Inscription: Inscribed: (on cross, in Hebrew, Greek, and Latin) IHC·NAZAR[ENVS]·REX·IVDE[ORVM]; (twice, below Christ's hands) Venite benedi[c]ti p[at]ris mei (Come, ye blessed of my Father [Matthew 25:34].); (on Saint Michael's shield and armor) [illegible]; (twice, below Saint Michael's wings) . . . vos maledi[ct]i i[n]ignem [aeternum?] (. . . ye cursed, into everlasting fire [Matthew 25:41].); (on Death's wings) CHAOS MAGNV[M] / VMBRA MORTIS (great chaos / shadow of death); (on the original gilt frames) with verses from Isaiah (53:6-9, 12), Revelation (20:13 and 21:3-4), and Deuteronomy (32:23-24)
Prince D. P. Tatistcheff, Vienna and St. Petersburg (by 1841–45; purchased while he was Ambassador to Spain from a convent near Madrid [or near Burgos?], as by Jan van Eyck; bequeathed to Hermitage); Czar Nicholas I, the Hermitage, St. Petersburg (from 1845); The Hermitage Museum, St. Petersburg (1917/18–1933); [Knoedler, New York, 1933; sold to MMA]
New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 91.
Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. (p. 34).
New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, 1998–February 21, 1999, no. 1.
New York. The Metropolitan Museum of Art. "A New Look at a Van Eyck Masterpiece," January 25–April 24, 2016, no catalogue.
J. D. Passavant. Kunstblatt (January 12, 1841), p. 9, states that these panels were the wings of a triptych acquired from an auction at a monastery in Spain by Tatistcheff, from which the center, an Adoration of the Magi, had been taken; attributes them to the brothers Jan and Hubert van Eyck; believes two figures beneath the cross are portraits of the brothers and a third a portrait of Margaret van Eyck; notes traces on reverse of panels of two standing figures on pedestals, painted in grisaille.
C. Carton. Les trois frères Van Eyck. Bruges, 1848, p. 87 [first published in Société d'émulation pour l'étude de l'histoire et des antiquités de la Flandre, Bruges, ser. 2, vol. 5, 1847; see Ref. Wehle and Salinger 1947], as works of the Van Eycks.
J. D. Passavant. Die Christliche Kunst in Spanien. Leipzig, 1853, p. 123, as works of Jan van Eyck.
H. G. Hotho. Die Malerschule Hubert's van Eyck nebst deutschen Vorgängern und Zeitgenossen. Vol. 2, Die flandrische Malerei des fünfzehnten Jahrhunderts. Berlin, 1858, pp. 169–70, believes they may be by a pupil of the Van Eycks, most likely painted before Hubert's death.
Alfred Michiels. Histoire de la peinture flamande depuis ses débuts jusqu'en 1864. Vol. 2, 2nd ed. Paris, 1866, p. 199 n. 2, p. 204 n. 1, accepts Passavant's [see Ref. 1841] hypothesis that the panels contain portraits of the Van Eyck brothers and their sister Margaret.
G[ustav]. F[riedrich]. Waagen. Die Gemäldesammlung in der Kaiserlichen Eremitage zu St. Petersburg. 2nd ed. St. Petersburg, 1870, pp. 116–17, no. 444, notes that Tatistcheff purchased them in Spain as the work of Jan van Eyck, but based on parallels between the Last Judgment and a painting of this subject in the Gemäldegalerie, Berlin, signed and dated by Petrus Christus, attributes the wings to Christus in a considerably earlier period.
Ermitage Impérial: Catalogue de la galerie des tableaux. Vol. 2, Les écoles germaniques. 2nd ed. St. Petersburg, 1870, pp. 4–5, no. 444.
J. A. Crowe and G. B. Cavalcaselle. The Early Flemish Painters. 2nd ed. London, 1872, p. 143, attribute them to Petrus Christus.
Carl Schnaase. Geschichte der bildenden Künste. Vol. 8, Geschichte der bildenden Künste im 15. Jahrhundert. Stuttgart, 1879, p. 155 n. 1, ascribes them to an immediate pupil of Jan van Eyck.
L[ouis]. Clément de Ris. "Musée Impérial de l'Ermitage à Saint-Pétersbourg." Gazette des beaux-arts 19 (1879), pp. 574–75, questions the attribution to Petrus Christus.
Carl Justi. "Altflandrische bilder in Spanien und Portugal." Zeitschrift für bildende Kunst 22 (1887), pp. 244–45, ascribes them to Jan van Eyck.
Ludwig Kaemmerer. Hubert und Jan van Eyck. Bielefeld, 1898, pp. 42–43, 52–56, ill., suggests they are early works of Jan, or even of his sister, Margaret; notes that the wings were transferred from panel to canvas when they were acquired by the Hermitage.
Hugo von Tschudi. "Jan van Eycks Christus am Kreuz zwischen Maria und Johannes." Jahrbuch der Königlich Preussischen Kunstsammlungen 19 (1898), pp. 202–5, compares these panels to the Crucifixion in Berlin and ascribes them to Jan van Eyck.
Karl Voll. Die Werke des Jan van Eyck. Strasbourg, 1900, pp. 106–7, 132–33 nn. 67–68, agrees with Justi [see Ref. 1887] that these panels are not by Christus, but rejects his attribution of them to Jan van Eyck, suggesting they may be from his school .
Otto Seeck. "Zu dem Werke des Hubert van Eyck." Kunstchronik 12 (February 28, 1901), cols. 260–62, ascribes these panels and the Ghent Altarpiece to Hubert van Eyck and comments on similarities in the inscriptions in the two works.
Wilhelm Bode. "Jan van Eycks Bildnis eines Burgundischen Kammerherrn." Jahrbuch der Königlich Preussischen Kunstsammlungen 22 (1901), pp. 126–29, attributes them to Jan van Eyck, and dates them 1420–25.
Paul Durrieu. "Les débuts des van Eyck." Gazette des beaux-arts, 3rd ser., 29 (1903), pp. 11, 18, 108.
Fortunat von Schubert-Soldern. Von Jan van Eyck bis Hieronymus Bosch. Strasbourg, 1903, pp. 28–30, ascribes them to Jan.
