The magnificent altarpiece in the Cathedral of Ghent and the 'Arnolfini Wedding' are masterpieces painted by which 15th.century Flemish artist?
"the 17 panels were displayed for the press. French officials were not invited as the Vichy government had allowed the Germans to remove the painting. The authorized images of the Saint-Bavo's Cathedral : www.lukasweb.be Ghent Altarpiece The Ghent Altarpiece (or the Adoration of the Mystic Lamb, ) is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It is attributed to the brothers Hubert and Jan van Eyck, who were Early Flemish painters. It is considered a masterpiece of European art and one of the world's treasures. The panels are organised in two vertical registers,"
"Arnold of Nijmegen Arnold of Nijmegen (also known as Aert Ortkens, Aert van Hort, Arnoud van Nijmegen, Arnt van Ort van Nijmegen, Arnoult de Nimègue, Arnouldt de la Pointe) (active c. 1490 – c. 1536) was a 15th-century Flemish stained glass artist who worked in both Belgium and France, adopting the Renaissance style and influencing the stained glass workshops of Normandy. His best known works are a series of windows depicting historical subjects in Tournai Cathedral, Belgium. His work is known for its delicate draftsmanship, brilliance of colouring, the rich decoration of robes and detailed architectural settings. He was praised"
"Jan Janssens ""'Jan Janssens"" (August 1590 in Ghent – after 1650) was a Flemish Baroque painter and draftsman who is considered to be the most important of the so-called Ghent Caravaggisti. His altarpieces and other compositions offering very realistic representations of religious motifs adorn many churches in and around Ghent. Jan Janssens was born in Ghent in 1590 as the son of Johannes Govaert Janssens .There is no information available about his training. He was in Rome in the period 1619-1620. Janssens returned to Ghent in 1621 and was admitted to the Ghent Guild of St. Luke as a master."
"Jan Janssens ""'Jan Janssens"" (August 1590 in Ghent – after 1650) was a Flemish Baroque painter and draftsman who is considered to be the most important of the so-called Ghent Caravaggisti. His altarpieces and other compositions offering very realistic representations of religious motifs adorn many churches in and around Ghent. Jan Janssens was born in Ghent in 1590 as the son of Johannes Govaert Janssens .There is no information available about his training. He was in Rome in the period 1619-1620. Janssens returned to Ghent in 1621 and was admitted to the Ghent Guild of St. Luke as a master."
"time he was killed in Ghent by his opponents. He was related to Elisabeth Borluut, who, together with her husband Joos Vijdt, commissioned the creation of the famous ""Ghent Altarpiece"" (1432), which now resides in the 'baptist chapel' from the Saint Bavo Cathedral in Ghent On the façade of a romanesque manor located at the 'Korenmarkt' in Ghent, also called the 'Borluutsteen', you can see the family crest: three running deer. Jan Borluut Jan Borluut (ca. 1250 – murdered, Ghent, before 1306) was a patrician from Ghent. Jan Borluut was born into a rich patrician family of wool merchants, members"
"Master of the Saint Bartholomew Altarpiece The Master of the Saint Bartholomew Altarpiece (sometimes called the Master of the Saint Bartholomew Altar,) was an Early Netherlandish painter active in Germany between 1475/1480 and 1510. Despite his anonymity, he is one of the most recognizable artists of the early Renaissance period in German art. Almost nothing is known of his life, including his name; nevertheless, his hand is distinctive enough that scholars have found it fairly easy to trace his career. His name is derived from an altarpiece dated to between 1505 and 1510, depicting Saint Bartholomew flanked by Saint Agnes"
"in Gent and the town hall of Gent. Jan van Cleve (III) Jan van Cleve (III) or Jan van Cleef (III) (6 January 1646 – 18 December 1716) was a Dutch-born Flemish painter who is known for his altarpieces, allegorical pictures and mythological scenes. He worked in Brussels at the beginning of his career and later moved to Gent. Van Cleve was born in Venlo in the duchy of Guelders. Displaying from an early age an interest and facility in art, he went to Brussels where he joined the workshop of the Flemish artist Luigi Primo who had worked for"
"the Ghent-Bruges school of illuminators. A drawing of preserved at the Christ Church Picture Gallery, Oxford is thought to be a rare surviving autograph drawing by van der Goes. It was possibly a preliminary study for a stained glass window. Hugo van der Goes Hugo van der Goes (probably Ghent c. 1430/1440 – Auderghem 1482) was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and"
