Triptych with the Family of St Anne 1490s Oil on panel, 87,4 x 92,5 cm (centre), 87,3 x 37,1 cm (left), 87,4 x 39,2 cm (right) Museum voor Schone Kunsten, Ghent An impression of Ghent panel painting in the shadow of the leading masters is provided by a number of works from religious institutions in the city that have been attributed to local workshops on stylistic grounds. There is , for instance, the Triptych with the Family of St Anne. This work prompted the coinage of the name 'The Master of the Family of St Anne', an anonymous artist to whom several other panels in Ghent have been attributed. The most clearly discernible influence in his work is that of Van der Goes' realism. , Artist: UNKNOWN MASTER, Flemish , Triptych with the Family of St Anne , 1451-1500 , Flemish , painting , religious
Painting ID:: 64040
5537 ago.
Artist: unknow artist Painting: Triptych with the Family of St Anne Information: 1490s Oil on panel, 87,4 x 92,5 cm (centre), 87,3 x 37,1 cm (left), 87,4 x 39,2 cm (right) Museum voor Schone Kunsten, Ghent An impression of Ghent panel painting in the shadow of the leading masters is provided by a number of works from religious institutions in the city that have been attributed to local workshops on stylistic grounds. There is , for instance, the Triptych with the Family of St Anne. This work prompted the coinage of the name 'The Master of the Family of St Anne', an anonymous artist to whom several other panels in Ghent have been attributed. The most clearly discernible influence in his work is that of Van der Goes' realism. , Artist: UNKNOWN MASTER, Flemish , Triptych with the Family of St Anne , 1451-1500 , Flemish , painting , religious
Artist: unknow artist Painting: Adoration of the Shepherds Information: 1608 Oil on canvas St.-Pauluskerk, Antwerp , Artist: RUBENS, Pieter Pauwel , Adoration of the Shepherds , 1601-1650 , Flemish , painting , religious
Adoration of the Magi . 1515 Polychromed wood, 73 x 64,5 x 21 cm Rockox House, Antwerp , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , sculpture , religious
Painting ID:: 64036
5537 ago.
Artist: unknow artist Painting: Adoration of the Magi Information: . 1515 Polychromed wood, 73 x 64,5 x 21 cm Rockox House, Antwerp , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , sculpture , religious
Calvary 1500 Oil on oak panel, 142 x 225,5 cm Groeninge Museum, Bruges Borrowings from a variety of artists (Master of Flemalle, Van der Goes, Memling and Derer) are found in the Crucifixion, most likely painted in 1500. (The date on the original frame could be rewritten.) The anonymous Bruges master, referred to on the basis of this work as the 'Master of the Bruges Passion Scenes', combined the three principal elements of the Passion story in a single landscape setting. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1501-1550 , Flemish , painting , religious
Painting ID:: 63983
5538 ago.
Artist: unknow artist Painting: Calvary Information: 1500 Oil on oak panel, 142 x 225,5 cm Groeninge Museum, Bruges Borrowings from a variety of artists (Master of Flemalle, Van der Goes, Memling and Derer) are found in the Crucifixion, most likely painted in 1500. (The date on the original frame could be rewritten.) The anonymous Bruges master, referred to on the basis of this work as the 'Master of the Bruges Passion Scenes', combined the three principal elements of the Passion story in a single landscape setting. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1501-1550 , Flemish , painting , religious
Adoration of the Magi 1515 Oil on panel, 83 x 166 cm Rockox House, Antwerp In comparison with other artistic centres, Antwerp had relatively little tradition in art in the beginning of the 16th century: but it was fertile ground ready to receive the seeds of new ideas brought by the many artists who flocked to the town on the Scheldt from other towns in the Low Countries. This burgeoning artistic life yielded religious works based on iconographic and compositional formulae derived from foreign examples. Moreover, the Low Countries' own traditional church based art had reached a crisis, and signs could already be seen heralding the advent of a different type of painting all together, with the birth of the Italian Renaissance. The economic and social revolution which transformed the needs and demands of art lovers resulted in a much looser relationship between artist and patron. Artists no longer felt obliged to bow to specific requirements as to the form or content of the painting imposed by the patron or institution commissioning it. Instead, they began to feel that their responsibility was rather to satisfy the tenets of taste held by nameless international artistic circles in which they moved. Thus an art market was created. Artists began to specialise, made life easier for themselves by repeating certain motifs over and over again, and aimed to create a certain effect. The anonymous Adoration of the Magi is an admirable example of the most popular subject of these artists, who are known as the Antwerp Mannerists. Strutting vanity and late Gothic and Renaissance decorations are depicted in sharp contrast with quiet modesty. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Painting ID:: 63982
5538 ago.
