Dead Christ supported by three Angels (Pietà)

Nothing is known of this masterpiece prior to it being in Teodoro Correr's collection; nor whether it was a small alterpiece or a painting for private devotion. Its Venetian origin is, however, quite probable, painted in the months of the artist's documented stay in the city in 1475-1476, or - as is the current prevailing opinion - sent shortly after from Messina.
The work is now seriously damaged by incautious, early restorations in the heads of the figures, but it is fortunately better conserved in the other parts, such as the body of Christ and the very detailed landscape background: a crisp panorama of Messina - the apse view of the church of San Francesco is faithful - streching on to the sea horizon and painted with optical perspicacity between Piero della Francesca and the Flemish painters. The latter, along with the techniques involved in the refined use of oil paints, are those that, already drifting into the Venetian painting culture of the moment, made Antonello here recognised as a select model of synthesis and reference. An image of very high poetic and spiritual tension, it is a personal interpretation of the typical Venetian theme of the Pietà, presented many other times especially by Giovanni Bellini. It is with this latter that Antonello seems in turn to want to establish a special dialogue and proximity through this work.