Brügger Meister, um 1510/ 1520 Lot n° 249

DEPARTURE OF THE CROSS CHRIST Oil on wood. 111 x 109 cm. In partially gilded profiled frame. Mount Golgata is depicted as a green hilly plain and the scene of the taking down of the cross in the foreground is embedded in two other incidents from the salvation history of Jesus. Thus, on the left in the background is the resurrection of Christ, while on the right in the middle ground is his appearance to Mary Magdalene, who at first mistakes him for a gardener. Behind the cross and connecting the two scenes located in the middle ground is an ideal representation of Jerusalem. In style and conception, the painting offered here follows the model of Rogier van der Weyden, as does a painting attributed to Joos van Cleve (RKD number 42467) and held in the Philadelphia Museum of Art Inv.No. 373 (see comparative illustration). Essentially, the painters of the American painting and ours follow the compositional model of Rogier van der Weyden in the Prado (Inv.No. P002825), while the gold ground is replaced - as in Joos van Cleve - by a landscape in the Flemish taste of the 16th century. Rest. (1300531) (13) Master from Bruges, ca. 1510/ 1520 THE DEPOSITION FROM THE CROSSOil on panel. 111 x 109 cm. In partly gilt profiled frame. Mount Calvary is depicted as a green hilly plain and the scene of the Deposition from the Cross in the foreground is embedded in two other events from Jesus' salvation history, which follow later. Christ's resurrection is shown in the background on the left, while the middle ground on the right shows his appearance before Mary Magdalene, who initially thinks he is a gardener. An idealized representation of Jerusalem can be seen behind the cross, connecting the two scenes in the middle ground. The style and concept of the painting on offer for sale here follows the example of Rogier van der Weyden, as does a painting attributed to Joos van Cleve (RKD no. 42467) held at the Philadelphia Museum of Art inv. no. 373 (see comparison image). Essentially, the painters of the American painting and the present painting follow the compositional model of Rogier van der Weyden held at the Prado (inv. no. P002825), while the gold background - as in paintings by Joos van Cleve - is replaced by a 16th century Flemish-style landscape. Restored.