Artist: unknow artist Painting: Adoration of the Magi Information: 1515 Oil on panel, 83 x 166 cm Rockox House, Antwerp In comparison with other artistic centres, Antwerp had relatively little tradition in art in the beginning of the 16th century: but it was fertile ground ready to receive the seeds of new ideas brought by the many artists who flocked to the town on the Scheldt from other towns in the Low Countries. This burgeoning artistic life yielded religious works based on iconographic and compositional formulae derived from foreign examples. Moreover, the Low Countries' own traditional church based art had reached a crisis, and signs could already be seen heralding the advent of a different type of painting all together, with the birth of the Italian Renaissance. The economic and social revolution which transformed the needs and demands of art lovers resulted in a much looser relationship between artist and patron. Artists no longer felt obliged to bow to specific requirements as to the form or content of the painting imposed by the patron or institution commissioning it. Instead, they began to feel that their responsibility was rather to satisfy the tenets of taste held by nameless international artistic circles in which they moved. Thus an art market was created. Artists began to specialise, made life easier for themselves by repeating certain motifs over and over again, and aimed to create a certain effect. The anonymous Adoration of the Magi is an admirable example of the most popular subject of these artists, who are known as the Antwerp Mannerists. Strutting vanity and late Gothic and Renaissance decorations are depicted in sharp contrast with quiet modesty. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
St Charles Cares for the Plague Victims of Milan 1655 Oil on canvas Sint-Jacobskerk, Antwerp , Artist: JORDAENS, Jacob , St Charles Cares for the Plague Victims of Milan , 1651-1700 , Flemish , painting , religious
Painting ID:: 63977
5538 ago.
Artist: JORDAENS, Jacob Painting: St Charles Cares for the Plague Victims of Milan Information: 1655 Oil on canvas Sint-Jacobskerk, Antwerp , Artist: JORDAENS, Jacob , St Charles Cares for the Plague Victims of Milan , 1651-1700 , Flemish , painting , religious
The Nativity 1445 Wood, 130 x 97 cm National Gallery of Art, Washington The painter, a follower of Jan van Eyck, here illustrates the Biblical theme in terms of contemporary life in his native city of Bruges. Joseph, for example, is shown as a Flemish peasant who, realizing he is on holy ground, has removed his wooden clogs. Under the influence of Rogier van der Weyden, Christus has framed the scene with a sculptured archway, typical of late Gothic churches in Flanders. These simulated sculpture groups, depicting the stories in Genesis of man and his sin, illustrate the historical reason for the subject of the painting, the coming of Christ as the Redeemer. , Artist: CHRISTUS, Petrus , The Nativity , 1451-1500 , Flemish , painting , religious
Painting ID:: 63975
5538 ago.
