Lavinia Fontana Christ With The Passion Analysis

Lavinia Fontana’s painting Christ with the Symbols of the Passion was painted in 1576 on with with oil paints. This painting is currently on display in the El Paso Museum Art. The painting is a small, quaint painting framed in the Baroque section. Her painting is in fact not Baroque, however a painting of mannerism. Mannerism emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Fontana was a resident in Bologna, Italy, and learned under her father. Her main focus was on devotional painting that later lead to portraits. This particular painting contains the symbols that center around the events leading up to and after the crucifixion of Jesus

This odd coloring is called Acrid or disturbing color palette. The angel in pink has the best representation of this palette. A visual of bleached or washed out paining. Skin tone has an apparent look of blood underneath in all forms except this work of art. Christ is dead and overall would have a subdued look, however the lack of blood exhibited in skin town does not make sense. The angels are alive and celestial beings and they are not much more lively in color than Christ. They appear to be void of light exposure versus the celestial beings, angels are typically associated with. The scene depicted in the painting as mentioned previously has absolutely no

Emotions are depicted by Fontana with vulgar looks on the two angels holding Christ. The two supporting him have an inappropriate pleasure in a situation that is somber and depressing. The other four angels also have no regard for the dead Christ. Worry from them coincides with the extreme weight instead of the death of their leader. The pair with the pillar are talking within themselves. The Angel standing, holding both the nails and the pillar appears to not contribute the holding of the pillar, thus leaving the one on the bottom to bear the burden of the pillar. This is apparent in his face of stress and discomfort. On the other side holding the cross the two angels have no visual contact with each other and completely ignore the deceased Christ. The overall looks are on the heaviness of the objects instead of Christ. Affected Poses are demonstrated by the overall behavior of the subject. Christ’s arms are the most prominent figure of awkward poses. His back arm has not defined writs and tapers to a point instead of a hand around the angel in blue. His shoulder is also rolled forward in an unrealistic body position. The only possible way an arm would face this way would be if Christ was a contortionist. His front arm is also twisted in a manner a dead body in rigor would be unable to achieve. Each of the angels feet is misshapen and planted in a fashion they would slide under their pressure and