"Art historian Noah Charney describes the altarpiece as one of the more coveted and desired pieces of art, the victim of 13 crimes since its installation, and seven thefts. After the French Revolution the altarpiece was among a number of art works plundered in today's Belgium and taken to Paris where they were exhibited at the Louvre. It was returned to Ghent in 1815 after the French defeat at the Battle of Waterloo. The painting's wings (not including the Adam and Eve panels) were pawned in 1815 by the Diocese of Ghent for the equivalent of £240. When the diocese"
"Trinity Altarpiece The Trinity Altarpiece, also known as the Trinity Altar Panels, is a set of four paintings in oil on wood thought to have been commissioned for the Trinity College Kirk in Edinburgh, Scotland, in the late fifteenth century. The work is attributed to the Flemish artist Hugo van der Goes and probably represents the inner and outer panels of the wings of a triptych. The presumed central panel is lost. The painting in the church was described as a ""burd"" on 17 May 1516 when John Stewart, Duke of Albany made an offering at the high altar on"
"Master of 1518 The Master of 1518 is a Flemish painter belonging to the stylistic school of Antwerp Mannerism. A group of unsigned paintings is attributed to this artist on stylistic grounds, and his name is derived from the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church in Lübeck Germany. Although this artist’s identity is not known with certainty, some scholars believe that the Master of 1518 was either Jan Mertens the Younger or Jan van Dornicke, or that all three were the same person. His paintings"
"van Haarlem (‘’Le Première Famille’’, 1589, one of the masterpieces, and ‘’Adam et Eve au paradis terrestre’’, 1625), Pieter Bruegel le Jeune (‘’La Danse de noce’’), Joos de Momper, Rubens (‘’The Martyre de Sainte Lucie’’, around 1620), Jacob Jordaens (‘’Mater Dolorosa’’, 1617-1620), David Vinckboons, Frans II Francken, Jan Van Bijlert (‘’Femme et Enfant’’, around 1630), Pieter De Grebber (‘’La Vierge enseignant à lire à l'Enfant Jésus’’, around 1630), Jacques d'Arthois, Abraham Govaerts, Jan Van Goyen, Jan Van Kessel, Otto Marseus van Schrieck (‘’Chardons, Ecureuil, Reptiles et Insectes’’, around 1660), Nicolas Maes (‘’Portrait d’une Jeune Femme’’, around 1676), Ferdinand Bol, Gérard"
"Master of the Stauffenberg Altarpiece The Master of the Stauffenberg Altarpiece () is a 15th-century Anonymous Master from Alsace or nearby who was stylistically influenced by Rogier van der Weyden. His name derives from a triptych kept in the Unterlinden Museum, Colmar, since its creation. The altarpiece was painted between 1454 and 1460 at the behest of Hans Erhard Bock von Stauffenberg, the bailiff of Rouffach, and his wife Aennelin of Oberkirch, 1454 being the year of the couple's marriage and 1460 being the year in which Aennelin is first documented as a widow. The two donors are depicted on"
"The altarpiece depicting Saint Catherine and Saint Lawrence (c. 1510) and sculptures from the Late Middle Ages rounded out the presentation. Isenheim Altarpiece The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Niclaus of Haguenau and Matthias Grünewald in 1512–1516. It is on display at the Unterlinden Museum at Colmar, Alsace, in France. The museum celebrated the 500th anniversary of the work in 2012. It is Grünewald's largest work, and is regarded as his masterpiece. It was painted for the Monastery of St. Anthony in Isenheim near Colmar, which specialized in hospital work. The Antonine monks"
"Holy Spirit. The altarpiece is one of the most renowned and important artworks in European history. Art historians generally agree that the overall structure was designed by Hubert during or before the mid 1420s, and that the panels were painted by his younger brother Jan between 1430 and 1432. However while generations of art historians have attempted to attribute specific passage to either brother, no convincing separation has been established. The altarpiece was commissioned by the merchant and Ghent mayor Jodocus Vijd and his wife Lysbette as part of a larger project for the Saint Bavo Cathedral chapel. The altarpiece's"
"Jan van Cleve (III) Jan van Cleve (III) or Jan van Cleef (III) (6 January 1646 – 18 December 1716) was a Dutch-born Flemish painter who is known for his altarpieces, allegorical pictures and mythological scenes. He worked in Brussels at the beginning of his career and later moved to Gent. Van Cleve was born in Venlo in the duchy of Guelders. Displaying from an early age an interest and facility in art, he went to Brussels where he joined the workshop of the Flemish artist Luigi Primo who had worked for a long period of time in Italy. He"
"Hugo van der Goes Hugo van der Goes (probably Ghent c. 1430/1440 – Auderghem 1482) was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. The presence of his masterpiece, the Portinari Triptych in Florence, from 1483 onwards played a role in the development of realism and the use of colour in Italian Renaissance art. Hugo van der Goes was likely"
