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Christ Carrying the Cross, with the Crucifixion; The Resurrection, with the Pilgrims of Emmaus

Christ Carrying the Cross, with the Crucifixion; The Resurrection, with the Pilgrims of Emmaus

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Summary

Gerard David painted in Bruges all his life. Where he trained is unknown, though his early works show the influence of his northern Netherlandish roots. The Annunciation panels (1975.1.120), which were painted in grisaille to emulate sculpture, originally decorated the reverses of the two Passion scenes and together formed the movable wings of an altarpiece. When the wings were closed, the Virgin Annunciate and the Archangel Gabriel were shown. When opened, on certain feast days, the Christ Carrying the Cross and the Resurrection would have been displayed, flanking a central image, perhaps the Lamentation.
Gerard David (Netherlandish, Oudewater ca. 1455–1523 Bruges)

The Dutch School painters can be dated as Early Netherlandish (1400–1500), Dutch Renaissance (1500–1584), and, later, Dutch Golden Age painting in the United Provinces. The detailed realism of Early Netherlandish painting, led by Robert Campin and Jan van Eyck in the 1420s and 1430s, is today generally considered to be the beginning of the early Northern Renaissance in painting. This style was greatly respected in Italy, but there was little reciprocal influence on the North until nearly the end of the 15th century. Despite frequent cultural and artistic exchange, the Antwerp Mannerists (1500–1530) were unrelated to Italian Mannerism. Among notable northern painters were highly individualistic artists such as Hieronymus Bosch and Pieter Bruegel the Elder who developed styles that were imitated by many subsequent generations. In the 16th century northern painters increasingly traveled to Italy, so the art of Michelangelo and Raphael and the late Renaissance Mannerism had a great impact on their work. Hieronymus Bosch and Geertgen tot Sint Jans are well-known examples of fifteenth- and sixteenth-century Dutch painters. In the northern Netherlands, the Reformation brought religious painting almost completely to an end. Portrait painting was slow to spread from the elite to new riches. By the end of the 16th century, artists such as Karel van Mander and Hendrik Goltzius collected in Haarlem in a brief but intense phase of Northern Mannerism that also spread to Flanders. Between 1605 and 1635 over 100,000 paintings were produced in Haarlem. Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, and Jan Steen are just a few names form the seventeenth century.

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Date

1510
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Source

The Metropolitan Museum of Art
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