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15 PAOLO JEAN BAPTISTE SE RETIRANT DANS LE SE
15 RUBIEV ST JEAN LE PRECURSEUR MOSCOU M R
15 RUSSIAN ICON. ST. JOHN THE BAPTIST
15 SELLAIO JOHN THE BAPTIST WASHINGTON NMA
15 VINCI JOHN THE BAPTIST2
  15 WEYDEN ST JOHN ALTARPIECE 3 SCENES.jpg - 15 Weyden St John Altarpiece_3 scenes 1455-60 Oil on oak panel, 77 x 48 cm (each panel) Staatliche Museen, Berlin The sequence of panels, from left to right, corresponds to the sequence of events. The baptism of Christ, the most important action performed by John the Baptist, comes in the central panel between his naming (left) and his execution (right). Christ is thus at the exact center of the entire altarpiece. The archivolt reliefs narrate events connected with each of the main scenes below them, and the statues in the wall niches represent the Twelve Apostles. Van der Weyden constructed the portal to look like that of a real church. The grisaille paintings portray archivolt figures as well as saints in scenes which parallel the main motifs. The church façade is therefore not only a holy place, but also a pictorial element that sets the event firmly in a biblical context. At the same time, the spiritual world becomes accessible to the secular world: scenes appear from everyday life and the view gives on to a vista that includes a landscape and a town in the distance. It is here that van der Weyden's concept of art meets van Eyck's. The sacred fuses with the everyday and it is towards the latter that the holy events are oriented. The differences between the two artists cannot of course be ignored: while van Eyck's treatment of the contact between the sacred and the secular was free and light, van der Weyden insisted on a strict separation. The St John Altarpiece represents a new version of the Miraflores Altarpiece (Staatliche Museen, Berlin) in its pictorial construction. As in the Miraflores Altarpiece, three portals are decorated with relief and sculptural ornamentation, complementing the narrative content. Interestingly, however, parts of the real frame no longer run three-dimensionally across the panels, enhancing the plasticity of the painted architecture; instead, the impression is of a relatively shallow façade set sligh  
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16 ANDREA DEL SARTO BAPTISM OF THE PEOPLE
16 BACHIAGGA PREACHING OF ST JOHN THE B DETAI
16 BACHIAGGA PREACHING OF ST JOHN THE B
16 BREUGHEL THE ELDER LANDSCAPE WITH ST JOHN

15 Weyden St John Altarpiece_3 scenes 1455-60 Oil on oak panel, 77 x 48 cm (each panel) Staatliche Museen, Berlin The sequence of panels, from left to right, corresponds to the sequence of events. The baptism of Christ, the most important action performed by John the Baptist, comes in the central panel between his naming (left) and his execution (right). Christ is thus at the exact center of the entire altarpiece. The archivolt reliefs narrate events connected with each of the main scenes below them, and the statues in the wall niches represent the Twelve Apostles. Van der Weyden constructed the portal to look like that of a real church. The grisaille paintings portray archivolt figures as well as saints in scenes which parallel the main motifs. The church façade is therefore not only a holy place, but also a pictorial element that sets the event firmly in a biblical context. At the same time, the spiritual world becomes accessible to the secular world: scenes appear from everyday life and the view gives on to a vista that includes a landscape and a town in the distance. It is here that van der Weyden's concept of art meets van Eyck's. The sacred fuses with the everyday and it is towards the latter that the holy events are oriented. The differences between the two artists cannot of course be ignored: while van Eyck's treatment of the contact between the sacred and the secular was free and light, van der Weyden insisted on a strict separation. The St John Altarpiece represents a new version of the Miraflores Altarpiece (Staatliche Museen, Berlin) in its pictorial construction. As in the Miraflores Altarpiece, three portals are decorated with relief and sculptural ornamentation, complementing the narrative content. Interestingly, however, parts of the real frame no longer run three-dimensionally across the panels, enhancing the plasticity of the painted architecture; instead, the impression is of a relatively shallow façade set sligh | 15 WEYDEN ST JOHN ALTARPIECE 3 SCENES.jpg
Nombre total d'images: 131 | Dernière mise à jour: 06/02/08 17:40 | Aide