LaurieAnnie's photos with the keyword: diptych

Entourage de Jan VAN EYCK Maaseyck, vers 1390-1395 - Bruges, 1441 (16th-century pastiche?) Saint John the Baptist and Virgin and Child H. 0.37 m; W. 0.22 m These paintings on the inside surfaces of a small diptych feature imitation sculptures in grisaille. The outer surfaces were originally painted in imitation porphyry, but later transformed into imitation binding. The subject is close to the Annunciation, but less traditional: the Precursor, on the left, announces the Incarnation in the person of the Virgin holding Jesus. In formal terms, the diptych is derived from van Eyck's Annunciation (Thyssen Foundation, Madrid), but it does not have the same sculptural quality and was probably painted, like the Saint John the Baptist in the Cleveland Museum of Art, by a follower who was active in around 1440 and close to Petrus Christus. Collection of the American painter Walter Gay; gift of his widow, 1937 Department of Paintings R.F. 1938-22 Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=23991&langue=en

Entourage de Jan VAN EYCK Maaseyck, vers 1390-1395 - Bruges, 1441 (16th-century pastiche?) Saint John the Baptist and Virgin and Child H. 0.37 m; W. 0.22 m These paintings on the inside surfaces of a small diptych feature imitation sculptures in grisaille. The outer surfaces were originally painted in imitation porphyry, but later transformed into imitation binding. The subject is close to the Annunciation, but less traditional: the Precursor, on the left, announces the Incarnation in the person of the Virgin holding Jesus. In formal terms, the diptych is derived from van Eyck's Annunciation (Thyssen Foundation, Madrid), but it does not have the same sculptural quality and was probably painted, like the Saint John the Baptist in the Cleveland Museum of Art, by a follower who was active in around 1440 and close to Petrus Christus. Collection of the American painter Walter Gay; gift of his widow, 1937 Department of Paintings R.F. 1938-22 Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=23991&langue=en

Jan GOSSAERT (sometimes known as MABUSE) (Maubeuge?, c. 1478 - Middelburg or Antwerp, 1532) Diptych of Jean Carondelet 1517 H. 0.42 m; W. 0.27 m Acquired from the architect Bernard, Valenciennes, 1847 , 1847 Left panel: Jean Carondelet (1469-1544); on the reverse, coat of arms, number (IC), and model's motto. Right panel: Virgin and Child; on the reverse, Trompe-l'il death's head. INV. 1442, INV. 1443 In 1517, this cleric, who was an important official in the Dutch government, accompanied the future Charles V to Spain. The diptych was possibly painted on this occasion as a sort of ex-voto, with the moral of trusting in God and the Virgin Mary and being lucid in the face of death. Text from: www.louvre.fr/en/oeuvre-notices/diptych-jean-carondelet

Jan GOSSAERT (sometimes known as MABUSE) (Maubeuge?, c. 1478 - Middelburg or Antwerp, 1532) Diptych of Jean Carondelet 1517 H. 0.42 m; W. 0.27 m Acquired from the architect Bernard, Valenciennes, 1847 , 1847 Left panel: Jean Carondelet (1469-1544); on the reverse, coat of arms, number (IC), and model's motto. Right panel: Virgin and Child; on the reverse, Trompe-l'il death's head. INV. 1442, INV. 1443 In 1517, this cleric, who was an important official in the Dutch government, accompanied the future Charles V to Spain. The diptych was possibly painted on this occasion as a sort of ex-voto, with the moral of trusting in God and the Virgin Mary and being lucid in the face of death. Text from: www.louvre.fr/en/oeuvre-notices/diptych-jean-carondelet

Gerard David Netherlandish, ca. 1455-1523 Christ Bearing the Cross and the Crucifixion; The Resurrection and the Pilgrims at Emmaus, ca. 1505 From the Robert Lehman Collection, Accession # 1975.1.119 Text from the Metropolitan Museum of Art label.

Gerard David Netherlandish, ca. 1455-1523 Archangel Gabriel; The Virgin Annunciate, ca. 1505 From the Robert Lehman Collection, Accession # 1975.1.120 Text from the Metropolitan Museum of Art label.

Gerard David Netherlandish, ca. 1455-1523 Archangel Gabriel; The Virgin Annunciate, ca. 1505 From the Robert Lehman Collection, Accession # 1975.1.120 Text from the Metropolitan Museum of Art label.

