Petrus Christus (Baarle um 1410/1420 - Brügge um 1473
Beweinung Christi (ca. 1455 - 1460)
Königliche Museen der Schönen Künste, Brüssel
The Lamentation is one of the few large-scale works ascribed to Petrus Christus. Both the style and the growth rings of the oak boards suggest a date of around 1455-60. The painting shows the extent to which the Bruges master, who initially imitated the style of Jan van Eyck, came increasingly in his later career under the influence of Rogier van der Weyden. The main figures clearly reflect the central figures in Van der Weyden's Descent from the Cross in the Prado in Madrid. At the same time, however, the Lamentation illustrates the limitations of this influence. The sense of drama of the Spanish model is totally missing: the figures appear withdrawn in introspection and contemplation. This effect of serenity may be explained in part by the increasing simplification that characterises the artist's later work. The penchant of Petrus Christus's patron for Stoic ideas may also have played a role here. The large and unusual format, the use of expensive paints and the time-consuming painting techniques all indicate that the panel was not intended for the free market.
Compared with Van der Weyden's Lamentation, we notice that more figures are depicted: Mary Magdalen, Joseph of Arimathea, Mary and her two eponymous sisters, John the Evangelist, Christ's dead body, Nicodemus, and a difficult to identify shaven-headed person in the right hand background. One author interprets this figure as the portrait of the purported patron, but there is little concrete evidence to support his view. Maybe he is the husband of one of Mary's sisters, or simply an anonymous bystander. In any event, Petrus Christus appears to have copied this figure in every respect from a Descent from the Cross by the Master of Flémalle, which once hung in the Sint-Jakobskerk in Bruges, and which is known from a free copy kept in Liverpool. In front, on the rocky ground, we can see Mary Magdalen's pot of ointment. Also present are the hammer and pincers used in the descent, and the three nails with which Christ was nailed fast according to the pictorial tradition. Under the cross lies the customary skull. The tableau is placed in front of a wide landscape, at the back of which the biblical Jerusalem is depicted in the shape of a late medieval Flemish city.
Source: Web Gallery of Art
Tags: Petrus Christus Beweinung Christi The Lamentation Musées Royaux des Beaux-Arts Bruxelles Royal Museums of Fine Arts Brussels Königliche Museen der schönen Künste Brüssel Koninklijke Musea voor Schone Kunsten Brussels
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Petrus Christus (Baarle um 1410/1420 - Brügge um 1473
Beweinung Christi (ca. 1455 - 1460)
Königliche Museen der Schönen Künste, Brüssel
The Lamentation is one of the few large-scale works ascribed to Petrus Christus. Both the style and the growth rings of the oak boards suggest a date of around 1455-60. The painting shows the extent to which the Bruges master, who initially imitated the style of Jan van Eyck, came increasingly in his later career under the influence of Rogier van der Weyden. The main figures clearly reflect the central figures in Van der Weyden's Descent from the Cross in the Prado in Madrid. At the same time, however, the Lamentation illustrates the limitations of this influence. The sense of drama of the Spanish model is totally missing: the figures appear withdrawn in introspection and contemplation. This effect of serenity may be explained in part by the increasing simplification that characterises the artist's later work. The penchant of Petrus Christus's patron for Stoic ideas may also have played a role here. The large and unusual format, the use of expensive paints and the time-consuming painting techniques all indicate that the panel was not intended for the free market.
Compared with Van der Weyden's Lamentation, we notice that more figures are depicted: Mary Magdalen, Joseph of Arimathea, Mary and her two eponymous sisters, John the Evangelist, Christ's dead body, Nicodemus, and a difficult to identify shaven-headed person in the right hand background. One author interprets this figure as the portrait of the purported patron, but there is little concrete evidence to support his view. Maybe he is the husband of one of Mary's sisters, or simply an anonymous bystander. In any event, Petrus Christus appears to have copied this figure in every respect from a Descent from the Cross by the Master of Flémalle, which once hung in the Sint-Jakobskerk in Bruges, and which is known from a free copy kept in Liverpool. In front, on the rocky ground, we can see Mary Magdalen's pot of ointment. Also present are the hammer and pincers used in the descent, and the three nails with which Christ was nailed fast according to the pictorial tradition. Under the cross lies the customary skull. The tableau is placed in front of a wide landscape, at the back of which the biblical Jerusalem is depicted in the shape of a late medieval Flemish city.
