THREE-WINGED HOUSALTAR: ADORATION OF THE KINGS Oil on wood.
Height: 101 cm.
Width opened: 138 cm.
Width closed: 69 cm.
First quarter 16th century.
The three panel paintings in original framing, which closes above the central picture after lateral tails at the top semicircular, the side frames correspondingly.
The painter is not yet known by name. The name is therefore an emergency name for a series of works that stylistically so far coincide that one can speak of one hand. In this context, an altarpiece dated 1518, the so-called "Antwerp Retable", which was painted for the Marienkirche in Lübeck, is the starting point that gave rise to this notname. Comparisons of styles allow to assign other works here. Among the possible names that could be named behind this group of works, Jan Mertens, Jan Gossaert or Jan van Dornicke were also mentioned.
It is striking that the vast majority of the works assigned here are thematically similar. Thus, the Adoration of the Magi does not stand alone here. Almost always, ancient Roman arch architecture or ruined arches are assigned to this theme. Here, too, the main scene as well as the side pictures are provided with the same set pieces. This is entirely in keeping with the interest of the Renaissance period, which now wanted to cite antiquity in the north as well. A large stone arch accompanies the scene in the central picture: Mary sits on the right on an antique cornice, holds the child in her hands and bends towards the bearded king, who delivers a golden lidded vessel. His crown over turban and the scepter are laid down on the ground. In the background Joseph in red cloak follows the action. On the left two men in armor, the entourage of the king. The painter has placed the other two royal figures in the two side wings. The assignment of the kings to their names is difficult, since the attributes cannot be clearly distinguished here. The youngest, with African dark skin color dominates the right wing. In the upper parts in each case views in landscapes, with castle complex, ancient arches and buildings. Ox and donkey are represented here only very marginally on the left edge of the picture. The head portrait on the right edge of the middle panel could be a self-portrait of the painter. A.R.
Literature:
S. van Bellingen, De Meester van 1518, in: De Brabantse Folklore 251 (1986), pp. 236-241.
Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), pp. 65-91.
Max J. Friedländer, Die altniederländische Malerei, vol. XI, Berlin 1933. (1302045) (11)
Master of 1518 and workshop
TRIPTYCH: THE ADORATION OF THE MAGIOil on panel.
Height: 101 cm.
Width opened: 138 cm.
Width closed: 69 cm.
First quarter of the 16th century.
The three panel paintings set in an original frame, with semi-circular arched central panel and corresponding frames either side.
Literature:
S. van Bellingen, De Meester van 1518, in: De Brabantse Folklore 251 (1986), p. 236-241.
Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), p. 65-91.
Max J. Friedländer, Die altniederländische Malerei, vol. XI, Berlin 1933.
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