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Lot Essay
The present composition shows a close affinity to a series of paintings depicting the Passion Cycle by Rembrandt Harmensz. van Rijn, datable to circa 1633-1639, in the Alte Pinakothek, Munich. This series was most likely commissioned by Constantijn Huygens for the Stadholder Prince Frederik Hendrik of Orange. The first two paintings of the cycle: Raising the Cross and Descent from the Cross probably date to circa 1633 at which time Govaert Flinck was an assistant in Rembrandt's studio. The additional paintings of the Ascension, Entombment and Resurrection followed and must have been known to Flinck who left the studio in 1636.
Rembrandt's influence on the present work is evident in the similar elevated view-point, the subdued tonality and dramatic lighting effects. Flinck also employs similar figural types such as the standing old man with a turban portraying Nicodemus. This stock figure appears in numerous Rembrandt compositions such as the Centurion Longinus on horseback in Raising the Cross.
The Passion Cycle does not include the Lamentation which Flinck chose as his subject. The Lamentation is the moment immediately following the Descent from the Cross when mourners lead by the Virgin surround the body of Christ. The present composition shows Christ's body lying on a shroud at the foot of the cross with the cross itself towering above in the upper half of the composition. The Virgin appears to have fainted with Saint John the Evangelist, depicted in red, pointing to Christ's stigmata and the Mary Magdalene washing Christ's feet, for the second time, with her tears. The foreground shows the crown of thorns and nails which are emblems of the Tools of the Passion.
An oil sketch (fig. 1) of the Lamentation by Rembrandt in the National Gallery, London depicts a very similar composition as in the present work, however, it was thought to have been painted between 1637-43, most likely postdating Flinck's compostion.
Rembrandt's influence on the present work is evident in the similar elevated view-point, the subdued tonality and dramatic lighting effects. Flinck also employs similar figural types such as the standing old man with a turban portraying Nicodemus. This stock figure appears in numerous Rembrandt compositions such as the Centurion Longinus on horseback in Raising the Cross.
The Passion Cycle does not include the Lamentation which Flinck chose as his subject. The Lamentation is the moment immediately following the Descent from the Cross when mourners lead by the Virgin surround the body of Christ. The present composition shows Christ's body lying on a shroud at the foot of the cross with the cross itself towering above in the upper half of the composition. The Virgin appears to have fainted with Saint John the Evangelist, depicted in red, pointing to Christ's stigmata and the Mary Magdalene washing Christ's feet, for the second time, with her tears. The foreground shows the crown of thorns and nails which are emblems of the Tools of the Passion.
An oil sketch (fig. 1) of the Lamentation by Rembrandt in the National Gallery, London depicts a very similar composition as in the present work, however, it was thought to have been painted between 1637-43, most likely postdating Flinck's compostion.