Pieta the other ones are my favorite Art

The famous later Pieta aka The Deposition (also called the Florentine Pietà or The Lamentation over the Dead Christ) in the Vatican is marble poetry as well.  It is more realistic than the Neoclassical first one and gives an impression of stillness. I like this one better, with its dynamic and sinuous composition, and its Immense DRAMA....

 

 

 

 

The figure of Mary on the right is incomplete. Why didn't a he finish her and make her so beautiful like he did in the first Pieta? It was propbaly deliberately unfinished because Mary was so conflicted and wounded but so faithful and trusting. Many say it was a deliberate aesthetic choice but I think it was a Theological Choice....Consider the uncfinished work of Christ...his Mystical Body...as St. Paul says I make up what is lacking in the sufferings of Christ.  Mysterious words from St. Paul don't you think?  Perhaps that is where the Roman Catholic tradition to offer up our sufferings up to the Cross of Christ... 

 

 

 

 

 

 

 

 

 

 

 

 

 

Also having and almost ineffible quality is the Rondanini Pieta 

 

From wikipedia: 

Rondanini Pietà is a marble sculpture that Michelangelo worked on from the 1550s until the last weeks of his life, in 1564. It is housed in the Castello Sforzesco in Milan. His final sculpture, the Rondanini Pietà revisited the theme of the Virgin Mary mourning over the body of the dead Christ, which he had first explored in his Pietà of 1499. Like his late series of drawings of the Crucifixion and the sculpture of the Deposition of Christ intended for his own tomb, it was produced at a time when Michelangelo's sense of his own mortality (and with it his spirituality) was growing

Pietà Rondanini
Michelangelo Buonarroti      The Rondanini Pieta

Abandoning the "Pity" in Florence, Michelangelo began work immediately on another version just after 1553.The comment by Vasari: "perhaps the judgement of that man was so great that he could never be happy with what he did" implied that he never even completed this work. Only in the last year of his life did he take it up again, destroying almost all of what he had carved ( you can see what remains of the right arm and the leg of the "first" Christ) and began to carve in the marble a totally new "concept", something he did right up to his death. The marvels of the spiral composition in which the intellectualism of the mannerists was entwined was improved in this simple ascending wave that fused the mystical, Gothic linearism and the elected classical melody

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