The wound in his side exudes blood that is clotting and separating into the blood and water of John 19:34. Thürleman, Felix, Robert Campin : a monographic study with critical catalogue, Prestel, Munich, 2001, pp. , L, 1918, p.233, repr. Dávila, Mª Teresa; Garrido, Mª del Carmen, Informe técnico y proceso de restauración del Descendimiento de la Cruz de Roger Van der Weyden., X Congreso de Conservacion y Restauracion de Bienes Culturales, Cuenca, 1994. Perier-D'Ieteren, C., Colyn de Coter et la technique picturale des peintres flamands du XV siècle, Lefevre et Gillet, Bruselas, 1985, pp. Now you can add in works from the Collection browser, TITULOOBRA added to TITULORECORRIDO itinerary, Edicions Catalanes. The biblical accounts of the descent from the cross found in the gospels are not consistent, which may contribute to the difficulty in precisely identifying the figures. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org. It’s not so much vista as to compete with the scene above, but enough to introduce some depth and light into the lower third of the panel. From Raphael to Carracci : the art of Papal Rome, National Gallery of Canada, 2009, pp. Alvarez Cabanas, A., Roger Van Der Weyden en el Museo del Prado, Imp.Helenica, Madrid, 1927, pp. It is still in its original place, the Cathedral of Our Lady, Antwerp, Belgium, along with another great altarpiece The Elevation of the Cross. Borchert, T.H, Hans Memling and Rogier van der Weyden, Invention: northern renaissance studies in honor of Molly Faries, 2008, pp. et al., Le dessin sous-jacent dans la peinture. John Rupert Martin, a Princeton University Professor of Art History, says, “Whatever one may think of the validity of such labels as ‘Baroque’ and ‘Classical” as characterizations of the Raising of the Cross and the Descent from the Cross, there is no denying that these two paintings are shaped according to very different principles of composition.”. 2-19. Madrazo, Pedro de1816-1898, Viaje artístico de tres siglos por las colecciones de cuadro, Daniel Cortezo y Cª, Barcelona, 1884, pp. It is still in its original place, the Cathedral of Our Lady, Antwerp, Belgium, along with another great altarpiece The Elevation of the Cross. 60-64. Taken to the Escorial in 1566, it remained there until 1939, when it was transferred to the Prado. He, the man in green and Nicodemus are the only protagonists who are not weeping. Yarza Luaces, Joaquín, Roger van der Weyden, Descubrir el arte, 2000, pp. n.26. / Alto 2 pies, 6 pulg; ancho 1 pie, 11 pulg. The composition of the Descent is simplified, the light is concentrated, the figures grouped along a unifying line on a flat plane. While the two triptychs are of virtually the same size, comparing their style and composition suggests that, after being home from Italy for a bit, Rubens began to tone down the Baroque exuberance he had absorbed in that impassioned sunny land. 453 láms.323,324. 105-117. Looking on behind Simeon, in profile, is the Arquebusiers’ dean, Nickolaas Rockox, who was also a friend to Rubens. 61-72 [65-69 fg.1]. 10,32. 19/ lám.1. I studied them in depth 15 years ago — when I was preparing my audio guide to Our Lady Cathedral, Antwerp — one of ten audio-tour titles in the Jane’s Smart Art Guides series — and I always think about them at this time of year. Ferrarino, Luigi, La Deposizione dalla Croce di Roger Van der Weyden, Studium, pp. Wood low-relief, 39 ½ x 63 7/8 x 2 ¼ (100.5 x 162.5 x 5.7), Purchase Fund (purchased from the artist). Intent on illustrating the significance of the Visitation, Rubens joined those artists in ignoring the gospel of Luke which relates that Elizabeth was six months further along in her own miraculous pregnancy — carrying John the Baptist – than was Mary in hers. Didier,R. The unexpected stubble makes a different contribution to the shocks engendered by the image. 1230. Inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990. Dohmann, Albrecht, Die Altniederlandische Malerei des Funfzehnten Jahrhunderts, E.A.Seemann BuchUnd Kunstverlag, Leipzig, 1964, pp. {{cite web|title=Descent from the Cross|url=https://clevelandart.org/art/1967.134|author=Adam Lenckhardt|year=1653|access-date=26 November 2020|publisher=Cleveland Museum of Art}}. Die vortrage des Nurnberger symposions, Deutscher kunstverlag, Munich, 1985, pp. lám.1. If you have questions about requesting an image, please email imageservices@clevelandart.org. 12, 17, 22. Van Asperen de Boer, J.; Van Schoute, R; Garrido, M.C; Cabrera,J. There he met St. John the Evangelist and the three Marys, and together they removed the nails from his hands and feet and lowered him in a linen winding sheet to the ground. It was the Roman custom to then leave crucified corpses to the carrion birds, and later to throw the remains into a communal grave. A number of Rubens’ preparatory sketches indicate that he tried out various ideas for the interior of the temple before arriving at this one. Treviñano, Pilar, Tradición del texto y tradición de la imagen en las Cantigas de Santa María, Reales Sitios, 42, 2005, pp. The blood, however, does not stain the loincloth, which is one of the Virgin`s veils. Kemperdick Stephan, ''The Flémalle-Campin.Van der Weyden problem: still exixting''. 1555 Follower of Jean Goujon French. It’s easy to understand why St. Christopher was disqualified by the Council of Trent. Roger de la Pasture, Éitions du cerf tricorne, Paris, 1987, pp. 186. 7-8. Garrido, Carmen, 'The Campin group paintings in the Prado' en Robert Campin. This sort of imitation of a predecessor’s work is called  a “quotation,”  but in this case it is actually a “translation” since the original is a sculpture that was discovered in Rome in 1506 … the famous Laocoön and His Sons, now in the Vatican Museum. p.239; Sir John Lavery, M. (London 1919), No. 220, 290. Just enter the name of a city or state to see a complete catalog of museums in the area. 74-81 n.1.. Miola, Robert S., 'Stabat Mater Dolorosa: Mary at the Foot of the Cross', The Sixteenth century journal, Fall XLVIII n.3, 2017, pp. García-Frías Checa, Carmen, 'De la grandeza y variedad de la pintura que hay en esta casa' La colección pictórica de Felipe II en El Monasterio de El Escorialo, De El Bosco a Tiziano: arte y maravilla en El Escorial, Patrimonio Nacional, Madrid, 2013, pp. 3-19. For other paintings of this subject by the same artist, see The Descent from the Cross (Rubens). Sander, Jochen, Die entdeckung der kunst. When the side panels were open, the Council of Trent proscription had to be respected. Now we’ll take a close look at his Descent From the Cross, which is of similar size but quite distinct in composition and artistic sensibility.