Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescia ca. 1498–1554 Brescia)
The Entombment, c. 1554
Oil on canvas
94 1/2 x 74 1/2 in. (240 x 189.2 cm)
The Metropolitan Museum of Art
Moretto’s last major work, this altarpiece was commissioned by the Brescian confraternity known as the Disciplina di San Giovanni Evangelista for their oratory adjacent to the church of the same name. It hung on the upper story of the building which, as was typical in the city, was divided so that men and women could meet on separate floors. The painting was first described in Bernardino Faino’s Guide to the churches of Brescia, written in the mid-seventeenth century: "In the upper oratory of this church there is an altarpiece by Moretto, a most beautiful thing and worthy of consideration. In it are shown the dead Christ with many figures. . . ." (Faino 1630–69 and Christiansen 1985). Dated October 1554, which was two months before the artist’s death, the painting probably hung in its original location from that time until the confraternity was suppressed in 1771. More on this painting
The burial of Jesus refers to the burial of the body of Jesus after crucifixion, before the eve of the sabbath described in the New Testament. According to the canonical gospel accounts, he was placed in a tomb by a councillor of the sanhedrin named Joseph of Arimathea. In art, it is often called the Entombment of Christ.
The earliest reference to the burial of Jesus is in a letter of Paul. Writing to the Corinthians around the year 54 AD, he refers to the account he had received of the death and resurrection of Jesus
The four canonical gospels, written between 66 and 95, all conclude with an extended narrative of Jesus' arrest, trial, crucifixion, burial, and resurrection. All four state that, on the evening of the Crucifixion, Joseph of Arimathea asked Pilate for the body, and, after Pilate granted his request, he wrapped it in a linen cloth and laid it in a tomb.
More on Burial of Jesus
Alessandro Bonvicino (also Buonvicino) (c. 1498 – possibly December 22, 1554), more commonly known as Moretto, or in Italian Il Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona and Asola; many remain in the churches they were painted for. Most are on canvas, but a number even of large ones are on wood panel. Only a handful of drawings survive.
He was a prominent and pious citizen of the small city of Brescia, belonging to at least two of the most prominent confraternities. More on Alessandro Bonvicino
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