Full title | Saint Paul and a Donatrix |
---|---|
Artist | Followers of Gerard David |
Artist dates | active 1484; died 1523 |
Series | Two Shutters from a Triptych |
Date made | probably about 1515 |
Medium and support | Oil on oak |
Dimensions | 81.2 x 26.4 cm |
Acquisition credit | Bought, 1860 |
Inventory number | NG657.2 |
Location | Not on display |
Collection | Main Collection |
A well-dressed woman, hands folded in prayer, kneels in what was once the right wing of a triptych (a painting in three parts). Behind her is Saint Paul. The other wing, also in the National Gallery’s collection, shows her husband kneeling with Saint Peter. The central panel is missing, but it was presumably a scene from sacred history. We don't know who the two donors were, but they were clearly wealthy people.
On the back, visible when the altarpiece was closed, is Saint Nicholas of Myra, painted in grisaille (shades of black, white and grey) to look like a stone statue in a niche. The paintings on these wings were the work of several artists influenced by Gerard David, probably working in one of the larger Bruges workshops in around 1515.
A well-dressed woman, hands folded in prayer, kneels in what was once the right wing of a triptych (a painting in three parts). Behind her is Saint Paul. Her husband kneels in the other wing, with Saint Peter behind him. The central panel is missing.
We don't know who the two donors were, but they were clearly wealthy people. The lady wears a black or dark grey dress, lined with whitish fur. Hanging from her golden belt is a long and expensive rosary of 60 red (possibly coral) beads and seven large yellow ones, perhaps meant as gold, and a gold cross.
On the back, visible when the altarpiece was closed, is Saint Nicholas of Myra, painted in grisaille to look like a stone statue in a niche. Although one of the most widely venerated of Christian saints almost nothing is known of the life of this Turkish bishop. His life is a series of fantastic events, often related to his generosity or his abilities as a miracle worker. Here he restores to life three boys, killed by a butcher; they had been chopped up and hidden in a pickling tub.
The paintings on these panels were the work of several artists influenced by Gerard David, probably working in one of the larger Bruges workshops in around 1515.
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Saint Paul and a Donatrix
Two Shutters from a Triptych
These paintings of a male and a female donor, probably husband and wife, once formed the wings of a triptych (a painting made up of three parts). They kneel in front of their patron saints, Peter and Paul.
We don't know who the couple were, but their clothing was fashionable in around 1515 and they were evidently wealthy: the woman has an expensive rosary of red and yellow beads, and a long train. She shows off large areas of costly furs in an open display of wealth.
The paintings seem to be the work of three artists, the most competent of whom drew and painted the donor. A second did the patron saints; the same artist, working quickly, or else a third, less talented, did the outside of the wings. All three were much influenced by Gerard David and were probably working in one of the larger Bruges workshops.
These paintings of a male donor and female donor – probably husband and wife – once formed the wings of a triptych (a painting made up of three parts). They kneel in front of their patron saints, Peter and Paul. On the outsides are Saints Jerome and Nicholas, depicted in grisaille.
We don't know who the couple were, but their clothing was fashionable in around 1515 and they were evidently wealthy: the woman has an expensive rosary and a long train, and is showing off large areas of costly furs in an open display of wealth. Their clothes are very similar to those worn by Lieven van Pottelsberghe and his wife in two portraits in the Museum of Fine Arts, Ghent. The man may be the same rank as Lieven, who was Reciever General of Flanders between 1509 and 1517.
The paintings seem to be the work of three artists, the most competent of whom drew and painted the donors. A second did the patron saints; the same artist, working in haste, or else a third, less talented, did the outside of the wings. All three were much influenced by Gerard David and were probably working in one of the larger Bruges workshops of around 1515.


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