This work is currently kept in the Umbrian National Gallery located at Perugia, although its origin must be found in the Palacio de los Priores in the same city, where the painter made it forming part of the so-called Pala dei Decemviri, in fact it was the ridge of this great piece of art from this private chapel.
Christ leaving Perugino's tomb
A work that thePeruginomade around the year 1495, although it is true that he took a long time to fulfill a commission that he had received about 12 years earlier.
Obviously Perugino is from the city of Perugia, and his real name was Pietro Vannucci (1446 – 1523) and he did a large part of his works there, although he also worked a lot at Rome or Florence. However, he always returned to his city, and there he painted this kind of private altarpiece for the priors that was dismembered in 1797, when the Napoleonic troops took it to the Louvre (although in the It is currently in the Vatican Museums), leaving the crown piece in the palace itself with its original frame, with which it is still exhibited today.
This panel painted in tempera can be said to be a Perugino masterpiece on a par with others such as his amazing works in the Vatican's Sistine Chapel. And there is noforget that this artist was very successful in his time and was the teacher of the great Raphael.
In fact, there have been authors in the past who, when referring to this table, attributed it to Raphael. However, it would have been an inconceivable feat for a child, even if gifted in painting like Rafael Sanzio, to be able to paint this work.
In the table we see Christ coming out of the tomb and showing us his hands with the wounds suffered in the Crucifixion. A truly moving image in which his technique is striking. The figure of Jesus emerges from the dense darkness of the background and dominates the entire surface of the panel with his luminous body, which forms an almost perfect triangle occupying the center of the image.
A treatment of colors that is extremely different from what is usual in il Perugino, which tends to opt more for light tones and somewhat diffuse contours. However, he presents us with a radically opposite image, which speaks to us of his versatility and the artistic quality of this painter, sometimes undervalued and in the shadow of the great giants of the Renaissance.