A large grisaille oil on canvas shows the INRI inscription floats above the limp body of Christ; angels descend through golden light; Mary’s veil billows with grief.
The photo shows two versions of a Deposition: on the left, a freestanding white marble relief by Antonio d’Este after a model by Antonio Canova (c. 1800–1837). On the right, Deposition by Bernardino Nocchi (Italian, 1741–1812), dated 1800, also “after Antonio Canova”.
The photo shows a framed relief-like painting — creamy, nearly sculptural in tone — hanging like an antique marble. The wall label identifies it as The Vestal Virgins, attributed to Jean-Siméon Chardin (French, 1699–1779), c. 1760–70, oil on stone. Six veiled women occupy a classical interior with columns and a flaming altar; one seated figure receives offerings.
When art imitates art.
A remarkably self-aware installation at the Art Institute of Chicago’s Gallery 218. Three works collectively stage what Renaissance theorists called the paragone, the competition between painting and sculpture, and answer it with deliberate […]
[Original post on woof.group]