August Schmarsow. Die Oberrheinische Malerei und ihre Nachbarn. Leipzig, 1903, p. 23 n. 1 (from p. 22).
Jean Guiffrey. "L'exposition des primitifs flamands à Bruges." L'art 3 (1903), pp. 490–92, ill. (etchings of the panels), doubts the attribution to Van Eyck.
W. H. James Weale. "Popular Opinions Concerning the Van Eycks." Burlington Magazine 4 (January 1904), pp. 35–36, lists them with works attributed wholly or in part to Hubert.
Max Dvorák. "Das Rätsel der Kunst der Brüder van Eyck." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 24 (1904), pp. 177–78, 183, 185, 228–34, 236, pl. 22, fig.28 (detail), dates the panels before 1425 and ascribes them to Jan van Eyck, finding the style too advanced for Hubert.
[Hippolyte] Fierens-Gevaert. La Renaissance septentrionale et les premiers maîtres des Flandres. Brussels, 1905, p. 118 .
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. Vol. 1, Vienna, 1906, p. 509, lists them with works by Hubert and copies after him.
Karl Voll. Die altniederländische Malerei von Jan van Eyck bis Memling. Leipzig, 1906, pp. 269–71, ascribes them to an immediate, probably Dutch, follower of Jan van Eyck.
Paul G. Konody. The Brothers Van Eyck. London, 1907, p. 39, ascribes the snow-capped mountains in the Crucifixion to Jan van Eyck.
L. de Fourcaud inHistoire de l'art. Ed. André Michel. Vol. 3, part 1, Paris, 1907, pp. 194–96, ascribes them to Hubert and assistants.
Henri Hymans. Les van Eyck. Paris, [1908?], pp. 116, 119–20, thinks they could be by Jan, but only if one supposes them earlier than any of his known works.
Émile Mâle. L'art religieux de la fin du moyen age en France. Paris, 1908, p. 501–2, believes the figure of Death in the Last Judgment is derived from Mystery plays.
Nicolas Wrangell. Les chefs-d'oeuvre de la galerie de tableaux de l'Ermitage Impérial à St.-Pétersbourg. London, , pp. XI, ill. p. 63.
Émile Durand-Gréville. Hubert et Jean van Eyck. Brussels, 1910, pp. 95–98, ill., attributes them to Hubert van Eyck.
Georges H. de Loo. Heures de Milan: Troisième partie des Très-Belles Heures de Notre-Dame. Brussels, 1911, pp. 33, 35, ascribes them to Hubert van Eyck based on their similarity to the pages in the Turin–Milan Hours attributed to Hand G, whom he believes is Hubert.
F. Schmidt-Degener. "Notes on some Fifteenth-century Silver-points." Burlington Magazine 19 (1911), p. 256.
W. H. James Weale and Maurice W. Brockwell. The Van Eycks and their Art. London, 1912, pp. 153–56, nos. 26–27.
L[ouis]. Maeterlinck. Nabur Martins ou le Maître de Flémalle. Brussels, 1913, pp. 62, 119–20, ascribes them to a Ghent painter, contemporary with Hubert van Eyck.
Max J. Friedländer inAllgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme. Vol. 11, Leipzig, 1915, p. 131, lists them with the works of Jan.
Friedrich Winkler. "Über verschollene Bilder der Brüder Van Eyck." Jahrbuch der Königlich Preuszischen Kunstsammlungen 37 (1916), p. 301.
F. Winkler. "Gemäldegalerie: Über eine frühholländische Kreuztragung [response to Ref. Zimmermann 1917]." Amtliche Berichte aus den Königlichen Kunstsammlungen 39 (September 1917), cols. 25–27, rejects Zimmermann's attribution of these panels to Ouwater, ascribing them with certainty to the workshop of the Van Eycks.
Heinrich Zimmermann. "Gemäldegalerie: Über eine frühholländische Kreuztragung." Amtliche Berichte aus den Königlichen Kunstsammlungen 38 (September 1917), cols. 22–23, suggests that the works are by Ouwater, about 1440.
Max Dvorák. "Die Anfänge der Holländischen Malerei." Jahrbuch der Königlich Preuszischen Kunstsammlungen 39 (1918), pp. 66–70, fig. 4 (The Crucifixion), ascribes them to an unknown painter who was the author of the Turin-Milan Hours and the lost original of "Christ Bearing the Cross" (Szépmuvészeti Múzeum, Budapest), tentatively suggesting that he was Aelbert van Ouwater.
Paul Durrieu. "Les tableux des collections du duc Jean de Berry." Bibliothèque de l'École des Chartes 79 (1918), pp. 280–82, dates them before 1413 and ascribes them to Hubert and Jan van Eyck; identifies these panels with the diptych in Jean du Berry's possession between 1413 and 1416 and doubts there was ever a central panel.
[Friedrich] Winkler. "Forschungen." Kunstchronik und Kunstmarkt 55 (October–March 1919/1920), pp. 563–64, reports Durrieu's [Ref. 1920] findings regarding the Hermitage panels .
Ludwig von Baldass. "Ein Frühwerk des Geertgen tot Sint Jans und die holländische Malerei des XV. Jahrhunderts." Jahrbuch der kunsthistorischen Sammlungen in Wien 35 (1920–21), pp. 4, 6–8, fig. 3 (detail), as by Aelbert van Ouwater.
Alexander Benua [Benois]. Putevoditel po kartinnoi galereye imperatorskago Ermitazha. St. Petersburg, [192?], pp. 195–98, ill., attributes the panels to one of the Van Eyck brothers.
Paul Durrieu. "Les van Eycks et le duc Jean de Berry." Gazette des beaux-arts 1 (1920), pp. 77–105, ill. (overall and details), attributes them to Hubert and Jan van Eyck working together, and, on the basis of costume, places them between 1400 and 1420; finds the inscriptions on the surviving frame uniquely characteristic of works from the van Eyck workshop, including the Ghent Altarpiece; records the inscriptions on Saint Michael's armor [which today are largely illegible], noting that the two mysterious words "adonay" and "agla" (meaning "God") inscribed there appear frequently in the core works ascribed to the brothers; doubts that the original ensemble included a central panel, although an unrelated work may have been added at the whim of a subsequent owner; believes the pictures can be identified with a diptych listed as no. 1266 in the duc de Berry's posthumous inventory of 1416: "uns grans tableaux en deux pièces de painture, l'un de la Passion Nostre Seigneur et l'autre du Jugement"; notes that this work was not mentioned in the Dukes 1413 inventory and would thus have been acquired by him between 1413 and 1416; believes the Hermitage diptych could acurately be called "large" in the context of French princely inventories of the period; notes that at the time of the inventory, the work in question was no longer part of the Duke's succession, but had been given to a chapel in Bourges.