"Jan Van Eyck's ""Arnolfini portrait"", a carving of St. Margaret of Antioch (patron saint of childbirth) appears in the center background of the painting. The presence of this symbol in the painting either promises fertility in the marriage or announces the pregnancy of the bride. Paula Modersohn-Becker's series of self-portraits showing her pregnant even before she had actually been so represent her fertility. Rembrandt's ""The Jewish Bride"" is a painting of a couple joined in love. Despite the title, none of the subjects in the painting are Jewish. The Painting portrays the fertility of the young couple, particularly that of"
"Isenheim Altarpiece The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Niclaus of Haguenau and Matthias Grünewald in 1512–1516. It is on display at the Unterlinden Museum at Colmar, Alsace, in France. The museum celebrated the 500th anniversary of the work in 2012. It is Grünewald's largest work, and is regarded as his masterpiece. It was painted for the Monastery of St. Anthony in Isenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as their treatment of skin diseases, such as"
"Master of Delft The Master of Delft (fl –1520) was a Dutch painter. He may have been born in 1470. His style can be compared to the Master of the Virgo inter Virgines, who was believed to have been active in Delft. The Master of Delft can be connected to Delft by the inclusion of the Nieuwe Kerk tower, which was completed in 1496, in the background of his early ""Crucifixion"" triptych. He can also be connected with Delft by a pair of altarpiece wings painted in the Master's workshop circa 1510, which had the arms and portraits of the"
"of the ""Karmeliterkloster"" (Carmelite Monastery). The paintings, of which only fragments survive, are the largest wall paintings known to the north of the Alps from that period. His most famous work is the Herrenberg Altarpiece, completed in 1521. It was originally painted for the ""Stiftskirche"" (abbey church) of Herrenberg. Today, it is on display in the Staatgalerie at Stuttgart. Ratgeb had developed a distinctive personal expressive style, visibly influenced by artists such as Albrecht Dürer, Matthias Grünewald and Hieronymus Bosch. Because of his marriage with a serf of the Duke of Württemberg he lost most of his rights as a"
"is often regarded as an overgenerous fraternal tribute. Given the circumstances, the Ghent Altarpiece is a difficult work to use for comparison when assessing other attributions, especially as several other artists from the brothers' workshops probably worked on it as well. The town magistrates of Ghent visited his workshop in 1425; the city had commissioned two designs for a painting from him. He died on 18 September 1426, probably still in his thirties, and was buried in Saint Bavo’s Cathedral, next to his sister Margareta according to the 16th-century writer van Vaernewijck, who says she was also a painter and"
"are primarily crowded depictions of religious scenes combining Gothic and Renaissance styles. He frequently incorporated elaborate clothing and architectural ruins. Master of 1518 The Master of 1518 is a Flemish painter belonging to the stylistic school of Antwerp Mannerism. A group of unsigned paintings is attributed to this artist on stylistic grounds, and his name is derived from the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church in Lübeck Germany. Although this artist’s identity is not known with certainty, some scholars believe that the Master of 1518"
"in 1432. The original, very ornate carved outer frame and surround, presumably harmonizing with the painted tracery, was destroyed during the Reformation; it may have included clockwork mechanisms for moving the shutters and even playing music. The altarpiece was commissioned by the merchant Jodocus Vijd, then Mayor of Ghent, and his wife Lysbette as part of a larger project for the Saint Bavo Cathedral chapel. The installation of the altarpiece was officially celebrated on 6 May 1432. It was much later moved for security reasons to the principal cathedral chapel, where it remains. Art historians generally agree that the overall"
"painted by, among others, Giotto, Perugino, Raphael, Ventura Salimbeni (1613, his last painting), Domenico Ghirlandaio (1485-90, at the Tornabuoni Chapel), Bernardo Daddi (now in the Royal Collection), Pieter van Lint (1640, Antwerp Cathedral), Tiburzio Baldini, Alfonso Rivarola, Francesco Caccianiga, Niccolò Berrettoni, Giovanni Jacopo Caraglio, Filippo Bellini, Veronese (in San Polo church, Venice), Giulio Cesare Milani, Franciabigio (in the Santissima Annunziata, Florence), and Giacomo di Castro. Marriage of the Virgin The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Mary and Saint Joseph. The marriage is not mentioned in the canonical Gospels but"
