Pietà

The artist's rendering of the subjects is an obvious nod to Michelangelo's sculpture Pietà (c. 1498-9) in which similarities can be drawn between the triangular composition resulting from the elevation created by the steps and the sculpted quality of the depicted figures. In combination with these elements, Carracci furthers the realist treatment of the drama by applying a number of other techniques. For instance, chiaroscuro tones are present within the painting, illuminating Christ's body and emphasizing his holiness. A shadow casts itself over the Virgin Mary's face, extenuating the sorrow in her expression. An angel gestures to Christ's wounded feet to suggest the sacrifice that he has endured. Overall, Pietà can be considered a demonstration of Carracci's adeptness at transferring the monumentality of sculpture into painting, and infusing the imagery with a palpable figurative dynamism that was thought hitherto to be the sole privilege of sculpture.

In Pietà, Carracci presents the moment in which the Virgin Mary holds her crucified son, who lay lifeless on her lap. To the right of the composition, angels are depicted in the act of mourning Christ's passing. 

This oil on canvas painting is in the National Museum of Capodimonte, Naples