Ivory Diptych with Scenes from Christ's Passion Carved in France, about 1350 Accession # 17.190.208 This diptych depicts key events in the final week of Jesus' earthly life: the festival Entry into Jerusalem and the Last Supper of Jesus and his followers (upper level); and the Betrayal of Jesus to the authorities by his disciple Judas Iscariot and the Crucifixion itself (lower level). Text from the Metropolitan Museum of Art label.

Painted Ivory Diptych Carved in France or northern Spain, about 1340-1360 Accession # 17.190.291, .292 A considerable amount of paint remains on this diptych-- an important reminder that bright color originally covered the pure ivory surfaces. Text from the Metropolitan Museum of Art label.

Boxwood Diptych with the Mass of Saint Gregory, the Crucifixion, the Annunciation, and the Nativity Carved in the South Lowlands, about 1490-1510 Accession # 17.190.476 While celebrating Communion, Saint Gregory beheld Christ as the Man of Sorrows, surrounded by the instruments with which he was tortured before his death on the cross. The saint's vision and Communion itself demonstrate the personal connection between Christ and the faithful that is the aim of many medieval private devotional practices. This diptych has the very rare feature of inscriptions drawn from the writings of the Church fathers rather than the Bible. Text from the Metropolitan Museum of Art label.

Leaf of an Ivory Diptych with the Adoration of the Magi Traces of paint and gilding French, Paris Carved 1300-1325 Accession # 32.100.205 Text from the Metropolitan Museum of Art label.

Diptych of the Consul Justinian, 521 Byzantine; Made in Constantinople Ivory; Overall: 13 7/8 x 5 3/8 x 3/8 in. (35.2 x 13.7 x 1 cm) Gift of J. Pierpont Morgan, 1917 (17.190.53) Justinian, who would be the greatest emperor of the early Byzantine period, presented these handsome ivory panels to a member of the Roman senate announcing his election as consul. The title, now largely honorific, was once that of the supreme magistrate of the Roman Republic. Once hinged together with the names of the other consuls inscribed in wax on the interior, they were probably presented as an invitation to the great public games that the new consuls hosted in Constantinople's hippodrome (stadium). The elegantly carved classical motifs focus attention on the inscriptions written in Latin, still the official language of the Empire. Justinian was appointed consul for the East in 521, six years before he became emperor. To celebrate his appointment, he had diptychs, including this one, made for presentation to members of the Senate. Such ivory diptychs were popular in the early Byzantine Empire. This refined, simply carved example announces Justinian's appointment in Latin at the top of each wing, with a running inscription addressed to the senators in an elaborately bordered medallion in the center of each wing. At the four corners of each wing, lions' heads emerge from the centers of lush acanthus leaves. The soft, tactile quality of the acanthus stands in marked contrast to the abstract decorative medallions. In comparison with other consular diptychs, this example is relatively plain, since it was given to members of the Senate: higher government officials would have received more elaborately carved examples. The fact that three such diptychs presented by Justinian survive is certainly due to the subsequent political importance of the man whose consulship they proclaim. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie... and www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie...

Diptych of the Consul Justinian, 521 Byzantine; Made in Constantinople Ivory; Overall: 13 7/8 x 5 3/8 x 3/8 in. (35.2 x 13.7 x 1 cm) Gift of J. Pierpont Morgan, 1917 (17.190.53) Justinian, who would be the greatest emperor of the early Byzantine period, presented these handsome ivory panels to a member of the Roman senate announcing his election as consul. The title, now largely honorific, was once that of the supreme magistrate of the Roman Republic. Once hinged together with the names of the other consuls inscribed in wax on the interior, they were probably presented as an invitation to the great public games that the new consuls hosted in Constantinople's hippodrome (stadium). The elegantly carved classical motifs focus attention on the inscriptions written in Latin, still the official language of the Empire. Justinian was appointed consul for the East in 521, six years before he became emperor. To celebrate his appointment, he had diptychs, including this one, made for presentation to members of the Senate. Such ivory diptychs were popular in the early Byzantine Empire. This refined, simply carved example announces Justinian's appointment in Latin at the top of each wing, with a running inscription addressed to the senators in an elaborately bordered medallion in the center of each wing. At the four corners of each wing, lions' heads emerge from the centers of lush acanthus leaves. The soft, tactile quality of the acanthus stands in marked contrast to the abstract decorative medallions. In comparison with other consular diptychs, this example is relatively plain, since it was given to members of the Senate: higher government officials would have received more elaborately carved examples. The fact that three such diptychs presented by Justinian survive is certainly due to the subsequent political importance of the man whose consulship they proclaim. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie... and www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie...

