Pontormo’s version was indeed unique; the colors were bright and vibrant, women draped in deep blues and vibrant pinks. In the early Mannerist style, they were long-limbed and graceful, and the characters appeared to merge into each other in a strangely lyrical dance of mourning. Mary Magdalene, veiled in pink, held Jesus at his head and shoulders, supported by other characters less easily identified, while his mother swooned with her grief. Saint Veronica was present, back to the viewer, and appeared to be reaching out to the blessed mother with one hand, and holding the veil of her legend in the other.
Kathleen McGowan in The Poet Prince: A Novel (Magdalene Line), Touchstone, New York 2010, p. 249
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L’identificazione della figura del dipinto con la Veronica è un’invenzione dell’autrice del romanzo. La donna di spalle con il fazzoletto è normalmente identificata con Maria Maddalena.
Jacopo Pontormo, Deposizione, 1526-1528, Chiesa di Santa Felicita, Firenze.
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