I have gathered together various pietà works of art to compare the way they look. Each individual artist shows the relationship between Mary and Jesus differently. The similarities outweigh the differences but that's what this exhibit is about, the differences.
Pietà, Meuse region, 1400, From the collection of: Bonnefantenmuseum
I chose this French piece to show what I think is a disconnect with the Virgin Mary and Jesus Christ. Jesus' size in comparison to Mary is so off and awkward. For me, it is hard to focus on the fact that Mary is holding her deceased son in her lap like a child instead of the Son of God.
(Main View), From the collection of: The J. Paul Getty Museum
This piece is striking because the way that the light hits Mary's face allows for her tears to reflect off of her. The love is present in the way that she is holding Jesus Christ and caressing the back of his head. Compared to the last sculpture, Jesus is a man who is resting on his mother's lap. In the composition, the to of them are in central focus drawing the eye right to them.
Pietà, Gustave Moreau, c. 1876, From the collection of: The National Museum of Western Art, Tokyo
If you look closely you can see that Jesus and Mary look as if they are making eye contact. They are very connected with each other in this piece by Gustave Moreau. Unlike the last two pieces, this one is less focused on Mary and Jesus. The background also plays a role in this painting almost reminding the viewer of the landscape and immediate change of weather following the death of Jesus.
Pietà, Carracci, Annibale, 17th century, From the collection of: Dulwich Picture Gallery
This piece by Annibale Carracci portrays the despair and raw pain caused by losing a son. For the first time we see Jesus look so lifeless and limp in Mary's lap. This painting is very realistic which adds to the emotions we receive when viewing this pietà.
Pietà, Ramon Padró Pijoan, Around 1850, From the collection of: Museu Nacional d'Art de Catalunya - MNAC, Barcelona
This sculpture has Mary positioned so that Jesus is resting at her knees as she is kneeling down. Normally, Mary is cradling Jesus on her lap like a mother would do to a small child, like seen in the first piece. Mary looks more at peace in this pietà because she is not clutching Jesus to her being. This sculpture is in so much detail that it is hard to imagine the trained eye needed to carve this magnificent sculpture.
Pietà, Attribuito a Vittore Carpaccio, 1487 - 1490, From the collection of: Museo Correr
The position of Jesus' body in this painting is slightly awkward and lanky. Unlike any other works of art in this collection, Mary is praying. It is obvious that she knows the importance and significance of the events she just witnessed.
Pietà (the "Christ of Caprarola"), Annibale Carracci, 1597, From the collection of: National Gallery of Art, Washington DC
The pure despair in Mary's body language is truly saddening. In most of the other works, Mary looks calm and at peace yet in this she is heartbroken. For the first time we see people comforting her.
Pieta, Katsuhiko Chaen, 2006, From the collection of: The Sand Museum
I chose this sand sculpture to show the importance of pietà in modern times as well as the past. All of the other works of art in this collection were made long ago when faith was prevalent in times of division between the church. https://www.youtube.com/watch?v=hqR2Cjr96yg
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