P. Post. "Forschungen: Noch einmal die Petersburger Tafeln der Brüder van Eyck." Kunstchronik und Kunstmarkt, n.s., 32 (1920–21), pp. 34–36, rejects Durrieu's proposal [Ref. 1920] that these panels may be the diptych mentioned in the 1416 inventory of the duc de Berry, observing that in comparison with other princely possessions of the period, they would have been considered not only "not large," but "small"; accepts Passavant's account of the lost central panel, and claims that Christus's copy of the right wing in Berlin was originally part of a triptych and included grisaille saints on its reverse, as did the Hermitage panels before they were transferred to canvas .
Martin Conway. The Van Eycks and Their Followers. London, 1921, p. 60, attributes them to Hubert.
Louis Maeterlinck. Hubert van Eyck et les peintres de son temps. Paris, 1921, pp. 93–97, fig. 63 (detail), ascribes them to a painter of Ghent, Liévin van den Clite, who is recorded as having painted a Last Judgment for the city in 1413.
Louis Maeterlinck. "L'école flamande avant les van Eyck." Revue de l'art ancien et moderne 40 (June–December 1921), pp. 191–98, figs. 1–2 (details).
Louis Maeterlinck. "Autour de la retable de "L'agneau mystique"." Gazette des beaux-arts 63 (1921), p. 111.
[Hippolyte] Fierens-Gevaert. La peinture à Bruges. Brussels, 1922, p. 15.
P.P. von Weiner. Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd. Munich, 1923, pp. 11, 103, ill.
Friedrich Winkler. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin, 1924, p. 49, as by Hubert van Eyck.
August Schmarsow. Hubert und Jan van Eyck. Leipzig, 1924, pp. 89–95, pl. 17, as by Jan van Eyck.
Willy Burger. Die Malerei in den Niederlanden 1400–1550. Munich, 1925, pp. 20–21, 23–24, pl. 9, attributes them to Hubert.
L. Maeterlinck. Une école préeyckienne inconnue. Paris, 1925, p. 31, fig. 63 (detail).
Max Dvorák. Das Rätsel der Kunst der Brüder van Eyck. Munich, 1925, pp. 106–8, 262–63, pl. 26, finds the attribution of these panels to either Hubert or Jan a more difficult task since the appearance of the Milan Hours.
Martin Conway. Art Treasures in Soviet Russia. London, 1925, p. 158, suggests that the landscape in the background of the Crucifixion represents Monte Rosa and adjacent mountains in Switzerland.
A. E. Popham. Drawings of the Early Flemish School. London, 1926, pp. 20–21, pl. 3.
Guido Josef Kern. "Die verschollene 'Kreuztragung' des Hubert oder Jan van Eyck." Der Kunstwanderer (1927), pp. 309–13, 357–62, 415–20, ill. (overall and details), ascribes them to Hubert or Jan van Eyck, arguing that the lost central panel was a Way to Calvary recorded in a 15th century Netherlandish drawing (Albertina, Vienna) and in a narrower painted panel of the subject ascribed to Dieric Bouts or his school (Suermondt-Ludwig-Museum, Aachen).
[Hippolyte] Fierens-Gevaert. Histoire de la peinture flamande des origines à la fin du XVe siècle. Vol. 1, Les créateurs de l'art flamand. Paris, 1927, pp. 87–89, pls. 47–51 (overall and details), places them among Jan van Eyck's earliest works.
Paul Lambotte. Flemish Painting before the Eighteenth Century. London, 1927, p. 9, as perhaps by Hubert.
Erwin Panofsky. "G. J. Kern, 'Die Verschollene Kreuztragung des Hubert oder Jan Van Eyck,' Berlin, 1927 [book version of Kern's 1927 articles]." Kritische Berichte 1 (1927–28), pp. 74–83, fig. 6, is inclined to identify them with the diptych mentioned in the inventory of the duc de Berry.
Bryson Burroughs. "The Discoverer of Landscape." The Arts 12 (September 1927), pp. 153–62, ill. (overall and details).
Leo van Puyvelde. "A 'Last Judgement' in the Musée Royal, Brussels." Burlington Magazine 52 (May 1928), pp. 222, 229, refers to the author of the Last Judgment as "a master in the studio of the Duc de Berry who some people continue to identify with the young Hubert Van Eyck".
Karl von Tolnai. "Zur Herkunft des Stiles der van Eyck." Münchner Jahrbuch der bildenden Kunst, n.s., 9 (1932), pp. 330 n. 10, mentions the Last Judgment as by the creator of the Turin–Milan miniatures and as influenced by the Van Eycks.
Chandler Rathfon Post. A History of Spanish Painting. Vol. 4, The Hispano-Flemish Style in Northwestern Spain. Cambridge, Mass., 1933, part 1, p. 21.
Hermann Beenken. "The Ghent Van Eyck Re-examined." Burlington Magazine 63 (August 1933), p. 71, ascribes them to the "hypothetical Hubert van Eyck, painter of the G group of Turin–Milan Hours".
"Metropolitan Museum Acquires a Hubert van Eyck from Russia." Art Digest 8 (November 15, 1933), pp. 8–9, ill. (overall and details).
K. Smits. De iconografie van de Nederlandsche primitieven. Amsterdam, 1933, pp. 100–101, fig. 40.
Bryson Burroughs. "A Diptych by Hubert van Eyck." Metropolitan Museum of Art Bulletin 28 (November 1933), pp. 184–93, ill. (overall and details), as "bought in Spain (from a monastery near Madrid, it is said) . . .".
Stanley Morison. Letter to H. W. Kent. July 19, 1933, based on lettering on the frame alone thinks "it would be bold to say it is 1415, but it would not be bold to say it may be".
