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Other titles
Pieta
15631543
Painting
oil on panel
193.0 x 116.5cm panel; 212.7 x 135.3 x 14.5cm frame
Purchased with funds provided by the Art Gallery Society of New South Wales 1994
219.1994
Art Gallery of NSW, Ground Level, European Art 15th-18th Century Galleries, Fairfax Galleries/Room 2
Further information
In this spectacular, if formulaic, altarpiece the decorativeness and artificiality of mannerism can be observed giving ground to the more robust dynamics of the proto-baroque style that emerged in Fontana's native Bologna during this period. The artist occupied an important place in Bolognese cultural affairs, while his daughter and pupil, Lavinia, established a significant reputation as a portraitist. Indeed, her fame eclipsed his for a time. The figures in this work derive from the standard Renaissance repertoire, their compression and colouristic variety are Fontana's own. He was especially adept at conveying a mood of heightened emotion within a limited pictorial space. Even the air-borne angels bearing the instruments of the Passion are cramped by the ominous cross. Fontana's intention, fully realised, is to force the viewer into direct contemplation of the physical suffering of Christ and its grievous effect on the sacred assembly around him.
AGNSW Handbook, 1999.
Provenance
Whitfield Fine Art, London (England, estab. 1979), pre 26 May 1994, London/England, Purchased by the AGNSW from Whitfield Fine Art 1994. Letters sent to Whitfield Fine Art, 29 June and 12 November 2001 and 12 March 2003 asking for information on when and from whom they acquired the painting. No response.
Conte Luigi Salina (Italy), circa 1841, Bologna/Italy, by 1841
The Church of S. Giacomo (Italy), Italy, Almost certainly is the 'Deposition' referred to by two early sources as for the altar of the Church of Corpus Domini, Bologna.
Bibliography
Periodical; Look: 1953-2003 celebrating 50 years; Jill Sykes (Australia); May 2003, 47 (colour illus.), 'Transformation: Society's gifts of enriching art from Europe help collection turnaround' by Richard Beresford', pg.45-7
Book; Vita artistica nel monastero femminile Exempla; Vera Fortunati; 2002, 40 (colour illus.), 41, 'Ruolo e funzione delle immagini nei monasteri femminili' by Vera Fortunati, pg.11-41, no. 13
Book; The many faces of Christ; Michael Mohi (Australia); 2000, 25 (colour illus.)
General/Book; Art Gallery of New South Wales handbook; Bruce James (Australia), Edmund Capon (England; Australia, b.1940); 1999, 24 (colour illus.), 'Western Collection: Paintings and Sculpture' by Bruce James, pg. 17-77.
Periodical; Look; Judith White (Australia); Apr 1999, 6 (colour illus.), 'Building the Collection' by Judith Wright, pg. 6-7.
General/Book; The Art Gallery of New South Wales collections; Ewen McDonald (Australia); 1994, 108, 115 (colour illus.), 'The Western Heritage, Renaissance to Twentieth Century' by Renée Free, pg. 108-172.
Exhibition catalogue; Great gifts, great patrons: an exhibition celebrating private patronage of the Gallery; Art Gallery of New South Wales (Australia, estab. 1874); 1994, (colour illus.), no pagination or catalogue numbers
Periodical; Look; Wendy Symonds (Australia); Aug 1994, cover (colour illus.), 12, 13 (colour illus.), "Prospero Fontana 'Deposition'", cover illustration is a detail
Exhibition venue
Title: Great gifts, great patrons
Venue: Art Gallery of New South Wales
Opening: 17 Aug 1994
Closing: 19 Oct 1994
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