Diptych of the Consul Justinian, 521 Byzantine; Made in Constantinople Ivory; Overall: 13 7/8 x 5 3/8 x 3/8 in. (35.2 x 13.7 x 1 cm) Gift of J. Pierpont Morgan, 1917 (17.190.53) Justinian, who would be the greatest emperor of the early Byzantine period, presented these handsome ivory panels to a member of the Roman senate announcing his election as consul. The title, now largely honorific, was once that of the supreme magistrate of the Roman Republic. Once hinged together with the names of the other consuls inscribed in wax on the interior, they were probably presented as an invitation to the great public games that the new consuls hosted in Constantinople's hippodrome (stadium). The elegantly carved classical motifs focus attention on the inscriptions written in Latin, still the official language of the Empire. Justinian was appointed consul for the East in 521, six years before he became emperor. To celebrate his appointment, he had diptychs, including this one, made for presentation to members of the Senate. Such ivory diptychs were popular in the early Byzantine Empire. This refined, simply carved example announces Justinian's appointment in Latin at the top of each wing, with a running inscription addressed to the senators in an elaborately bordered medallion in the center of each wing. At the four corners of each wing, lions' heads emerge from the centers of lush acanthus leaves. The soft, tactile quality of the acanthus stands in marked contrast to the abstract decorative medallions. In comparison with other consular diptychs, this example is relatively plain, since it was given to members of the Senate: higher government officials would have received more elaborately carved examples. The fact that three such diptychs presented by Justinian survive is certainly due to the subsequent political importance of the man whose consulship they proclaim. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie... and www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie...

Diptych of the Consul Justinian, 521 Byzantine; Made in Constantinople Ivory; Overall: 13 7/8 x 5 3/8 x 3/8 in. (35.2 x 13.7 x 1 cm) Gift of J. Pierpont Morgan, 1917 (17.190.53) Justinian, who would be the greatest emperor of the early Byzantine period, presented these handsome ivory panels to a member of the Roman senate announcing his election as consul. The title, now largely honorific, was once that of the supreme magistrate of the Roman Republic. Once hinged together with the names of the other consuls inscribed in wax on the interior, they were probably presented as an invitation to the great public games that the new consuls hosted in Constantinople's hippodrome (stadium). The elegantly carved classical motifs focus attention on the inscriptions written in Latin, still the official language of the Empire. Justinian was appointed consul for the East in 521, six years before he became emperor. To celebrate his appointment, he had diptychs, including this one, made for presentation to members of the Senate. Such ivory diptychs were popular in the early Byzantine Empire. This refined, simply carved example announces Justinian's appointment in Latin at the top of each wing, with a running inscription addressed to the senators in an elaborately bordered medallion in the center of each wing. At the four corners of each wing, lions' heads emerge from the centers of lush acanthus leaves. The soft, tactile quality of the acanthus stands in marked contrast to the abstract decorative medallions. In comparison with other consular diptychs, this example is relatively plain, since it was given to members of the Senate: higher government officials would have received more elaborately carved examples. The fact that three such diptychs presented by Justinian survive is certainly due to the subsequent political importance of the man whose consulship they proclaim. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie... and www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie...

DIptych with New Testament scenes Elephant Ivory Southern Germany, 1350-1375 Accession # 1970.324.8 a,b The densely packed scenes on this diptych depict events from the New Testament, the Apocrypha, and the lives of the saints. Text abridged from the Cloisters label.

Diptych with the Nativity and the Crucifixion Elephant ivory North French or German, Rhenish under French influence, ca. 1350-1370 Accession # 11.203 Text from the Cloisters label.

Lichtenstein, Roy, Imperfect Diptych [from the Imperfect Series], 1988, Woodcut, screen print, and collage on museum board; overall: 57 7/8 in x 97 3/4 in; 147.0025 cm x 248.285 cm. Gift of Sidney Stolz and David Hatfield, 2009. Works on Paper, 2009.005.0001, American. Text from the Phillips Collection website.