Hermann Beenken. "Zur Enstehungsgeschichte des Genter Altars Hubert und Jan von Eyck." Wallraf-Richartz-Jahrbuch, n.s., 2–3 (1933–34), pp. 196–202, ill., ascribes them to Hubert.
C. Henschel. New York Times (November 7, 1933), p. 3 [see Ref. Williams 1980, p. 70].
Friedrich Winkler. Letter to Bryson Burroughs. November 24, 1933, supports an attribution to Hubert.
Frank Jewett Mather Jr. "Notes on Hubert van Eyck." Art in America 22 (1934), pp. 49–50, 53–56, 59, ill., ascribes them to Hubert van Eyck; argues that they could not, for a number of reasons, be the diptych with the Crucifixion and Last Judgment listed in the posthumous inventory of the duc de Berry; is convinced that the MMA panels were originally conceived as a triptych.
A. L. Mayer. "La Crocifissione di Pietroburgo di Hubert van Eyck." L'arte 37 (1934), pp. 341–47, figs. 1, 2, supports an attribution to Hubert; suggests the figure with a turban that appears alongside the bad thief is a portrait.
A. L. Mayer. Letter to Harry B. Wehle. February 11, 1934, supports an attribution to Hubert van Eyck and identifies the man with the turban-like headdress beneath the bad thief as a self-portrait.
"New York." Bulletin de l'art [supplement of Revue de l'art] 65 (January 1934), pp. 32, 35, ill.
Frank Jewett Mather. Letter to Bryson Burroughs. January 14, 1934.
Ernst Günter Troche. Niederländische Malerei. Berlin, 1935, pp. 7, 29, pl. 5 (detail), as by "Hubert (?) van Eyck".
Erwin Panofsky. "The Friedsam Annunciation and the Problem of the Ghent Altarpiece." Art Bulletin 17 (December 1935), pp. 434, 468, 471–72, fig. 3, ascribes them, "at least in the main," to Hand G of the Turin–Milan Hours, and illustrates them as "Jan van Eyck or Follower"; notes that some parts, especially of the Last Judgment, seem to be executed by a collaborator.
Émile Renders. Jean van Eyck. Bruges, 1935, pp. 14, 46, 65, 69–71, 83, 87–88, 91–92, 95–96, 99–100, 103, 119–21, pls. 3–4, 7–10, 12,16 (overall and details), dates them between 1415 and 1425 and attributes them to Jan van Eyck.
J[acques]. Lavalleye in "De vlaamsche schilderkunst tot ongeveer 1480." Geschiedenis van de vlaamsche kunst. Ed. Stan Leurs. Antwerp, 1936, p. 173, attibutes them to Jan van Eyck, dating them before 1425.
H. Beenken. "Der Stand des Hubert van Eyck: Problems, Fragen um den Genter Altar." Oud-Holland 53 (1936), pp. 16, 23–24, fig. 1 (detail), ascribes them to Hubert van Eyck.
Max J. Friedländer. Die altniederländische Malerei. Vol. 14, Pieter Bruegel und Nachträge zu den früheren Bänden. Leiden, 1937, p. 78, no. 76.
Hermann Beenken. "Bildnisschöpfungen Hubert van Eycks." Pantheon 19 (1937), pp. 118–20, as early works of Hubert.
Ottmar Kerber. Hubert van Eyck: Die Verwandlung der Mittelalterlichen in die Neuzeitliche Gestaltung. Frankfurt, 1937, p. 23, attributes them to Jan.
Alan Burroughs. Art Criticism from a Laboratory. Boston, 1938, pp. 194, 196–98, 207, 249, 252–54, as "formerly attributed to Hubert van Eyck"; notes that they "reveal an artist already master of his craft and experienced in the world in a way which Jan van Eyck was not"; sees parallels in the works of "Hand G" of the Turin-Milan Hours and the "Three Marys at the Tomb" (Boymans-van Beuningen Museum, Rotterdam), as well as Campin's "Nativity" (Musée des Beaux-Arts, Dijon) and "Marriage of the Virgin" (Prado, Madrid); dates the MMA panels from about the time the Ghent altarpiece was completed.
Charles de Tolnay. Le Maître de Flémalle et les frères van Eyck. Brussels, 1939, pp. 37, 53, 64, 79–80, figs. 123–24.
Aurelio Minghetti. "Un nuovo documento per l'iconografia dei Van Eyck." L'arte 11 (1940), pp. 39–40, figs. 4 and 5 (Crucifixion and detail), ascribes them to Hubert and discusses the presumed self–portrait.
Hermann Beenken. Hubert und Jan van Eyck. Munich, 1941, pp. 10–14, figs. 14–18, attributes the panels to Hubert, perhaps painted several years after the Turin-Milan Hours.
Chandler Rathfon Post. "The Master of the Encarnación (Louis Alimbrot??)." Gazette des beaux-arts 23 (March 1943), p. 156.
Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 6.
M[argaretta]. S[alinger]. "Notes." Metropolitan Museum of Art Bulletin 2 (June 1944), inside front cover, ill. p. 286 (overall) and on front and back covers (color details).
Erwin Panofsky. Letter. September 11, 1944, comments on Tatistcheff's story of the lost central panel, observing that a thief "if not going off with the whole triptych, would certainly not go off with the central piece and leave the wings in place"; suggests that the MMA diptych may easily be a replica of the diptych listed in the inventory of the Duc de Berry.
Maurice W. Brockwell. "The Adoration of the Lamb: Fresh Evidence of John van Eyck's Authorship." Connoisseur 116 (December 1945), p. 123, rejects the attribution to Hubert, declaring that he was a myth, and ascribes them to Jan.
Gerda Boëthius. Bröderna van Eyck. Stockholm, 1946, pp. 59–60, fig. 22, as by Jan van Eyck.
Wilhelm R. Valentiner. Letter. April 12, 1946, ascribes them to Hubert.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 2–12, ill., attribute them to Hubert and find them stylistically analagous to the "Hand G" miniatures of the Turin-Milan hours; are inclined to accept that a central panel was part of the original ensemble and favor Panofsky's view (see Ref. 1927–28) that a drawing in Berlin of the Adoration of the Magi would be a likely composition for this center.
