
Jesus Christ, man.
From the museum
Mary Magdalene turns to cast a melancholy glance back at the viewer with the gravity and directness typical of Moretto da Brescia’s approach to religious subjects. This painting has been linked to other tall, slender canvases by the artist depicting Saint John the Evangelist, the Samian Sibyl, and King Solomon, in the Biblioteca Ambrosiana in Milan. These works may have been segments of an altarpiece or, more likely, part of a series with a decorative rather than liturgical function. The artist effectively combined characteristics of Italian painting from different regions: the realism of his native Lombardy, Venetian color and atmosphere, and the monumentality of Roman models.
Avogadro family, Brescia, by 1760, inventory after 1760, no. 82 [according to Chizzola and Carboni 1760, p. 179; and MS inventory, L.II.6 m.3, in the Biblioteca Queriniana, Brescia]; by descent to the Fenaroli family, Brescia, Palazzo Fenaroli-Avogadro, by 1820, [see catalogue of Fenaroli collection, 1820]; for relationship between the Avogadro and Fenaroli families, see Lechi, Fedrigolli, and Lechi 2010]; Bartolomeo Fenaroli (died 1869), Brescia, Palazzo Fenaroli-Avogadro, by 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite the 1870 inventory of paintings owned by Bartolomeo made upon his death in 1869, l’Archivio Bettoni Cazzago, Brescia]; by descent to his son Gerolamo Fenaroli (died 1880), Brescia, Palazzo Fenaroli-Avogadro, from 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite an inventory of paintings owned by Gerolamo made upon his death in 1880]; sold by his heirs in the auction of the Fenaroli collection, Brescia, April 16–19, 1882, either no. 3657 or no. 3661 [the auction catalogue is reproduced in Lechi, Fedrigolli, and Lechi 2010, pp. 66–71]. P. Scalvini Antiquario, Brescia, by 1898 [see da Ponte, 1898]. Thomas Humphry Ward, London [seller’s name given in an annotated copy of the 1904 sale catalogue at Christie’s, London referenced below]; sold Christie’s, London, May 14, 1904, no. 54, to Farrer for 100 gns [according to the annotated sale catalogued referenced above]; Sir William James Farrer (died 1911), Sandhurst Lodge, Wokingham, from 1904; sold Christie’s, London, March 23, 1912, no. 33, to Agnew for 200 gns [according to annotated copies of the sale catalogue at Christie’s, London]; sold by Agnew, London, to Charles Fairfax Murray, 1912 [information recorded in the ledger of Thomas Agnew and Sons, Ltd.]. F. Mason Perkins, Florence, by 1912 [according to a letter from F. Mason Perkins to T. J. Blakeslee dated December 5, 1912, in curatorial file]; sold by Perkins to T. J. Blakeslee (died 1914), New York, by February 23, 1914 [see letter cited above and Gombosi 1943, p. 111.]; sold to Vose Galleries, Boston, February 23, 1914 [according to Vose Galleries ledger, inventory no. 3611, Boston]; sold by Vose Galleries to William Owen Goodman, Chicago, February 5, 1917 [see letter from Robert C. Vose, Jr., to Margherita Andreotti dated May 12, 1988, in curatorial file; also Vose Galleries ledger cited above]; on loan to the Art Institute from 1928; given to the Art Institute, 1935.
