Look: Lamentation by the School of Rembrandt
The School of Rembrandt, The Lamentation of the Dead Christ, 1640-45
The Lamentation over the Dead Christ is an extraordinary painting at the John and Mable Ringling Museum of Art in Sarasota, Florida. Purchased as an original Rembrandt in the 1920s, the painting has more recently been assigned to an unknown group of Rembrandt’s students.
For over twenty years, Rembrandt (1606-69) ran an academy in Amsterdam where he trained scores of assistants to work in his manner. The Lamentation is a tour-de-force painting unique among Rembrandt’s studio products and it is worth giving some attention.
The Body of Christ
The outstretched body of Christ in the foreground is nearly life size. Painted in browns and grays, artistic signifiers of a dead body, Jesus appears stiff with his head thrust at a severe angle. It is unsettling in its awkwardness.
The Body of Christ detail from the Lamentation over the Dead Christ by the School of Rembrandt, 1640-45
The Three Marys
The grieving Virgin cloaked in red dominates the space around Jesus. She is beautiful and radiant. With an open hand she gently touches the head of Jesus.
Virgin Mary, detail from The Lamentation of the Dead Christ by the School of Rembrandt, 1640-45
Mary of Clopas (sister or cousin to the Virgin Mary) is stationed at Jesus’ feet, with her head adorned in a turban-cap, she looks weary from sorrow. Startled by the sound of something just out of the frame, she pauses and looks to her right.
Mary of Clopas at Christ’s feet, detail from The Lamentation of the Dead Christ by the School of Rembrandt, 1640-45
Near the center of the painting is a youthful Mary Magdalene. She may be identified by her golden red hair and veil. The Magdalene leans absentmindedly against the cross, her hand shields her face from the strong overhead light (look at how expertly the cast shadow of her fingers obscure her face). Her eyes fall on Christ’s body but she is lost in her pain.
Mary Magdalene at the foot of the cross, detail of the Lamentation over the Dead Christ by the school of Rembrandt, 1640-45
Josephus
Josephus, the bearded man next to the Virgin Mary, was a secret follower of Jesus. He successfully pleaded with Pilate to allow Jesus’ body to be taken down from the cross and then he offered his own tomb for Jesus.
Josephus cradling Christ, detail from the Lamentation over the Dead Christ by the School of Rembrandt, 1640-45
Josephus‘ beard is a visual delight of flecks of silver, mauve and cream colored paint. He is shown with a furrowed brow and downcast eyes. The anguish on his face is convincing. He is depicted busying himself with the task of wrapping Jesus in a burial shroud, suppressing his heartache for later.
One must pay particular attention to how Josephus’ right hand, covered in the white cloth, cradles Jesus’ arm. It’s a small poignant gesture that conveys an expression of care.
John the Apostle and Nicodemus
In the background are John, the youngest Apostle, weeping into his cloak and an older well-dressed man called Nicodemus, who looks to the sky trying to riddle out the events of the day. A member of the Sanhedrin, a judicial council of Jews, Nicodemus bought a large supply of anointing oils for Jesus’ burial.
John the Apostle and Nicodemus, detail from the Lamentation over the Dead Christ by the School of Rembrandt, 1640-45
John the Apostle and Nicodemus merge skillfully into the background. The illusion of depth is enhanced by the brilliantly lit Mary, who seemingly comes forward and expands the space of the painting. It is an effect seen in Rembrandt’s later works (such as The Denial of St. Peter, 1660 and The Return of the Prodigal Son, ca. 1661-69). It is breathtaking to see this effect in such a large multi-figure work such as the Lamentation.