Early Netherlandish Painting: From Van Eyck to Bruegel

By Max J. Friedlænder | Go to book overview

PETRUS CHRISTUS

JAN VAN EYCK died in 1441 at Bruges, where he had worked for the greater part of his last decade. In 1444 Petrus Christus became free master at Bruges. He was a native of Baerle, probably the place of that name that lies between Tilburg and Turnhout. As far as our scrappy knowledge goes, this Petrus represents Bruges painting for the period between 1444 and 1472, that is to say for the time between Jan van Eyck's death and the appearance of Memlinc. Bruges art in the second third of the century appears to us as the aftermath of the Eyck tradition, whether Christus was a pupil of Jan or not. Actually there is no lack of indications to suggest that several masters who worked in other parts of the Netherlands, such as the Master of Flémalle, Rogier van der Weyden or Dieric Bouts, intervened in some way in the art of the flourishing commercial city. They came and went but Petrus Christus remained. And his dependence on Jan borders on the parasitical.

A reflection of Eyckian art emanates from everything done by Petrus, endowing the poor achievements with prestige and glamour. His doll-like figures are generally of medium height, they have wide heads in which the temples, foreheads and cheeks seem broad and empty, whilst eyes, mouth and nose are close together. The figures are stuck in wide balloon- like garments with contours that are straight or round and everywhere of little mobility. The large high-set ear is often visible. The hands are short and plump. The sparse hair hangs down in strands.

Especially Eyckian is the small panel in the Berlin Museum with the Virgin and St. Barbara, the so-called Exeter Madonna, presented by the same Carthusian friar who presented the Jan van Eyck Madonna with Two Female Saints belonging to the heirs of Baron Gustave de Rothschild, Paris.1 Petrus Christus borrowed as much as he needed from the richer composition. His holy women do not rise above the level of pleasant friendliness. It is instructive to compare the stiff outline which divides St. Barbara's hair from her face and the dreary contour that terminates the saint's gown with the expressive drawing of the Eyckian model. Most nearly successful in the Eyckian sense is the portrait of a Monk (the halo is probably a later addition) privately owned at Valencia.2

____________________
1
Now in the Frick Collection, New York.
2
Now Metropolitan Museum, New York.

-14-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Early Netherlandish Painting: From Van Eyck to Bruegel
Table of contents

Table of contents

  • Title Page iii
  • Introduction v
  • Contents viii
  • The Geography of Netherlandish Art 1
  • Jan Van Eyck 6
  • Petrus Christus 14
  • Rogier Van Der Weyden 16
  • Dieric Bouts 26
  • Hugo Van Der Goes 32
  • Hans Memlinc 41
  • Gerard David 48
  • Geertgen Tot Sint Jans 53
  • Jerome Bosch 56
  • General Remarks on the Sixteenth Century 64
  • Quentin Massys 68
  • Joachim De Patenier 76
  • Joos Van Cleve 85
  • Jan Provost 91
  • Jan Gossaert 95
  • Jan Joest 105
  • Jan Mostaert 111
  • Lucas Van Leyden 119
  • Jan Van Scorel 126
  • Pieter Bruegel 133
  • Note on This Edition 415
  • Acknowledgements 417
  • List of Plates 419
  • Contents 422
  • Index of Places 423
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 430

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.