Ernest Lotthé. La pensée chrétienne dans la peinture flamande et hollandaise. Lille, 1947, vol. 2, pp. 218–19, 297–98, 302, 339, no. 487, 346, no. 684, pls. 165b, 215b.
Theodor Musper. Untersuchungen zu Rogier van der Weyden und Jan van Eyck. Stuttgart, 1948, pp. 85–90, 94–96, 102–3, 107, pl. 113, attributes them to Jan; identifies the rider with the turban headdress under the right cross as Philip the Good at about age 30, and dates the painting after May 19, 1425, the date on which Jan entered his service.
Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), pp. 140–41, considers it unlikely that these panels were originally conceived as the wings of a triptych with an Adoration of the Magi at its center; asserts that it would be an iconographic anomaly for a Crucifixion to serve as the left wing of an Adoration, and notes, moreover, that the MMA Crucifixion is clearly pervaded by a movement from the left side and that the "finality" of the right edge acts like a barrier; comments that the woman standing at the lower right edge, probably a donor, would not have turned her back to the central panel; prefers to think of the Crucifixion as the right wing of an altarpiece and the Last Judgment as one of its outside panels.
Dirk Bax. Ontcijfering van Jeroen Bosch. The Hague, 1949, pp. 29, 247, 253 n. 19 [English ed., Hieronymus Bosch: His Picture-Writing Deciphered, Rotterdam, 1979, p. 328 n. 50, pp. 329–30, 349, 357, 401].
Stephen V. Grancsay. "The Interrelationships of Costume and Armor." The interrelationships of costume and armor in Metropolitan Museum of Art Bulletin VIII (February 1950), p. 183, ill. (detail).
Ruth Massey Tovell. Flemish Artists of the Valois Court. Toronto, 1950, pp. 84, 86–87, 137 n. 12, ascribes them to Jan, before 1425.
Émile Renders. Jean van Eyck et le polyptyque: Deux problèmes résolus. 1950, pp. 11, 73–74, 77–79, 81–83, 85–91, 93–95, 98–102, pls. 19, 21–24, 26–29, 32–33 (overall and details), attributes them to Jan before 1425.
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 91, colorpl. 91.
Ludwig Baldass. Jan van Eyck. New York, 1952, p. 92 n. 3, pp. 95–96, 287, no. 62, pls. 163–65 (overall and detail).
J. V. L. Brans. Isabel la Católica y el arte hispano-flamenco. Madrid, 1952, pp. 41–42, 104 n. 5, ascribes them to Hubert and calls them "wings of a triptych"; states that their acquisition from a convent in Spain "where they must have been for centuries" allows us to consider them one of the donations of Juan II, or at least to conclude they were present in Spain by the first half of the fifteenth century; publishes inventories of Queen Isabella, including docket no. 186 of May 3 and January 13, 1499, which lists a diptych in a gilded frame with the Crucifixion and Last Judgment; believes that this may correspond to the MMA works.
Chandler Rathfon Post. "Flemish and Hispano-Flemish Paintings of the Crucifixion." Gazette des beaux-arts 39 (April 1952), p. 239.
Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, pp. 237–40, 242, 246, 269, 309, 454 nn. 1–2 (to p. 238), nn. 1, 3 (to p. 239), p. 455 nn. 1–2 (to p. 240), p. 456 n. 8; vol. 2, pls. 166, 168 (overall and details), attributes them to "Hand G" of the Turin-Milan Hours, which he takes to be Jan, and believes that they were planned as a diptych; discusses the iconography of both panels and asserts that the figure at the lower right edge of the Crucifixion is the Erythrean Sibyl and not a donor (see Held 1949); rejects Held's opinion of the same year that the Crucifixion was the right wing and the Last Judgment one of the outside panels of an altarpiece, observing that outside panels were usually given less sumptuous treatment while these are set in identical gilded and inscribed frames; considers improbable Musper's (1948) identification of a figure under the right cross as Philip the Good.
Leo van Puyvelde. La peinture flamande au siècle des van Eyck. Paris, 1953, pp. 86–89, 190, 298, ill. (overall and detail), attributes them to Hubert, and identifies them with the Crucifixion and Last Judgment listed in the inventory of the duc de Berry.
Federico Zeri. "Il Maestro dell'Annunciazione Gardner." Bollettino d'arte 38 (April–June 1953), p. 130.
Maurice W. Brockwell. The Van Eyck Problem. London, 1954, pp. 53, 60, 74, ascribes them without doubt to Jan.
Klára Garas. "Some Problems of Early Dutch and Flemish Painting." Acta Historiae Artium Academiae Scientiarum Hungaricae 1, no. 3–4 (1954), pp. 239, 243, 247–48, 251, 253, 259, fig. 4, attributes these panels and the Turin-Milan Hours to a Dutch painter active about 1440, "presumably Albert van Ouwater" .
F. C. Legrand. La peinture belgique des primitifs à nos jours. Brussels, 1954, p. 13, as generally attributed to Hubert van Eyck.
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 10, ill.
Julius S. Held. "Erwin Panofsky, 'Early Netherlandish Painting, Its Origin[s] and Character'." Art Bulletin. Vol. 37, September 1955, pp. 222–24, figs. 4a, 5a, 6a, 7b (details), compares some of the heads in the Crucifixion with those of apostles, pilgrims, and hermits in the Ghent Altarpiece, and gives reasons why the MMA panels might be assigned to Hubert; accepts Panofsky's identification of the figure at the lower right with the Erythrean Sibyl, but still considers her to be a donor, tenatatively identifying her as Margaret, sister of William of Bavaria and wife of Jean sans Peur.
Ruth Massey Tovell. Roger van der Weyden and the Flémalle Enigma. Toronto, 1955, p. 36.
Martin Davies. "A Reminiscence of Van Eyck by Gerard David?" Bulletin des Musées Royaux des Beaux-Arts nos. 1–3 (1955), pp. 173–75 n. 4, fig. 2 (detail).
Otto Pächt. "Panofsky's 'Early Netherlandish Painting'–II." Burlington Magazine 98 (August 1956), p. 273.
Millard Meiss in "Jan van Eyck and the Italian Renaissance." Venezia e l'Europa: atti del XVIII congresso internazionale di storia dell'arte. Venice, 1956, pp. 66–67.
