The Lamentation
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 132 x 98 cm
Inventory numberNM 405
Other titlesTitle (sv): Kristi begråtande Title (en): The Lamentation
DescriptionCatalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 231: Technical notes: The support consists of a single piece of plain weave fabric. The painting has been relined and mounted on a stretcher. The left, right and lower edges of the motif have probably been trimmed. Preparation consists of a thickly applied ground that completely covers the structure of the support. The paint layer has been applied thickly and opaquely – this is most apparent in the pale paint layers (the flesh tones in Christ and Mary Magdalene and the pale drapery). Christ’s loin-cloth has been painted partly over the right leg. Christ’s neck has been corrected and is partly painted over the figure standing in the background. In places the motif has been enhanced with contour lines, mainly in the hands and Christ’s knee. The painting is in good condition. It underwent conservation treatment in 1928, 1948, 1969 and 1989. Provenance: KM 1816, no. 722 (as Anthony van Dyck). Bibliography: Sander IV, p. 99, no. 722 (as Anthony van Dyck); Göthe 1887, pp. 287–288; Göthe 1893, pp. 346–347; NM Cat. 1958, p. 218; NM Cat. 1990, p. 384. This painting is a copy of the central scene in the triptych by Cornelis de Vos in the cathedral in Antwerp. The triptych was formerly in St. Andrew’s church in Antwerp and its centre depicts the Lamentation of Christ, while the two side panels contain portraits of the Flemish painter Jan de Wael and his wife. For stylistic reasons in earlier texts the painting in the Nationalmuseum has been linked with Anthony van Dyck (see Sander IV, p. 99). In 1887 Göthe mentions that the Nationalmuseum’s painting has been attributed to Van Dyck by Guiffrey on the grounds that certain elements in the composition bear a distant resemblance to Van Dyck’s treatment of the same subject.1 However, a letter from R. Pandelaers at Rubenshuis dated 7 September 1956 deals with the Nationalmuseum’s painting and its relationship to the triptych in Antwerp by Cornelis de Vos that was placed above Ambrosius Capello’s masusoleum.2 The popularity of this motif is shown by its use in the altarpiece of Bromma church, just outside Stockholm and at Ekenäs church in Finland.3 The first mention of the painting depicting the Lamentation of Christ can be found in the Royal Museum’s inventory for 1816 and states that it is a 17th-century work. The work is of a high technical standard. The painting portrays the dead Christ with closed eyes and a heavy body sitting on a pedestal on which the crown of thorns and the nails are depicted next to the text INRI. The body is partly swathed in a pale garment. Next to Christ Mary Magdalene is portrayed with long flowing hair and her eyes closed in introspection. In the background we see the Virgin Mary, her head veiled, in a prayerful pose as well as John, his gaze downcast in sorrow. The eyes of all the figures are closed, which enhances the expression of gravity, meditation and sorrow. KS 1 See Göthe 1887, pp. 287-288. Göthe refers to Guiffrey, no. 137 and to his reference to Anthony van Dyck no. 403 in Antwerp (cat. 1874). 2 According to R. Pandelaer’s letter to Pontus Grate dated 7 September 9, 1956, the painting in the Nationalmuseum depicts the central motif in the triptych by C. de Vos in Antwerp Cathedral. The original is painted on wood and is flanked by two panels portraying the painter Jan de Wael and his wife Gertrude de Jode. See the NM curatorial files. 3 See Göthe 1887.[End]
Collection
TechniquePainting
Object category