Ferraù Fenzoni,
The burial of Christ in the sepulchre

Ferraù Fenzoni,
The burial of Christ in the sepulchre

Ferraù Fenzoni, The burial of Christ in the sepulchre
canvas, 280×190 cm + frame 10 cm, Inv. n. 140

During the artist’s career there is a persistence of images relative to the deposition. Fenzoni often dealt with this theme during his years in Rome, then in Todi, and increasingly so in Faenza; the reason being perhaps an ardent desire to join the cult of Corpus Christi, favoured by the Counter-Reformation.

This deposition in particular, produced in 1623, comes from the artist’s family chapel in the Church of St. Cecilia, which has since been destroyed.

Ferraù Fenzoni had a style of painting, as commented by Anna Colombi Ferretti in a study of altar paintings in Romagna during the Counter-Reformation, where «even the crowded setting and its spatial imminence maintain discoveries of Manneristic origins». A specificity of Fenzoni’s paintings is the careful application of the pigment, characterised by an «accurate balance of surface effects, both rich and contrasting» where the prevailing gloom and obscurity «are the key to calculating the effectiveness of the beams of light, of the fibrous lustre of a cloth, of the penumbra, or the luminous rhythm precisely on the pictorial passages that required a more complicated technique».

 

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