Josua Bruyn. Van Eyck problemen. Utrecht, 1957, p. 6 n.2, p. 104, as from the hand of miniaturist G, most closely related to the work of Jan but fundamentally different in its form; tentatively supports identification of hand G with Hubert.
Jacques Lassaigne. Flemish Painting. Vol. 1, The Century of Van Eyck. New York, 1957, pp. 68–69, suggests an attribution to a master contemporary with Jan and in close touch with him.
Albert Châtelet. "Les enluminures eyckiennes des manuscrits de Turin et de Milan-Turin." Revue des arts (July–August 1957), pp. 160–63, p.164 n. 12, ill. (detail), attributes them to Hand H and suggests that this artist may be Jean Coene, a miniaturist working at Bruges between 1424 and 1450.
L. M. J. Delaissé. "Chronique: Enluminure et peinture dans les Pays-Bas, à propos de E. Panofsky "Early Netherlandish Painting"." Scriptorium 11 (1957), p. 116, as an "Eyckian" work, often incorrectly attributed to "Van Eyck".
J. Q. van Regteren Altena. Middeleeuwse Kunst der Noordelijke Nederlanden. Exh. cat.Amsterdam, 1958, pp. 133–34.
F. Winkler. "Die Wiener Kreutztragung." Nederlands Kunsthistorisch Jaarboek 9 (1958), p. 83.
Jean Squilbeck. "Un oeuvre énigmatic, 'les Trois Marie au Tombeau' du Musée Boymans à Rotterdam." Revue belge d'archéologie et d'histoire de l'art 28 (1959), pp. 59, 68.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 28–33, 39, 107, figs. 1–2, as by Hubert; believes they are wings of a triptych and that the central panel was probably an Adoration of the Magi; dates them before 1420.
R. H. Wilenski. Flemish Painters, 1430–1830. New York, 1960, vol. 1, pp. 12, 14, 19–23, 25, 33–35, 47, 67, 74, 86, 89–92, 96, 107, 114 159–60; vol. 2, pls. 1–8, 16, guesses that they were painted about 1467 by Hieronymus Bosch at about the age of eighteen.
James E. Snyder. "The Early Haarlem School of Painting, I. Ouwater and the Master of the Tiburtine Sibyl." Art Bulletin 42 (1960), p. 49 n. 51.
Albert Châtelet. "Albert van Ouwater." Gazette des beaux-arts 55 (February 1960), p. 75.
Millard Meiss. "'Highlands' in the Lowlands: Jan van Eyck, the Master of Flemalle and the Franco-Italian Tradition." Gazette des beaux-arts, 6th ser., 57 (May–June 1961), pp. 281, 310 n. 21, p. 313 nn. 61, 65, attributes them to Jan.
H. Th. Musper. Gotische Malerei nördlich der Alpen. Cologne, 1961, pp. 224, 250.
Federico Zeri. Due dipinti, la filologia e un nome: il Maestro delle Tavole Barberini. Turin, 1961, pp. 58–60, fig. 48, as very early works of Jan.
Germain Seligman. Merchants of Art: 1880–1960, Eighty Years of Professional Collecting. New York, 1961, p. 176.
David G. Carter. "The Providence Crucifixion: Its Place and Meaning for Dutch Fifteenth Century Painting." Bulletin of Rhode Island School of Design 48 (May 1962), pp. 3, 6, 10–11, 13, 17–19, 22 n. 4, p. 23 n. 63, p. 24 n. 65, figs. 2, 28 (details).
Hélène Adhémar. Le Musée National du Louvre, Paris. I [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 5]. Brussels, 1962, p. 69, as attributed to Jan.
Jan Goris [Marnix Gijsen]. Jan van Eyck in de Kempen. [Arendonk], 1964, pp. 25–27, sees a sign referring to the miller's profession in the Crucifixion as well as other works which he attributes to Jan van Eyck; believes that these marks are signs of an artist who was a member of the Van der Moelen (Miller) family.
Albert Châtelet. "Roger van der Weyden et Jean van Eyck." Jaarboek van het Koninklijk Museum voor Schone Kunsten te Antwerpen (1966), p. 29 n. 27, pp. 30–34, fig. 12 (detail), attributes the Crucifixion to Hand H.
Georg Troescher. Burgundische Malerei. Berlin, 1966, vol. 1, pp. 336–37; vol. 2, fig. 705a.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 1, The van Eycks—Petrus Christus. New York, 1967, pp. 51–53, 94, 109 n. 15, pl. 36, dates them about 1424.
Siegfried Thalheimer. Der Genter Altar. Munich, 1967, pp. 84, 115, as not stylistically close enough to the Ghent Altarpiece to be attributed to Jan with complete conviction.
Georg Troescher. "Die Pilgerfahrt des Robert Campin. Altniederländische und südwestdeutsche Maler in Südostfrankreich." Jahrbuch der Berliner Museen 9 (1967), pp. 110, 112, 114, 133–34, fig. 6 (detail).
Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, pp. 87–89, 131, ill., attributes these panels to a Bruges painter familiar with the work of Jan van Eyck, about 1430–35.
Raymond Bouyer Giorgio T. Faggin inL'opera completa dei Van Eyck. Milan, 1968, pp. 87–88, no. 3a–b, ill. p. 88 and colorpl. 63.
Martin Davies. National Gallery Catalogues: Early Netherlandish School. London, 1968, pp. 45–46.
Ottmar Kerber. "Hubert van Eyck." Amico Amici: Festschrift für Werner Gross zu seinem 65. Geburtstag am 25.11.1966 (1968), pp. 145–46, 151, fig. 63 (detail), as Jan's early work, not likely to be the wings of a painting based on the composition of the Adoration of the Magi drawing in Berlin.
Heinz Peters in "Zum New Yorker 'Diptychon' der 'Hand G'." Munuscula Discipulorum: Kunsthistorische Studien Hans Kauffmann zum 70. Geburtstag 1966 (1968), pp. 235–46, pls. 205–7, attributes them to Jan and suggests that they were originally tabernacle doors which, when closed, showed two angels or prophets in grisaille.
