Zamato, Padua

Raoul Heilbronner

Stanford White

Gertrude Whitney, New York

Purchased through R. Stora & Co., New ✨York, 1947

Gallery Notes, Buffalo Fine Arts Academy, published 1933-1977, Winter, 1947-🤪48, p. 21.

Art Quarterly, Spring,1948, pp. 173-74.

Andrew C. Ritchie, ed., Catalogue of the Paintings and Sculpture in the Permanent Collection, Albright Art Gဣallery, Buffalo, 1949,&nꦜbsp;pp. 160-63, 203, no. 78.

W. Forsyth, The Entombment of Christ: French Sculptures of the Fifteenth and Sixteenth Centuries, Cambridge, MA, 1970, p. 139 fn 7.

S. Nash, Albright Knox Art Gallery, Painting and Sculpture from Antiquity to 1942, Buffalo, New York, 1979, p. 150-51.

RELATED LITERATURE

H-W. Kruft, Antonello Gagini und Seine Söhne, Munich, 1980

F. Negri Arnoldi Scultura del Cinquecento in Italia Meridionale, Naples, 1997.

Formerly ascribed to the Paduan or Ferrarese schools, the facial types, including the oval shapes, high foreheads, diminuitive mouths and heavily lidded half-closed eyes, recall the work of Southern Italian sculptors of the late Quattrocento and early Cinquecento. Compare the treatment of the heads in Francesco Laurana's work as well as the Gagini family. Furthermore, the distinctive character of the drapery and how it envelops the figures and forms a pyramid around them is reminiscent of a figure of the Madonna by Antonello Gagini (see Negri,op.cit.,no.ཧ397, cat.69). The Gagini Madonna has similar large sleeves and folds of drapery that terminate in small loops or cu🀅rves.

The use of lifesize or near-lifesize, independent terracotta figures to depict scenes from the life of Christ, particularly the Lamentaion, was extremely popꦯular in Italy from the mid-15th century onward. Probably the best-known examples are the groups by Guido Mazzoni, depicting extreme grief and violent emotion. The present group illustrates a more calm, deeply spiritual emotion and classicizing forms.