Pietà

The Pietà is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being the Mater Dolorosa ("dolorous mother") and the Stabat Mater ("standing mother").^[3][4] The other two representations are most commonly found in paintings, rather than sculpture, although combined forms exist.^[5]

The Pietà developed in Germany (where it is called Vesperbild) about 1300, reached Italy about 1400, and was especially popular in Central European Andachtsbilder.^[6] Many German and Polish 15th-century examples in wood greatly emphasise Christ's wounds. Although the subject was known in Italy, the name may have been slower to be adopted, and the Florentine diarist Luca Landucci, after describing a painting in an entry for June 1482, added "which is called by some a Pietà".^[7]

The Deposition of Christ and the Lamentation or Pietà form the 13th of the Stations of the Cross, as well as one of the Seven Sorrows of the Virgin.

Although the Pietà most often shows the Virgin Mary holding Jesus, there are other compositions, including those where God the Father participates in holding Jesus Christ. In Spain the Virgin often holds up one or both hands, sometimes with Christ's body slumped to the floor.

Afamous example by the Italian sculptor Michelangelo in marble is in Saint Peter's Basilica in the Vatican City. The body of Christ is different from most earlier Pietà statues, which were usually smaller and in wood. The Virgin is also unusually youthful, and in repose, rather than the older, sorrowing Mary of most Pietàs. She is shown as youthful for two reasons: God is the source of all beauty and she is one of the closest to God, and because the exterior is thought as the revelation of the interior; therefore, the virgin is morally beautiful. Michelangelo's Pieta sculpture is also unique in the fact that it is the only one of his works that he ever signed. Upon hearing that visitors thought it had been sculpted by Cristoforo Solari, a competitor, he carved his signature into Mary's sash as "MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T]": "Michelangelo Buonarroti the Florentine made this".^[8][9]

In a lesser known Michelangelo Pietà, The Deposition (c. 1547–1555), it is not the Virgin Mary who is holding Christ's body, but rather Nicodemus (or possibly Joseph of Arimathea), Mary Magdalene, and the Virgin Mary. There is some indication that the man in the hood is based on a self-portrait of the artist.^[10] The sculpture is housed in the Museo dell'Opera del DuomoinFlorence and is also known as the Florentine Pietà.

A generation later, the Spanish painter Luis de Morales painted a number of highly emotional Pietàs, with examples in the Louvre and Museo del Prado.

This related subject is called Engelpietà (literally "Angel Pietà") in German, and included here for that reason. It is a variant of the Man of Sorrows (Imago Pietatis) type of andachtsbilder, but showing a Christ who is clearly dead (inMan of Sorrows images he tens to have his eyes open). Typically the half-length body of the dead Christ sits on a ledge, held up by smaller angels at each side. Christ is naked down to a loin-cloth and his wounds are visible. But there are many variants of this composition, especially after about 1500. It was common in both sculpture and painting from the 14th century until the Counter Reformation, but found through the Baroque period as well.^[11]

The iconography of Piéta, with a figure holding a body in their arms, has been regularly used in comic book art, especially on covers.^[12][13] One of the most famous examples is the cover for Crisis on Infinite Earths #7, which features the death of Supergirl.^[14][15]

Lana Del Rey's 2012 music video Born to Die features the scene of a man holding the corpse of the singer in a Piéta-like pose.

The ending to John Steinbeck’s The Grapes of Wrath is often interpreted to symbolize a pietà, with Rose of Sharon cradling a dying old man.^{[citation needed]}

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  The Avignon Pietà, Enguerrand Charonton, 15th century
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  15th-century German wood Pietà from Cologne
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  Pieta Tondo by Jean Malouel, between 1400 and 1410 (Louvre)
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  Austrian Pietà, c. 1420
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  Rogier van der Weyden, Museo del Prado, Madrid, with Saint John and a donor, c. 1440-1450
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  Kraków, c. 1450
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  German or Netherlandish 15th Century, Pietà, c. 1450–1500, National Gallery of Art
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  Pietro Perugino, Uffizi, 1490
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  Swabian painted wood Pietà of c. 1500
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  Giovanni Bellini, c. 1505
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  Dieffler Pietà, Wooden sculpture, presumably 15th or 18th century, former chapel of St WendelininDiefflen, Saarland Museum, Old Collection
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  El Greco, Pietà, 1571–1576, Philadelphia Museum of Art
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  Pietà, c. 1600, Annibale Carracci, National Museum of Capodimonte
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  PietàbyGregorio Fernández, 1616–1619, National Sculpture Museum, painted wood for a processional float
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  18th-century Bavarian example with Rococo setting
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  The Palestrina Pietà originally attributed to Michelangelo but probably by another sculptor
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  Pieta, 1876, William-Adolphe Bouguereau
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  A Pietà in marble by Anton Josef Reiss, 1897
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  Vierge de Pitié, Déploration at Collégiale Saint-Salvi d'Albi, Albi, around 1900

• List of statues of Jesus
• Pietà (Michelangelo)
• Replicas of Michelangelo's Pietà

• "RDK" "Engelpietà" by Osten, Gert von der, in the online Reallexikon zur Deutschen Kunstgeschichte (in print: Vol. V (1960), pp. 601–621)

• Forsyth, William F. (1995). The Pietà in French late Gothic sculpture: regional variations. New York: The Metropolitan Museum of Art. ISBN 0-87099-681-9.

• Data collection of the image type Pietà in sculpture
• 3D model of a detail of Mary from a cast made by the Metropolitan Museum of Art for the Vatican Museums, via photogrammetric survey
• Poem by Moez Surani proposing nine new sculptural Pietas