Antwerp School circa 1460, follower of Hugo van der Goes

Although the Deposition of Christ by Hugo van der Goes is now lost, its composition is known to us through its many copies and the preparatory drawing in the Albertina in Vienna (inv. no. 7833); it was itself based on the Descente from the Cross by Rogier van der Weyden (Museo del Prado, Madrid, inv. no. P002825), testifying to the popularity of the subject among Flemish painters throughout the fifteenth century.

The present painting is another fine example, relating to the Flemish models in the protagonists’ intense facial expressions, emphasized by the particularly tight framing which leaves almost no space for any other detail of the scene: in the background, it is only possible to make out part of the ladder with which Christ was brought down, and a tower. Each figure has a very individual character and turns towards the body of Christ, who occupies the central part of the work. His twisted body is echoed by the broken folds of his loincloth and the veils worn by the other figures, fully in line with Flemish tradition. The whiteness of Christ’s body illuminates the scene and reinforces the dramatic power of the composition, contrasting with the complexions and clothing of the surrounding saints.

We are able to recognize St John, in the centre, consoling Mary; at his sides, Nicodemus and Joseph of Arimathea support the body of Christ. Mary Magdalene is also shown, in the upper right. While the tortured and particularly expressive facial features of the protagonists relate to the Flemish manner, the gold brocade clothes already betray an Italian influence, so that the painting can be dated to the 1460s.