Palma il Vecchio (Jacopo Negretti - Serina, 1480 - Venezia, 1528 - Assunzione della Vergine (1513) - Olio su tavola cm 192 x 137 - Galleria dell'Accademia - Venezia

            Palma il Vecchio (Jacopo Negretti - Serina, 1480 - Venice, 1528 - Assumption of the Virgin (1513) - Oil on wood cm 192 x 137 - Galleria dell'Accademia - Venice

Il dipinto è stato eseguito attorno al 1513, anno in cui Palma il Vecchio ebbe un compenso di 50 ducati per la realizzazione di questa pala. In essa sono riassunti due episodi desunti dai Vangeli apocrifi e dalla Legenda Aurea di Jacopo da Varagine: l’ Assunzione della Vergine e la Leggenda della sacra cintola donata a San Tommaso. Maria, portata in cielo dagli angeli tre giorni dopo la sua morte, si protende verso il basso per dare a Tommaso, attraverso la sua cintola, la prova della sua assunzione. La tavola è un esempio della produzione giovanile di Palma che nonostante l’età, era già molto stimato dai contemporanei. Lo stile del dipinto è caratterizzato da forti accenti scultorei, visibili nelle vesti degli Apostoli, forse in omaggio a Tullio Lombardo. La lacuna alla base del dipinto è probabilmente dovuta all’inserimento, in epoca imprecisata, di un tabernacolo. Grazie a un restauro eseguito nel 1993, lo stato di conservazione del dipinto è nel complesso buono a eccezione di parte del viso della Vergine.

The painting was executed in about 1513, the year Palma Vecchio was paid 50 ducats for this altarpiece.The painting depicts two episodes from the apocryphal Gospels and Jacobus da Varagine’s Golden Legend: the Assumption of the Virgin and the Legend of the Holy Girdle given to Saint Thomas. The Virgin Mary, escorted to heaven by a choir of angels three days after her death, is bending downwards to give Thomas proof of her assumption in the form of a girdle, or belt. The altarpiece dates to Palma Vecchio’s youthful production, yet despite his youth he was already highly regarded by his contemporaries.The style of the painting is characterised by marked sculptural accents, which can clearly be seen in the apostles’ clothes, and are perhaps a homage to Tullio Lombardo.The lacuna, or missing section, at the bottom of the painting was probably due to the addition of a tabernacle at some indeterminate date. Thanks to restoration undertaken in 1993, the painting’s overall state of conservation is generally sound, except for a part of the Virgin’s face.

Taken in: Italy / Veneto / Venice / Dorsoduro (show map)

Taken on: December 11, 2018

Tags:

Palma il Vecchio

Jacopo Negretti

Venetian Renaissance

Galleria dell'Accademia Venezia

Galleria dell'Accademia

Venezia

Museo

Art Gallery

Veneto

Italia nord-orientale

Italia

Italy

Canon « less

Sets appears in: • Rinascimento veneto - Venetian Renaissance • Galleria dell'Accademia - Venezia more » • Angeli, Putti e Amorini - Angels, Putti and Cupids • musei, chiese, templi, monumenti, affreschi, dipinti ed opere d'arte « less

Camera: Canon EOS 7D Mark II, f/4.0, 1/40 sec, 27mm, ISO 4000 (more info) (hide info)

Camera:	Canon EOS 7D Mark II
Lens:	EF-S18-135mm f/3.5-5.6 IS STM
Aperture:	f/4.0
Exposure Time:	0.025 sec (1/40)
Focal Length:	27mm
ISO:	4000
Exposure Bias:	0 EV
Flash:	Off, Did not fire
Exposure Program:	Program AE
Exposure Mode:	Auto
Metering Mode:	Center-weighted average
White Balance:	Auto
Color Space:	sRGB
Software:	Adobe Photoshop CC 2017 (Windows)
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