“The Holy Myrrh-bearing Women at the Tomb of the Risen Christ” [1] (“Three Marys”) is a painting by Annibale Carrachi, Italian artist of the late Renaissance .
| ||
| Annibale Carracci | ||
| The holy women myrrh-bearing women at the tomb of the risen Christ . OK. 1600 year | ||
| ital. Pie donne al sepolcro | ||
| Canvas, oil. 121 × 145.5 cm | ||
| State Hermitage Museum , St. Petersburg | ||
| ( inv. GE-92 ) | ||
The plot of the picture
The picture illustrates the episode with the myrrh-bearing wives described in all four Gospels ( Mark 16: 1-8; Matthew 28: 1-6; Luke 24: 1-10 and John 19: 2-13) and in Holy Tradition : Women who came in the morning on the first day after Saturday to the Tomb of the risen Jesus Christ , with aromas and incense ( peace ) for the ritual slimming of the body, meet an angel who informs them of the resurrection of Christ . The Evangelists' description of the event varies in detail, in particular, there are discrepancies in the number and names of women who arrived. The second name of the painting is “Three Marys”, which probably means Mary Magdalene , Maria Kleopova and the “other” Maria ( Maria Zevedeeva ).
In the lower right corner of the painting, the numbers 4737 are written in red paint, corresponding to the number of the painting in the first handwritten catalog of the Hermitage, begun in 1797.
Provenance
The painting was painted around 1600 by order of Bologna antiquary Lelio Pasqualini, who was also a canon of the church of Santa Maria Maggiore [2] , then she passed on to Bologna cardinal Giovanni Battista Agucci , then was in the possession of the Neapolitan Archbishop Cardinal Ascanio Filomarino and ended up in the congregation of the nephew Filomarino of the Duke della Torre .
At the end of January 1799, Naples was stormed by French troops under the command of General Championne , the Dukes of Torre were killed during the defense of the city, and their palace was plundered by the French, among the stolen paintings are also mentioned “Holy Wives at the Tomb of the Risen Christ” by Carracci [3] .
At the beginning of the 19th century, the painting was seen in the collection of Lucien Bonaparte , from whom it ended up in London in the collection of W. Coosevelt [4] . In 1836, the Coosevelt collection was acquired by Emperor Nicholas I , so the picture was in the Hermitage [5] . It is exhibited in the building of the New Hermitage in Hall 237 (Small Italian Clearance) [6] .
In 1645, the French artist Jean-Louis Roulette made an engraving from the painting, one of the surviving prints (made between 1680-1695 from the Ricleti cliché) is stored in the National Library of Portugal [7] .
Notes
- ↑ Under this name, the painting appears in the scientific catalog of the Hermitage, see: Kustodieva T. K. Italian painting of the XIII — XIV centuries. State Hermitage Museum. Collection catalog. - SPb. : Publishing House of the State Hermitage Museum, 2011. - P. 128. In literature, when referring to a painting, the word “myrrh-bearing bearers” is usually omitted for brevity.
- ↑ Malvasia CC Felsina Pittrice. Vite de'Pittori Bolognesi. Bologna, 1678. (Ed. Cons .: F. Pittrice. Con aggiunte, correzioni e note inedite del medesimo autore, di Giampietro Zanotti e di altri scrittori viventi. - Bologna, 1841. - T. 1. - P. 358–359 .)
- ↑ Tischbein W. Aus meinem Leben (1810–1829) / Hrsg. von L. Brieger. - Berlin, 1922 .-- S. 301.
- ↑ Kustodieva T.K. Italian painting of the XIII — XIV centuries. State Hermitage Museum. Collection catalog. - SPb. : Publishing House of the State Hermitage Museum, 2011. - P. 128.
- ↑ Kustodieva T.K. Italian painting of the XIII — XIV centuries. State Hermitage Museum. Collection catalog. - SPb. : Publishing House of the State Hermitage Museum, 2011. - P. 18.
- ↑ State Hermitage Museum. - Carracci, Annibale. "Holy Wives at the Sepulcher of Christ."
- ↑ Biblioteca Nacional de Portugal. - As santas mulheres no sepulcro