Deposition
Flemish Northern Renaissance Painter, ca.1478-1532
1510-20 Oil on canvas transferred from wood, 141 x 106,5 cm The Hermitage, St. Petersburg The picture shows an early example of the works of Romanist painters (Northern artists influenced by Italian renaissance painting). Artist: GOSSAERT, Jan (Mabuse) Painting Title: Deposition , 1501-1550 Painting Style: Flemish , , religious
Painting ID:: 63100
1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 13 of the Engraved Passion. In this case the engraved and woodcut version can be easily compared. Both were executed at about the same time. One is the most complicated, the other the simplest solution. In the engraving some of the dignity is sacrificed by the complicated overlappings, as in the case of Christ's body. The woodcut version of the Small Passion was difficult to surpass in the engraving. D?rer decided to use the tomb as seen from the front, making for the interesting overlappings. The gentle dignity of the woodcut version was, however, lost. It is not quite clear which one of the praying women is the Virgin Mary.Artist:D?RER, Albrecht Title: Deposition (No. 13) Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63632
1460 Oil on oak panel, 57 x 52 cm Alte Pinakothek, Munich With the body of Christ still on the Cross high above the scene, this picture, presumably painted in Brussels, shows the Deposition in a more traditional way than Rogier's famous version (Prado, Madrid). On the right are the centurion who recognized the Son of God, and his followers; it is not clear which of the two figures in the foreground is actually the centurion, since they are both making gestures that would be suitable for him. The artist who painted this small Deposition used figures from Rogier van der Weyden's great painting for the body of Christ and for Nicodemus, and drawing on other works by Rogier van der Weyden and by the Master of Flemalle for the remaining figures. The group of the Virgin and St John, for instance, was taken from the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, the painter of this Deposition fails to unite the groups of figures successfully. The small panel of the Deposition, certainly not painted before the middle of the century, seems to have found its way quite early to southern Germany, where parts of it were already being copied in 1465 (Hof Altarpiece by Hans Pleydenwurff in the Alte Pinakothek, Munich). Like the composition of the Descent from the Cross, probably of roughly the same date, it is a relatively early example of the work of independent artists who picked up ideas from Rogier, imitating his style as best they could. , Artist: UNKNOWN MASTER, Flemish , Deposition , 1451-1500 , Flemish , painting , religious
Painting ID:: 63942
MOLYN, Pieter de English-born Dutch Baroque Era Painter, 1595-1661
Dutch painter, draughtsman and etcher of English birth and Flemish descent. His father, Pieter de Molijn, came from Ghent and his mother, Lynken van den Bossche, from Brussels. It is not known why they went to England, perhaps for employment rather than to avoid religious persecution. Pieter the younger apparently remained proud of his birthplace throughout his life Deposition oil on Canvas.
Date XVII
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