The Three Maries at the Tomb: Analysis of Artwork by Jacopo da Empoli

The Three Maries at the Tomb - Many artists have strayed from the typical features of their designated styles in order to convey their greater artistic point. In "The Three Maries at the Tomb," Jacopo da Empoli straddles the Baroque and Renaissance eras by implementing the stylistic techniques of both in order to convey a specific emotion in his piece.

The scene depicts "The Three Maries" learning about Christ rising from an angel leaning against Christ's tomb. The title of the piece is informative and allows the artist to exercise absolute clarity. Obviously, only one of the women is the Virgin Mary but the three are grouped together as they all serve to convey the emotion of the piece. The artist does not wish for there to be too much focus or confusion on the strict subject matter of the piece but rather let any interpretation be made only on the emotional significance of the painting.

The artist uses oil on wood panel which allows him to create smooth and linear brush strokes. The artist's style channels Caravaggio in the sense that this differs from the typical painterly approach most often used in the Baroque era. As the Baroque method was intended to evoke emotion in the piece, it is clear that Empoli wished to take a different approach in order to convey that emotion. By choosing clarity over more abstract brush strokes, the artist is able to focus more on the tension and body language between the figures. Overall, the use of defined lines creates a stillness in the piece that makes this tension even more prominent.

Empoli chooses to use primary colors as well as "true" colors in his piece. This is made obvious by the red, yellow, and blue dresses and headpieces of the "Three Maries." These qualities are drawn from the Renaissance approach of implementing Classical ideals of harmony and clarity. By allowing such balance on the clothes of the women, the artist makes them easier on the eye and we are forced to focus more on the shape and gestures of their figures. Furthermore, the angel is draped in a traditional white which serves to contrast him with the dark background. Once again, the artist draws the focus away from the material aspects by choosing to use basic and pure color forms in order to draw us to the emotional moment of the piece.

Lighting is depicted in a very characteristic Baroque style. The stark contrast between light and dark (chiaroscuro) produces a well-lit foreground and an obscure background, creating relative clarity. Again, the artist is shifting our focus to only the most significant aspects of the piece and also creating a sense of drama that aids in the tension of the figures.

The composition is very evenly framed. The crowd of "Maries" at the left is balanced by the bright white of the angel on the right. By doing this, the artist is choosing not to make judgment on the most significant aspect of the piece and is suggesting that the reaction of the "Maries" is equally as important as the angel delivering the message. The body language of the three "Maries" suggests some wonder but not necessarily to a dramatic level. This fits in with the artist's desire to convey a subtle astonishment among his characters. It is obvious by the outstretched hands and facial expressions that there is some surprise among the women but it is not taken to a dynamic level. It seems the artist is trying to convey that the rise of Jesus is almost expected and that the softness of the surprise of the women suggests that this reemergence was inevitable.

Empoli used a clever array of Renaissance and Baroque techniques to refine our focus to one of the most emotional moments in Christian history. In many ways, Empoli can be named a transitional artist from the Renaissance to the Baroque era. More significantly however, it can be said that Empoli simply chose techniques that would most suit his greater artistic purpose.