"smoother transitions and a lighter palette. A good example of this is ""The Mystical Marriage of Saint Catherina"" (Saint James's Church, Antwerp). This late style approaches the later work of Rubens, with whom he collaborated in the realization of the decorations for the Joyous Entry of Cardinal-Infante Ferdinand in Antwerp in 1635. A late work directly influenced by Rubens is the """" (1636, St Bavo's Cathedral, Ghent), which directly cites of roughly two decades earlier (Antwerp Cathedral). Theodoor Rombouts Theodoor Rombouts (2 July 1597 – 14 September 1637) was a Flemish painter who is mainly known for his Caravaggesque genre"
"and flowers. The side panels are 132 cm high by 43.1 and 43.2 cm wide. They show the donors and their children - on the left panel is Jan de Trompes, treasurer of Bruges, being presented by John the Baptist, his name saint, whilst his second wife Elisabeth van der Meersch is shown being presented by her name saint, John the Baptist's mother saint Elizabeth. The Baptism of Christ (David) The Baptism of Christ or the Jan des Trompes Triptych is an altarpiece painted between 1502 and 1508 by the Flemish painter Gerard David. It is now held by the"
"this double-winged altar depict the life of Saint Nicholas, the central part and the unfolded wings expose over thirty wooden sculptures forming the so-called gallery of saints. Several other altarpieces from the same period can be mentioned: the altar of St. Mary from 1500 by the Master of the Legend of Saint Lucy; the altar of the Holy Kin from about 1490, made at Jan Borman’s workshop in Brussels; or the altar of Christ's Passion, made at the beginning of the 16th century by the Brugge master Adrian Isenbrandt at the order of the powerful Brotherhood of Blackheads. A single"
"Seven Sacraments Altarpiece The Seven Sacraments Altarpiece is a fixed-wing triptych by the Early Netherlandish artist Rogier van der Weyden and his workshop. It was painted from 1445 to 1450, probably for a church in Poligny (Max J. Friedländer claimed that it was commissioned by the Bishop Jean Chevrot), and is now in the Royal Museum of Fine Arts, Antwerp. It depicts the seven sacraments of the Roman Catholic Church. On the left panel are baptism, confirmation and confession and on the right hand panel the ordination of a priest, marriage and the last rites. The central panel (possibly the"
"Monforte Altarpiece The Monforte Altarpiece (c. 1470) is an oil on oak panel painting of the Adoration of the Magi by the Flemish painter Hugo van der Goes, now in the Gemäldegalerie, Berlin, Germany. The altarpiece was originally the central panel of a triptych with movable wings that are now lost; these were probably painted on both sides. This is shown by the hinges remaining in the original frame. Old copies of the work show the Nativity and Circumcision of Jesus on the wing panels. The central panel has been reduced in size at the top. The work takes its"
"name of Pieter Gerritsz, originally of Haarlem, has been proposed, he being in Alkmaar beginning in 1502. This artist, in 1518, was compensated for a painting of Saint Bavo in Haarlem, and his name can be found in records of the Egmond Abbey and of the church of Saint Lawrence in Alkmaar, over a period covering the years 1515 to 1529. The Seven Works of Mercy (Master of Alkmaar) The Seven Works of Mercy is a 1504 oil on panel painting by the Master of Alkmaar, consisting of seven panels, each showing one of the works of mercy. The paintings"
"Jan Snellinck Jan Snellinck or Jan Snellinck (I) (Mechelen, c. 1548 – Antwerp, 1 October 1638) was a Flemish painter, draughtsman and designer of tapestries, prints and frescoes. He is known for his large altarpieces and was also recognized as a leading battle painter in his time. Snellinck was active as an art dealer and art collector. Jan Snellinck was born in Mechelen as the son of Daniël Snellinck I, a painter and hawker, and Cornelia Verhulst (alias: Bessemeers). His mother came from a family of established artists in Mechelen. Her father and numerous uncles were painters. Her sister Mayken"
"the court painter of Federico da Montefeltro, the Duke of Urbino, van der Goes became the leading painter in Ghent. In 1473 the Burgundian court paid van der Goes for creating the blazons used at Charles the Good's funeral. The painter was repeatedly elected as deacon of the painter's guild of Ghent and served as its deacon from 1474 to 1476. It was during this period that Hugo van der Goes painted the Adoration of the Magi (also known as the Monforte Altarpiece (Gemäldegalerie, Berlin)) and worked on the commission of Tommaso Portinari for the Portinari Altarpiece (Uffizi, Florence), which"