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A brilliant painter, originally from the Netherlands, like no other, embodied the liveliness and sensuality of painting in Europe of the Baroque era. His creative legacy embodies the Bruegel laws of realism and the achievements of the Venetian school.
Despite the popularity of religious subjects and mythological motifs, the artist was a virtuoso in landscape and portraiture. He never hesitated to imitate one of his predecessors, with whom he took an example and in his work used individual elements of famous Masters. The formation of him as an artist was influenced by the work of Titian and Brueghel.
Distinctive characteristics of his paintings are compositional solutions, the wealth of colors used and their shades. But the most important nuances by which, undoubtedly, one can recognize the work of Rubens are human gestures. They are always surprisingly realistic and are written exactly in Rubens' individual artistic style.
Courage and freedom is enclosed in Rubens strokes. He possessed the art of owning a brush, which distinguishes the artist, especially in writing multi-meter compositions.
Rubens wrote this painting during his stay in Italy. In the picture, he combined the cry of the Virgin Mary over Jesus and his position in the tomb. The motionless body of Christ was already heavy, his head tipped to the side. He was surrounded by Joseph of Arimathea, John the Evangelist and Mary Magdalene. Very realistic, the artist conveyed their deep feelings. Tight staging creates tension for the picture. This is characteristic of the Baroque culture.
The color scheme of the work very finely and naturally depicts human flesh. Because of the stormy sky and the lighting of only the foreground, there is an acute sense of anxiety, but at the same time, and the elevation of this plot.
In general, the picture acts as an iconography.
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