Source: Web Gallery of Art
Tags: Petrus Christus Beweinung Lamentation Musées Royaux des Beaux-Arts Bruxelles Royal Museums of Fine Arts Brussels Königliche Museen der schönen Künste Brüssel Koninklijke Musea voor Schone Kunsten Brussels
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Petrus Christus (Baarle um 1410/1420 - Brügge um 1473
Beweinung Christi (ca. 1455 - 1460)
Königliche Museen der Schönen Künste, Brüssel
The Lamentation is one of the few large-scale works ascribed to Petrus Christus. Both the style and the growth rings of the oak boards suggest a date of around 1455-60. The painting shows the extent to which the Bruges master, who initially imitated the style of Jan van Eyck, came increasingly in his later career under the influence of Rogier van der Weyden. The main figures clearly reflect the central figures in Van der Weyden's Descent from the Cross in the Prado in Madrid. At the same time, however, the Lamentation illustrates the limitations of this influence. The sense of drama of the Spanish model is totally missing: the figures appear withdrawn in introspection and contemplation. This effect of serenity may be explained in part by the increasing simplification that characterises the artist's later work. The penchant of Petrus Christus's patron for Stoic ideas may also have played a role here. The large and unusual format, the use of expensive paints and the time-consuming painting techniques all indicate that the panel was not intended for the free market.
Compared with Van der Weyden's Lamentation, we notice that more figures are depicted: Mary Magdalen, Joseph of Arimathea, Mary and her two eponymous sisters, John the Evangelist, Christ's dead body, Nicodemus, and a difficult to identify shaven-headed person in the right hand background. One author interprets this figure as the portrait of the purported patron, but there is little concrete evidence to support his view. Maybe he is the husband of one of Mary's sisters, or simply an anonymous bystander. In any event, Petrus Christus appears to have copied this figure in every respect from a Descent from the Cross by the Master of Flémalle, which once hung in the Sint-Jakobskerk in Bruges, and which is known from a free copy kept in Liverpool. In front, on the rocky ground, we can see Mary Magdalen's pot of ointment. Also present are the hammer and pincers used in the descent, and the three nails with which Christ was nailed fast according to the pictorial tradition. Under the cross lies the customary skull. The tableau is placed in front of a wide landscape, at the back of which the biblical Jerusalem is depicted in the shape of a late medieval Flemish city.
Source: Web Gallery of Art
Tags: Petrus Christus Beweinung Lamentation Musées Royaux des Beaux-Arts Bruxelles Royal Museums of Fine Arts Brussels Königliche Museen der schönen Künste Brüssel Koninklijke Musea voor Schone Kunsten Brussels
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Petrus Christus (Baarle um 1410/1420 - Brügge um 1473
Beweinung Christi (ca. 1450)
Metropolitan Museum of Art, New York
Intended for private devotion, this emotionally charged painting depicts the Lamentation according to the Gospel of John. It includes both Joseph of Arimathea and Nicodemus, who lift Christ’s dead body by his head and feet, while Mary Magdalen and John reach forward to support the swooning Virgin. Mary’s pose, which echoes that of her crucified son, alludes to the themes of compassio and co-redemptio, wherein the Virgin empathically feels Christ’s torment and shares his role as Redeemer.
The painting may have been exported to Italy, since it inspired a marble relief by Antonello Gagini in Palermo Cathedral, Sicily.
Source: MET
Tags: Petrus Christus Beweinung Christi The Lamentation Metropolitan Museum of Art New York
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Petrus Christus (Baarle um 1410/1420 - Brügge um 1473)
Bildnis einer jungen Dame, eventuell Lady Talbot (portrait of a young lady, eventually Lady Talbot)
Petrus Christus war ein Schüler Jan van Eycks, dessen Stil er mit Einflüssen von Rogier van der Weyden und Robert Campin verband. Nach dem Tod van Eycks übernahm er 1441 dessen Werkstatt und übte maßgeblichen Einfluss auf andere Meister der Brügger Malschule aus wie Dierick Bouts und Geertgen tot sint Jans. In seinen religiösen Gemälden vermag er van Eyck nicht zu erreichen, seine Porträts dagegen, die von statischer Nüchternheit gekennzeichnet sind, erzielen durch die Konzentration auf wenige, besonders scharfkantige mimische Details eine starke körperliche Wirkung und sind voll Charakter und Leben. Der Hintergrund der Porträts ist reduziert, aber konkret-räumlich und nicht länger undefiniert. Petrus Christus war einer der ersten flämischen Maler, der sich intensiv mit der Porträtmalerei befasste. Eines seiner Hauptwerke ist das Bildnis einer jungen Dame, das heute in der Gemäldegalerie Berlin hängt.Nur sechs seiner Werke lassen sich durch Signatur (Petrus XRI) sicher zuweisen, die übrigen Bilder sind erschlossen. Ob er Italien besucht hat und italienischen Malern wie Antonello da Messina stilistische und technische Lösungen der flämischen Schule nahebrachte, ist ungeklärt.
Quelle: www.wikipedia.de
Tags: Berlin Gemäldegalerie Berlin Petrus Christus Bildnis einer jungen Dame Portrait of a young lady Lady Talbot Deutschland Germany
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