Shirley Neilsen Blum. Early Netherlandish Triptychs: A Study in Patronage. Berkeley, 1969, pp. 44, 139 n. 49.
[Luisa Marcucci] and Stanley Ferber inMcGraw-Hill Dictionary of Art. Ed. Bernard S. Myers. Vol. 5, New York, 1969, p. 404, as possibly an early collaboration of Hubert and Jan, probably left incomplete at Hubert's death, and finished by his "conscientious brother".
Cesar Peman y Pemartin. Juan van Eyck y España. Cadiz, 1969, pp. 63–64, fig. 36, erroneously as from the Mellun [sic] collection; says it is tempting to place them early in Jan's oeuvre; observes that they may be connected in some way with his voyage to Spain, adding that it is logical to assume that they were in Spain from an early time.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, pp. 225, 235 [rev., enl. ed., 1989].
Lola B. Malkis Gellman. "Petrus Christus." PhD diss., Johns Hopkins University, Baltimore, 1970, pp. 118–23, 125, 139–45, 148, 153, 174, 326 n. 102, p. 327 n. 109, pp. 394, 401, 408, fig. 21, as works of Jan van Eyck, calling the Last Judgment clearly the source for Christus's work in Berlin, and the Crucifixion the source for his Dessau Crucifixion; suggests that the MMA panels may have originally included other scenes.
Charles Sterling. Letter. February 20, 1971, thinks they should be called "Attributed to Jan van Eyck," although one may still reasonably hesitate between Jan and a close, most able, follower; personally believes in Jan's authorship noting that "Hubert is to be excluded not because of his nonexistence (which is very far from being proven) but because of the incompatibility of what we know of his life and may suppose to have been his style".
Lotte Brand Philip. The Ghent Altarpiece and the Art of Jan van Eyck. Princeton, 1971, pp. 32, 60, 78 n. 157, pp. 101, 140–64, p. 186 n. 363, pp. 225–26, figs. 140–41, 160, 167, 168, 170 (overall and details), ascribes them Jan van Eyck, perhaps after the Ghent Altarpiece; believes they were the doors of a wooden tabernacle commissioned by Philip the Good for a relic given him by Pope Eugene V in 1433.
Zsuzsa Urbach. "Charles D. Cuttler, Northern Painting from Pucelle to Bruegel, 1968." Acta Historiae Artium 17 (1971), pp. 132, 134.
Charles Sterling. "Observations on Petrus Christus." Art Bulletin 53 (March 1971), p. 9 n. 38, pp. 11–13, 17, 18 n. 66, fig. 42 (Crucifixion), supports Held's [see Ref. 1955] identification of the painter with the painter of the Hermits and Pilgrims in the Ghent Altarpiece, concluding that "since the Diptych with its alpine vista is in all probability later than 1426, this author can only be Jan van Eyck, Hubert having died on September 18, 1426"; gives evidence which he believes indicates that the MMA panels were in Bruges between 1432 and 1437.
Martin Davies. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London, 1972, p. 249.
Joel M. Upton. "Petrus Christus." PhD diss., Bryn Mawr College, Bryn Mawr, Pa., 1972, p. 18, 89, 268–70.
Lorne Campbell. "Studies in Early Netherlandish Art." Apollo 98 (July 1973), p. 62, considers the iconographic interpretation of the reconstructed triptych tabernacle proposed by Philip [see Ref. 1971] so extravagant that it cannot be taken seriously.
Peter H. Schabacker. Petrus Christus. Utrecht, 1974, pp. 30, 34, 65, 100, fig. 25.
James Snyder. "Lotte Brand Philip, 'The Ghent Altarpiece and the Art of Jan van Eyck' 1971." Renaissance Quarterly 27 (Spring 1974), p. 52.
Odile Kammerer-Nouvel. "Contribution à l'étude de l'iconographie sibylline dans les régions d'Allemagne du sud, de Rhénanie et de Flandres." Master's thesis, Université de Strasbourg, 1974, pp. 82–84 [opinion cited in Ref. Châtelet 1980, p. 50], notes that the feminine silhouette seen from behind at the left in the Crucifixion must be a mate to the Erythreaen sibyl on the right [see Ref. Panofsky 1953] and would thus be a European sibyl, probably the Cumaen sibyl.
Diane Graybowski Scillia. "Gerard David and Manuscript Illumination in the Low Countries, 1480–1509." PhD diss., Case Western Reserve University, 1975, pp. 105–6 n. 38, pp. 164, 202 n. 25, p. 204 n. 38.
Margaretta Salinger in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan. New York, 1975, pp. 196–98, fig. 50.
Luciano Bellosi. "I Limbourg precursori di Van Eyck? Nuove osservazioni sui 'Mesi' di Chantilly." Prospettiva 1 (April 1975), p. 34 n. 23.
V. Denis. La peinture flamande 15e–16e–17e siècles. Brussels, 1976, p. 38, figs. 10–11.
Charles Sterling. "Jan van Eyck avant 1432." Revue de l'art no. 33 (1976), pp. 15, 23–25, 29–30, 33–34, 36, 40–50, 53, 56, 76, 80 nn. 118–19, 124, pp. 81 n. 126, figs. 28, 46, 55, 67–69, 71 (overall and details); corrections in Revue de l'art, 34, 1976, p. 103 nn. 109 bis, 132 bis, states that the panels could date from the end of 1426, noting that the view of the Alps in the background of the Crucifixion must be a reminiscence of Jan's trip to Italy, which he deduces took place in that year; tentatively suggests that a central panel depicting the Adoration of the Magi was added at some later date.
Charles Sterling. "Tableaux espagnols et un chef d'oeuvre portugais méconnus du XVe siècle." Actas del XXIII Congreso Internacional de Historia del Arte, España entre el Mediterraneo y El Atlántico. Vol. 1, Granada, 1976, pp. 506, 508, 511, 512, 514, 524 n. 10, fig. 15. (detail).
Ursula Panhans-Bühler. Wiener Kunstgeschichtliche Forschungen. Vol. 5, Eklektizismus und Originalität im Werk des Petrus Christus. Vienna, 1978, p. 22 n. 24, ascribes the panels to the "Turiner Meister (Hubert?)".
