Fra Angelico by Stephan Beissel; Parkstone Press

By Stephan Beissel; Parkstone Press

Annotation The painter Fra Angelico (c.1395-1455) was once one of the first to exploit the strategies of standpoint proposed by means of Leon Battista Alberti. His depiction of circulate, in addition to his use of color and facial expressions to spotlight grace and emotion, position him am

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In his work, Angelico manages to surpass his natural lyricism to achieve all of the drama’s expressive power. Without weighing us down with the physical energy expended in the scene, he arrestingly places us in the middle of its dramatic action. While making us witness to great suffering, he tempers this suffering with the sublime and expressive beauty. The presence of greatness and saintliness is so striking that any feeling of pain eventually melts into reconciliation and resigned sadness. To this can be added the sweet and lifelike movement, the intense pain without softness, and in such a way that contemplating the work appeases and calms the soul.

Kneeling on the earth, she stretches to receive them, devotedly lifting her head to kiss Christ’s feet, her hands covered by a transparent veil. A second diagonal line is formed by the arms of the holy body and the placement of Joseph of Arimathea, who stands on a ladder facing Nicodemus. He still holds Christ’s arms, but is about to let them go. Saint John holds Christ’s sacred body. In the foreground below kneels a young man wearing a crown. ” Two men, visible between Mary Magdalene and Joseph of Arimathea, hold the body of Christ from behind to help Nicodemus and Saint John, letting their precious burden gently slide to the ground.

One of them, seen standing in a corner enveloped in an ample violet cloak that exposes only her profile, seems particularly beautiful and expressive. ” (Isaiah 57:1) The words, “See how the just dies,” seem to come from the character, clearly of high standing, who raises the crown of thorns in his right hand, and shows two long and sharp nails to an old man with his left hand. Two spectators in the depths of the painting contemplate the body of the holy Victim with sadness. The background of the landscape, trees and buildings, are treated summarily, naively perhaps, but with the necessary care and detail.

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