LaurieAnnie's photos with the keyword: PetrusChristus

A Goldsmith in his Shop 1449 Object Details Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444–died 1475/76 Bruges) Date: 1449 Medium: Oil on oak panel Dimensions: Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.110 A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here. Text from: www.metmuseum.org/art/collection/search/459052

A Goldsmith in his Shop 1449 Object Details Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444–died 1475/76 Bruges) Date: 1449 Medium: Oil on oak panel Dimensions: Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.110 A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here. Text from: www.metmuseum.org/art/collection/search/459052

A Goldsmith in his Shop 1449 Object Details Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444–died 1475/76 Bruges) Date: 1449 Medium: Oil on oak panel Dimensions: Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.110 A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here. Text from: www.metmuseum.org/art/collection/search/459052

A Goldsmith in his Shop 1449 Object Details Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444–died 1475/76 Bruges) Date: 1449 Medium: Oil on oak panel Dimensions: Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.110 A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here. Text from: www.metmuseum.org/art/collection/search/459052

A Goldsmith in his Shop 1449 Object Details Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444–died 1475/76 Bruges) Date: 1449 Medium: Oil on oak panel Dimensions: Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.110 A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here. Text from: www.metmuseum.org/art/collection/search/459052

A Goldsmith in His Shop, Possibly Saint Eligius, 1449 Petrus Christus (Netherlandish, active by 1444, died 1475/76) Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Robert Lehman Collection, 1975 (1975.1.110) Justly celebrated as one of the most famous masterpieces of Northern Renaissance art, this work shows a goldsmith in a tiny shop outfitted with the finely wrought civic, secular, and ecclesiastic wares of his trade, displayed on the shelves at the right. Commissioned by the goldsmith's guild of Bruges, the painting is a virtual advertisement of its services. The main figure may be Saint Eligius, patron saint of goldsmiths, as traditionally believed, or a realistic depiction—perhaps even a portrait—of an actual goldsmith in fifteenth-century Bruges. Standing in the goldsmith's shop is an aristocratic young couple in sumptuous garb buying a wedding ring that is being weighed on a small handheld scale. An elaborately displayed sash or girdle used in betrothal ceremonies, a further reference to matrimony, extends over the open ledge of the shop into the space of the viewer. The convex mirror at the right, which reflects the market square beyond the counter, is an even bolder illusionistic device linking the pictorial space to that of the viewer. Seen in the mirror are two dandified male figures, one of whom holds a falcon. Their idleness contrasts markedly to the industriousness of the goldsmith in his tidy, well-stocked shop and is perhaps an allusion to sloth, one of the seven deadly sins. Text from: www.metmuseum.org/works_of_art/collection_database/the_ro...

A Goldsmith in His Shop, Possibly Saint Eligius, 1449 Petrus Christus (Netherlandish, active by 1444, died 1475/76) Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Robert Lehman Collection, 1975 (1975.1.110) Justly celebrated as one of the most famous masterpieces of Northern Renaissance art, this work shows a goldsmith in a tiny shop outfitted with the finely wrought civic, secular, and ecclesiastic wares of his trade, displayed on the shelves at the right. Commissioned by the goldsmith's guild of Bruges, the painting is a virtual advertisement of its services. The main figure may be Saint Eligius, patron saint of goldsmiths, as traditionally believed, or a realistic depiction—perhaps even a portrait—of an actual goldsmith in fifteenth-century Bruges. Standing in the goldsmith's shop is an aristocratic young couple in sumptuous garb buying a wedding ring that is being weighed on a small handheld scale. An elaborately displayed sash or girdle used in betrothal ceremonies, a further reference to matrimony, extends over the open ledge of the shop into the space of the viewer. The convex mirror at the right, which reflects the market square beyond the counter, is an even bolder illusionistic device linking the pictorial space to that of the viewer. Seen in the mirror are two dandified male figures, one of whom holds a falcon. Their idleness contrasts markedly to the industriousness of the goldsmith in his tidy, well-stocked shop and is perhaps an allusion to sloth, one of the seven deadly sins. Text from: www.metmuseum.org/works_of_art/collection_database/the_ro...

A Goldsmith in His Shop, Possibly Saint Eligius, 1449 Petrus Christus (Netherlandish, active by 1444, died 1475/76) Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Robert Lehman Collection, 1975 (1975.1.110) Justly celebrated as one of the most famous masterpieces of Northern Renaissance art, this work shows a goldsmith in a tiny shop outfitted with the finely wrought civic, secular, and ecclesiastic wares of his trade, displayed on the shelves at the right. Commissioned by the goldsmith's guild of Bruges, the painting is a virtual advertisement of its services. The main figure may be Saint Eligius, patron saint of goldsmiths, as traditionally believed, or a realistic depiction—perhaps even a portrait—of an actual goldsmith in fifteenth-century Bruges. Standing in the goldsmith's shop is an aristocratic young couple in sumptuous garb buying a wedding ring that is being weighed on a small handheld scale. An elaborately displayed sash or girdle used in betrothal ceremonies, a further reference to matrimony, extends over the open ledge of the shop into the space of the viewer. The convex mirror at the right, which reflects the market square beyond the counter, is an even bolder illusionistic device linking the pictorial space to that of the viewer. Seen in the mirror are two dandified male figures, one of whom holds a falcon. Their idleness contrasts markedly to the industriousness of the goldsmith in his tidy, well-stocked shop and is perhaps an allusion to sloth, one of the seven deadly sins. Text from: www.metmuseum.org/works_of_art/collection_database/the_ro...

A Goldsmith in His Shop, Possibly Saint Eligius, 1449 Petrus Christus (Netherlandish, active by 1444, died 1475/76) Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 1/2 in. (98 x 85.2 cm) Robert Lehman Collection, 1975 (1975.1.110) Justly celebrated as one of the most famous masterpieces of Northern Renaissance art, this work shows a goldsmith in a tiny shop outfitted with the finely wrought civic, secular, and ecclesiastic wares of his trade, displayed on the shelves at the right. Commissioned by the goldsmith's guild of Bruges, the painting is a virtual advertisement of its services. The main figure may be Saint Eligius, patron saint of goldsmiths, as traditionally believed, or a realistic depiction—perhaps even a portrait—of an actual goldsmith in fifteenth-century Bruges. Standing in the goldsmith's shop is an aristocratic young couple in sumptuous garb buying a wedding ring that is being weighed on a small handheld scale. An elaborately displayed sash or girdle used in betrothal ceremonies, a further reference to matrimony, extends over the open ledge of the shop into the space of the viewer. The convex mirror at the right, which reflects the market square beyond the counter, is an even bolder illusionistic device linking the pictorial space to that of the viewer. Seen in the mirror are two dandified male figures, one of whom holds a falcon. Their idleness contrasts markedly to the industriousness of the goldsmith in his tidy, well-stocked shop and is perhaps an allusion to sloth, one of the seven deadly sins. Text from: www.metmuseum.org/works_of_art/collection_database/the_ro...