Entombment of Christ by Moderno (Galeazzo Mondella)

Entombment of Christ 1495 - 1503

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relief, bronze, sculpture

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sculpture

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relief

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bronze

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figuration

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sculpture

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men

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history-painting

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italian-renaissance

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virgin-mary

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christ

Dimensions: 9.7 x 6.2 cm, wt. 117.2 g.

Copyright: Public Domain

Editor: This bronze relief, “Entombment of Christ,” by Moderno, dates from 1495 to 1503. The figures are so expressive; I’m immediately drawn in by their grief, it feels incredibly staged, almost like a theatrical production of mourning. What can you tell me about the historical context that might shed light on this portrayal? Curator: Considering its place within the Italian Renaissance, the dramatic presentation you observe served several purposes. During this period, religious art served not only devotional needs but also civic and political ones. How might this scene, prominently displayed, function within the public sphere of the time? Editor: I suppose it would serve to remind the public of shared religious beliefs and the virtues of piety and sacrifice. Was this typical of the time? Curator: Precisely. And even more than that, the bronze relief allowed for multiples to be cast; This made art accessible beyond the wealthiest patrons, so a wider audience could engage with religious narratives and their accompanying social values. Did the dissemination of these ideas play into the imagery used? Editor: Absolutely, if a town leader were the one spreading these images, it shows a controlled depiction and messaging. How interesting that mass production even back then had the capacity to promote ideology. Curator: Exactly! Notice how the artist used classical compositions and idealized figures? That's Renaissance artists looking back to the visual language of ancient Rome to borrow authority. Moderno adapted his art for broader reception, ensuring the message resonated across social strata, contributing to communal identity and religious sentiment, all in a form that suited civic display. Is that what you expected? Editor: I didn't see all those levels but it makes a lot of sense now that you point them out. Thanks! I never thought about religious artworks as tools of public messaging and control! Curator: It's amazing when a work starts to speak on many different levels isn't it?

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