CHRISTUS, PetrusNetherlandish Northern Renaissance Painter, ca.1410-1473 | |||
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Annunciation and Nativity jkhj Anunciación y Navidad Pintura Identificación:: 6021 Vea nuestra galería en Suecia |
Anunciación y Navidad 1452 Wood, 134 x 56 cm Staatliche Museen, Berlin 1452 Madera, 134 x 56 cm Staatliche Museo, Berlin 1452 Wood,_134_x_56_cm Staatliche_Museen,_Berlin |
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The Last Judgement hj el último Juicio hj Pintura Identificación:: 6022 Vea nuestra galería en Suecia |
el último Juicio hj 1452 Oil on wood Staatliche Museen, Berlin 1452 Óleo en Madera Staatliche Museo, Berlin 1452 Oil_on_wood Staatliche_Museen,_Berlin |
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Annunciation Pintura Identificación:: 63946 Vea nuestra galería en Suecia |
Annunciation 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges Petrus Christus belonged to the same generation as Van der Weyden, but was perhaps a little younger. He came to Bruges from North Brabant, possibly after completing his initial training in Haarlem. His style is strongly modelled on that of Van Eyck and so there is good reason for suspecting he was Jan's apprentice, even though he did not purchase free citizenship of Bruges until three years after his putative master's death. The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Annunciation , 1451-1500 , Flemish , painting , religious 1452_Wood,_85,5_x_54,8_cm_Groeninge_Museum,_Bruges_Petrus_Christus_belonged_to_the_same_generation_as_Van_der_Weyden,_but_was_perhaps_a_little_younger._He_came_to_Bruges_from_North_Brabant,_possibly_after_completing_his_initial_training_in_Haarlem._His_style_is_strongly_modelled_on_that_of_Van_Eyck_and_so_there_is_good_reason_for_suspecting_he_was_Jan's_apprentice,_even_though_he_did_not_purchase_free_citizenship_of_Bruges_until_three_years_after_his_putative_master's_death._The_two_panels_by_Christus,_the_Annunciation_and_the_Nativity_were_quite_badly_worn,_but_painstakingly_restored._Both_of_them_are_signed_and_dated_(1452)_and_were_probably_painted_as_part_of_a_triptych_or_polyptych._They_reveal_Christus_as_a_precise_designer_of_space_and_moulder_of_volumes._The_figures_in_the_Annunciation_resemble_statues_arranged_in_a_geometrically_constructed_show-case._It_is_the_first_painting_in_the_Netherlands_with_a_correct_central_perspective._,__Artist:_CHRISTUS,_Petrus_,___Annunciation_,___1451-1500_,___Flemish_,___painting_,___religious |
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Nativity Pintura Identificación:: 63947 Vea nuestra galería en Suecia |
Nativity 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Nativity , 1451-1500 , Flemish , painting , religious 1452_Wood,_85,5_x_54,8_cm_Groeninge_Museum,_Bruges_The_two_panels_by_Christus,_the_Annunciation_and_the_Nativity_were_quite_badly_worn,_but_painstakingly_restored._Both_of_them_are_signed_and_dated_(1452)_and_were_probably_painted_as_part_of_a_triptych_or_polyptych._They_reveal_Christus_as_a_precise_designer_of_space_and_moulder_of_volumes._The_figures_in_the_Annunciation_resemble_statues_arranged_in_a_geometrically_constructed_show-case._It_is_the_first_painting_in_the_Netherlands_with_a_correct_central_perspective._,__Artist:_CHRISTUS,_Petrus_,___Nativity_,___1451-1500_,___Flemish_,___painting_,___religious |
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Potrait of a Carthusian Pintura Identificación:: 63970 Vea nuestra galería en Suecia |
Potrait of a Carthusian 1446 Oil on wood, 29,2 x 21,6 cm Metropolitan Museum of Art, New York In 1444, three years after the death of Jan van Eyck, Petrus Christus left his homeland in the northern Netherlands to settle in Bruges. This portrait, one of Christus's earliest signed and dated works, shows van Eyck's influence in the technical virtuosity of the trompe-l'oeil fly and the carved inscription. The sitter, once transformed into a saint by the addition of a halo, is an unknown lay brother of the Carthusian order. The fly is a symbol of decay, a reminder of man's mortality, but it also greatly enhances the fiction of a real person gazing at us from behind a stone ledge in which Christus's signature appears as an incised inscription. , Artist: CHRISTUS, Petrus , Potrait of a Carthusian , 1451-1500 , Flemish , painting , portrait 1446_Oil_on_wood,_29,2_x_21,6_cm_Metropolitan_Museum_of_Art,_New_York_In_1444,_three_years_after_the_death_of_Jan_van_Eyck,_Petrus_Christus_left_his_homeland_in_the_northern_Netherlands_to_settle_in_Bruges._This_portrait,_one_of_Christus's_earliest_signed_and_dated_works,_shows_van_Eyck's_influence_in_the_technical_virtuosity_of_the_trompe-l'oeil_fly_and_the_carved_inscription._The_sitter,_once_transformed_into_a_saint_by_the_addition_of_a_halo,_is_an_unknown_lay_brother_of_the_Carthusian_order._The_fly_is_a_symbol_of_decay,_a_reminder_of_man's_mortality,_but_it_also_greatly_enhances_the_fiction_of_a_real_person_gazing_at_us_from_behind_a_stone_ledge_in_which_Christus's_signature_appears_as_an_incised_inscription._,__Artist:_CHRISTUS,_Petrus_,___Potrait_of_a_Carthusian_,___1451-1500_,___Flemish_,___painting_,___portrait |
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| Artista Previo Próximo Artista | ||||||||||
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| CHRISTUS, Petrus | ||||||||||
| Netherlandish Northern Renaissance Painter, ca.1410-1473 | ||||||||||
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