Artist: CHRISTUS, Petrus Painting: The Nativity Information: 1445 Wood, 130 x 97 cm National Gallery of Art, Washington The painter, a follower of Jan van Eyck, here illustrates the Biblical theme in terms of contemporary life in his native city of Bruges. Joseph, for example, is shown as a Flemish peasant who, realizing he is on holy ground, has removed his wooden clogs. Under the influence of Rogier van der Weyden, Christus has framed the scene with a sculptured archway, typical of late Gothic churches in Flanders. These simulated sculpture groups, depicting the stories in Genesis of man and his sin, illustrate the historical reason for the subject of the painting, the coming of Christ as the Redeemer. , Artist: CHRISTUS, Petrus , The Nativity , 1451-1500 , Flemish , painting , religious
Madonna and Child Oil on wood Staatliche Museen, Berlin The Madonna and Child is depicted with St Barbara and a Carthusian monk. , Artist: CHRISTUS, Petrus , Madonna and Child , 1451-1500 , Flemish , painting , religious
Painting ID:: 63973
5539 ago.
Artist: CHRISTUS, Petrus Painting: Madonna and Child Information: Oil on wood Staatliche Museen, Berlin The Madonna and Child is depicted with St Barbara and a Carthusian monk. , Artist: CHRISTUS, Petrus , Madonna and Child , 1451-1500 , Flemish , painting , religious
St Eligius in His Workshop 1449 Oil on wood, 98 x 85 cm Metropolitan Museum of Art, New York St Eligius, who was born c. 590 in Limousin, notably in the making of reliquaries has become one of the most popular saints of the Christian West. Ancient tradition credits him with extraordinary talent as a goldsmith. St Eligius in His Workshop remains to this day the best-known and best-loved painting of Petrus Christus. It shows two young fiances who have brought the patron saint of goldsmiths a quantity of precious metal to be melted down and fashioned into rings as token of their love. Christus gives us an extremely detailed representation of the goldsmith's shop. Not only are there all the instruments of the trade, but also many liturgical objects, carefully arranged on shelves. There is also a convex circular mirror on the right-hand side of St Eligius's table, in an obvious allusion to the Arnolfini Marriage by Jan van Eyk. In it we can see the reflection of a square, with a couple of passers-by. Although the presence of the saint gives the work a religious dimension, this remains essentially a genre painting: that is, a representation of secular and commercial activities, a scene from everyday life. , Artist: CHRISTUS, Petrus , St Eligius in His Workshop , 1451-1500 , Flemish , painting , religious
Painting ID:: 63972
5539 ago.
Artist: CHRISTUS, Petrus Painting: St Eligius in His Workshop Information: 1449 Oil on wood, 98 x 85 cm Metropolitan Museum of Art, New York St Eligius, who was born c. 590 in Limousin, notably in the making of reliquaries has become one of the most popular saints of the Christian West. Ancient tradition credits him with extraordinary talent as a goldsmith. St Eligius in His Workshop remains to this day the best-known and best-loved painting of Petrus Christus. It shows two young fiances who have brought the patron saint of goldsmiths a quantity of precious metal to be melted down and fashioned into rings as token of their love. Christus gives us an extremely detailed representation of the goldsmith's shop. Not only are there all the instruments of the trade, but also many liturgical objects, carefully arranged on shelves. There is also a convex circular mirror on the right-hand side of St Eligius's table, in an obvious allusion to the Arnolfini Marriage by Jan van Eyk. In it we can see the reflection of a square, with a couple of passers-by. Although the presence of the saint gives the work a religious dimension, this remains essentially a genre painting: that is, a representation of secular and commercial activities, a scene from everyday life. , Artist: CHRISTUS, Petrus , St Eligius in His Workshop , 1451-1500 , Flemish , painting , religious
Adoration of the Shepherds Oil on canvas Mauritshuis, The Hague , Artist: JORDAENS, Jacob , Adoration of the Shepherds , 1651-1700 , Flemish , painting , religious
Painting ID:: 63967
5540 ago.
Artist: JORDAENS, Jacob Painting: Adoration of the Shepherds Information: Oil on canvas Mauritshuis, The Hague , Artist: JORDAENS, Jacob , Adoration of the Shepherds , 1651-1700 , Flemish , painting , religious
