DepositionPontormoNone

The Deposition by Pontormo

Pontormo executed the Deposition between 1525 and 1528. Commissioned by Lodovico Capponi in 1526, the work occupies the Capponi Chapel within the Church of Santa Felicita in Florence. The subject matter focuses on the deposition of Christ's body following the crucifixion.

The composition is designed with a strongly vertical orientation. It was conceived to be viewed by an observer gazing upwards from below. This orientation, combined with the specific arrangement of figures, creates a sense of spiritual tension and movement within the chapel setting.

Composition and Visual Elements

The composition is defined by a strong verticality, conceived for an observer gazing upward from below. This perspective emphasizes the height of the scene, which is set upon an artificial, stage-set hill. Figures are clustered tightly together, creating a sense of chaos and overwhelming sorrow. Christ's body lies horizontally across the lower portion of the arrangement, providing a grounding element amidst the crowded movement of the mourners.

A complex interplay of shapes defines the visual field, ranging from the rounded forms of human bodies to the sharp, angular folds of drapery. The color palette utilizes light blue and steel blue tones, contrasted against garments rendered in a pink reminiscent of crushed cyclamens. These hues interact with the structural tension of the figures to establish a sense of spiritual unrest.

Materials and Technical Details

The work is executed on a poplar wood panel featuring a subradial cut. The structural foundation consists of six poplarwood planks, which are held together by three original larchwood cross-pieces. These internal supports are inserted through a shim approximately one-third the thickness of the planks themselves. Some areas of the wood show evidence of historical repair, including the use of bow-tie dowels to address knots in the timber.

The artist employed the tempera technique to achieve the finished surface. To transfer the composition from the preparatory stages to the sized panel, the cartoon method was utilized. This involved tracing a drawing from a sheet with charcoal on the back onto the wood. The resulting application of pigment relies on the precise integration of various mineral-based components, including azurite, white lead, black, and lapis lazuli for the blue tones, and madder lacquer for the pink garments.

Restoration and Conservation History

The preservation of this poplar wood panel has required several major interventions over the centuries. Documented restoration efforts took place in 1620, 1725–28, 1820–25, 1936, and 1978. These periodic treatments have addressed the physical stability of the six planks and the various dowel plugs used to reinforce the original larchwood cross-pieces.

A significant recent restoration project was carried out by Daniele Rossi. This work, which cost €105,000, was made possible through the sponsorship of Kathe and John Dyson. The project focused on the structural and aesthetic integrity of the panel, ensuring the clarity of the subradial cut and the complex layers of tempera and oil used by the artist.