Бергамо: академия Каррара

композиция:
Отмечена напряженным драматизмом, переданным необычным для художника приёмом - экспрессивным выражением страдания на лицах Богородица и Иоанна, похожих на маски.
Руки Матери и Сына как бы сплетены в неразрывное пластическое целое, и этот приём столь напоминает Кривелли, что в прошлом Арслан считал картину произведением какого-нибудь феррарского художника.
The body of the dead Christ is shown over the sarcophagus, with His head bowed and His hands positioned as if for burial.
This is an iconography that originated in Constantinople, even if in Italy it was thought to derive from a famous miraculous Roman mosaic-icon.
The Bergamo painting is a harsh work, marked by a dramatic force which, in rather uncustomary fashion, the artist renders with the expressionistic masks of suffering of the Virgin and St John.
The hands of the mother and son are clasped tightly together in a strong plastic join of Crivellesque inspiration, which in the past led scholars to suppose it was the work of a Ferrarese master.
Nor should we underestimate the importance that the particular fascination of the Paduan altar of Donatello still held for Bellini at this time.