Deposition

In this spectacular, if formulaic, altarpiece the decorativeness and artificiality of mannerism can be observed giving ground to the more robust dynamics of the proto-baroque style that emerged in Fontana's native Bologna during this period. The artist occupied an important place in Bolognese cultural affairs, while his daughter and pupil, Lavinia, established a significant reputation as a portraitist. Indeed, her fame eclipsed his for a time. The figures in this work derive from the standard Renaissance repertoire, their compression and colouristic variety are Fontana's own. He was especially adept at conveying a mood of heightened emotion within a limited pictorial space. Even the air-borne angels bearing the instruments of the Passion are cramped by the ominous cross. Fontana's intention, fully realised, is to force the viewer into direct contemplation of the physical suffering of Christ and its grievous effect on the sacred assembly around him.

AGNSW Handbook, 1999.