Marco dal Pino (1525-1583), Follower of - Compianto sul Cristo morto - NO RESERVE

Ancient painting, oil on panel, dating from the late 16th to the early 17th century, depicting the Lamentation over the Dead Christ.

The work depicts an intense Lamentation over the Dead Christ. The body of Jesus, just taken down from the cross, appears reclined between the arms of his mourners. On the left, Saint Joseph of Arimathea, an elderly man with a long gray beard, is recognized, supporting Christ's arm with a participative and moved gesture. Next to him, the Virgin bends, with her face lowered and suffering, characterized by a very refined melancholic expression. On the right is Saint John the Evangelist, young, with soft complexion and a very sorrowful gaze, who supports the scene with measured gestures. At the bottom, Mary Magdalene kneels, her face turned towards Christ and her hands joined, while beside her, the traditional vessel of ointments is prominently displayed.
At the foot of the group, at the margins of the composition, two significant iconographic elements appear: the crown of thorns and the three nails of the Crucifixion, theatrically arranged on the ground in front of the figure of Saint Joseph of Arimathea. This choice, very common in late sixteenth-century Neapolitan painting, adds a strong emotional charge and fully aligns with the post-Tridentine devotional language.
The attribution of the work to the Neapolitan sphere of the late 16th century is now considered the most solid: the warm color palette, the use of brown and green earth tones in shadow passages, the softness of the flesh tones, and the theatrical composition of the scene all perfectly match the styles of the workshops active in Naples in the generation following Marco Pino's arrival from Siena, a key figure in the city's artistic development from 1557.
Many details directly recall the Romanist tradition brought by Pino: the diagonal construction of the scene, the dramatic arrangement of the characters, the volumetry of the bodies, and the rendering of the hands. However, even closer affinities emerge with the production of Fabrizio Santafede's circle, one of the protagonists of Neapolitan religious painting between 1580 and 1620. The Madonna, in particular, displays that typical melancholic elegance, with a lowered gaze and lenticular modeling of the flesh tones, which frequently appears in Santafede's works. The draperies, defined by linear highlights in white lead, also belong to that world, as does the rendering of the hair, with fine, slightly serpentine locks.
Alongside this, aspects close to the circle of Giovanni Bernardo Lama are also recognized, especially in the depiction of the young Saint John and in the chromatic arrangements of the fabrics. Overall, the work is confidently placed within that great Neapolitan late Mannerist school that, between the 1580s and the early decades of the seventeenth century, developed a highly devotional language, rich in pathos but still linked to Roman and Tuscan models.
The work can therefore be attributed consistently to a Neapolitan master active between the late 16th and early 17th centuries, trained in the wake of Marco dal Pino and close to the styles of Fabrizio Santafede and Giovanni Bernardo Lama. The painting displays several passages of good quality, particularly in the rendering of the Virgin and Christ, demonstrating a full assimilation of the late Mannerist Neapolitan language.

In fairly good overall condition considering the age of the painting. The pictorial surface shows some scattered retouching points, slight abrasions and sgraffito, as well as widespread craquelure; these defects are non-invasive and do not compromise the good readability of the work, which maintains full iconographic and chromatic clarity. The craquelure is regular, stable, and consistent with the period. The panel shows some passing vertical cracks that have been repaired and consolidated but are still slightly visible from the front. The craquelure is homogeneous and attributable to the period, with no signs of active detachment. No conservation issues are evident.

The painting is accompanied by a classic-style box frame of relatively recent period, which harmoniously complements the composition and enhances its scenic setting. Small defects and restorations are visible on the frame, overall non-invasive and compatible with use. The frame is included as a courtesy and is not an integral part of the artwork; any damages to it will not constitute grounds for complaint or order cancellation.

Measurements of the painting: 64 x 49.5 cm - Measurements of the frame: 78 x 64 cm

Opera accompanied by a certificate of authenticity with photographic evidence, in accordance with current legal regulations.

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