La mise au tombeau
oil on canvas
w151.4 x h149.8 cm (Without frame)
Purchased by the municipality
© MuMa Le Havre / Florian Kleinefenn
受卡拉瓦乔作品的影响，西蒙·沃伊特（1590-1649）于1612年移居意大利，并对卡拉奇兄弟以及威尼斯和佛兰芒的色彩学家的作品产生了兴趣。1624年被路易十三召到巴黎，他获得了总理佩恩特·杜罗伊的称号。17世纪的许多主要艺术家（勒布鲁恩、勒苏厄、佩里埃、米纳德等）都经过他的工作室，与他一起为法国首都的主要装饰项目工作。1636年，Vouet在Hôtel Séguier教堂为皮埃尔Séguier总理绘制了一幅装饰图。这个合奏，由一个彩绘天花板和一系列油画在画布和木头上组成，在法国大革命期间出售，并在19世纪初解体。艺术家在勒阿弗尔（Le Havre）安葬时采用的版式和“从下面看”的透视图，使这幅作品更接近于保存下来的塞圭尔教堂装饰的遗迹。左边是传统意义上与主题相关的人物，右边是玛丽和约翰、阿里马太的约瑟夫和一个拿着基督身体的无名人物，最后，抹大拉跪在前面，转向基督占据了大部分的绘画空间。构图的不朽简洁、人物的含蓄情感、华丽的帷幔、丰富大胆的色彩范围和极其自由的笔触都是这件艺术品的特征，并坚定地确立了画家的天赋。两幅预备画、另外三幅基督生活的场景和一幅描绘耶稣受难的祭坛画，同样来自塞吉尔教堂，展现了同样的品质，因此鼓励人们承认西蒙·沃伊特是17世纪法国最重要的艺术家之一。
Influenced by the work of Caravaggio, Simon Vouet (1590–1649) moved to Italy in 1612, where he also developed an interest in the work of the Carracci brothers and the Venetian and Flemish colourists. Summoned to Paris by Louis XIII in 1624, he received the title of Premier Peintre du Roi. Many of the leading artists of the 17th century (Le Brun, Lesueur, Perrier, Mignard, etc.) passed through his workshop and worked with him on commissions for major decorative projects in the French capital. In 1636, Vouet painted a decorative scheme in the chapel of the Hôtel Séguier for the chancellor Pierre Séguier. This ensemble, composed of a painted ceiling and a series of paintings on canvas and wood, was sold during the French Revolution and broken up in the early 19th century. The format and di sotto perspective—"seen from below"—adopted by the artist for The Entombment at Le Havre draws this work closer to the preserved remains of the Séguier Chapel decor. The figures conventionally associated with the theme—on the left, Mary and John, on the right, Joseph of Arimathea and an anonymous figure holding the body of Christ, and lastly, kneeling in the foreground, Magdalene turned toward Christ—occupy most of the pictorial space. The monumental simplicity of the composition, the contained emotion of the figures, the sumptuous draperies, the rich and bold range of colour and an extreme freedom of brushstrokes all characterize the artwork and firmly establish the painter's talent. Two preparatory drawings, three other scenes from the life of Christ and an altar painting depicting the Crucifixion, also from the Séguier Chapel, exhibit the same qualities and thus encourage the recognition of Simon Vouet as one of the most significant artists of 17th-century France.