Albert Châtelet. Van Eyck. Bologna, 1979, pp. 34, 56, colorpl. 6, illustrates them with works of Jan van Eyck, but comments that it is not altogether certain that the panels are from the same hand, as the Last Judgment is weaker in composition and handling than the Crucifixion; believes they may originally have been a diptych.
Robert C. Williams. Russian Art and American Money, 1900–1940. Cambridge, Mass., 1980, pp. 31–35, 155, 170, 180, 183, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 186, 188, 194, figs. 356, 357 (color).
Edwin James Mundy III. "Gerard David Studies." PhD diss., Princeton University, 1980, p. 163.
Elisa Bermejo. La pintura de los primitivos flamencos en España. Vol. 1, Madrid, 1980, pp. 60, 92, as coming from an unidentified convent in Burgos.
Elisabeth Dhanens. Hubert and Jan van Eyck. New York, 1980, pp. 359–61, ill. (color), discusses the diptych with works by "Anonymous Epigone and Imitators"; notes that an altarpiece formerly in the church of St. Michael in Ghent and now lost was iconographically similar to the Last Judgment.
Albert Châtelet. "Un Collaborateur de van Eyck en Italie." Relations artistiques entre les Pays-bas et l'Italie à la Renaissance: Études dédiées à Suzanne Sulzberger. Brussels, 1980, pp. 45–56, figs. 3, 6 (Crucifixion and detail), accepts the attribution to Jan; dates them between 1422 and 1424, when the artist worked for John of Bavaria, noting that in the Crucifixion a man wears the plain broad-brimmed hat of the type worn by partisans of John of Bavaria; supports Panofsky's [Ref. 1953] identification of the woman at the lower right in the Crucifixion as the Erythrean Sibyl and finds "seductive" Kammerer-Nouvel's [Ref. 1974] suggestion that the female figure at the left with her back turned to us may be a European sibyl, probably the Cumaen sibyl; believes that the horsemen seen from the rear were inspired by Altichiero's Crucifixion in the oratory of San Giorgio in Padua; considers it most likely that the two panels were originally a diptych.
Hellmut Wohl. The Paintings of Domenico Veneziano, ca. 1410–1461: A Study in Florentine Art of the Early Renaissance. New York, 1980, p. 11.
Albert Châtelet. Early Dutch Painting: Painting in the Northern Netherlands in the Fifteenth Century. English ed. [French ed. 1980]. New York, 1981, pp. 37–39, 168, 196–97, 201–2, 210, 242, no. 20, figs. 23, 26, 27, observes that "the Last Judgment, interesting though it is, is less novel in conception and less brilliant in execution [than the Crucifixion], suggesting the collaboration of some assistant", perhaps Master H, or more probably Hand I of the Turin–Milan Hours; finds an original diptych format more plausible.
Ann Tzeutschler Lurie. "A Newly Discovered Eyckian 'St. John the Baptist in a Landscape'." Bulletin of the Cleveland Museum of Art 67 (April 1981), pp. 98, 101–2, 116 nn. 50–51, p. 117 n. 54.
Daniela Hammer-Tugendhat. Hieronymus Bosch: Eine historische Interpretation seiner Gestaltungsprinzipien [Theorie und Geschichte der Literatur und der schönen Künste, vol. 58]. Munich, 1981, pp. 28–29, 42, 64, 91, 102–5, 176 n. 6, p. 177 n. 1, p. 179 n. 23 from p. 178, figs. 16, 47, 75, 88 (details and Crucifixion), as by the Master of the Turin Book of Hours.
Hans Belting and Dagmar Eichberger. Jan van Eyck als Erzähler: Fruhe Tafelbilder im Umkreis der New Yorker Doppeltafel. Worms, 1983, 198 pp., ill. (overall and details), attribute them to Jan, and believe they were originally the wings of a sculpted altarpiece; relate them to other early Eyckian panel paintings and manuscript illuminations and compare the Last Judgment to a fourteenth-century Sienese panel from Bourges (Louvre, Paris) depicting the Fall of the Rebel Angels, and to two related compositions of the Limbourg brothers in the Très Riches Heures–a Saint John on Patmos and a Fall of the Rebel Angels; believe Jan was familiar with all three works.
Liana Castelfranchi Vegas. Italie et Flandres dans la peinture du XVe siècle. Milan, 1984, pp. 67, 81, 152 [Italian ed., 1983].
Charles D. Cuttler. "Exotics in 15th Century Netherlandish art: Comments on Oriental and Gypsy Costume." Liber Amicorum Herman Liebaers. Brussels, 1984, p. 421, mentions them as "sometimes attributed to the Van Eycks, but more likely the work of a Bruges painter of c. 1430–35".
Ivan Gaskell. "Book Review: The Van Eyck Problem." Apollo 120 (August 1984), p. 146.
Anna Eörsi. "From the Expulsion to the Enchaining of the Devil: The Iconography of the Last Judgement Altar of Rogier van der Weyden in Beaune." Acta Historae Artium 30 (1984), pp. 147, 152 n. 55.
James Snyder. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York, 1985, pp. 118, 156, fig. 115, calls the panels and the "Stigmatization of Saint Francis" in the Philadelphia Museum of Art "works by Jan van Eyck in his later years".
Jeffrey Chipps Smith. "Hans Belting and Dagmar Eichberger, 'Jan van Eyck als Erzähler: Frühe Tafelbilder im Umkreis der New Yorker Doppeltafel,' 1983." Speculum 60 (July 1985), pp. 638–40.
Charles Sterling. "L'influence de Konrad Witz en Savoie." Revue de l'art 71 (1986), p. 22.
Claude Schaefer. "Belting (H.) et Eichberger (D.), Jan van Eyck als Erzähler." Gazette des beaux-arts 108 (July–August 1986), p. 25.
Introduction by James Snyder inThe Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 9, 18–21, ill. (color, overall and detail).
Carol J. Purtle. "Hans Belting and Dagmar Eichberger, 'Jan van Eyck als Erzähler: Frühe im Umkreis der New Yorker Doppeltafel, 1983'." Art Bulletin 69 (1987), p. 651.
Charles Sterling. "Charles VII vu par Jean Fouquet." L'Oeil 389 (1987), p. 37.
Dagmar Eichberger. Bildkonzeption und Weltdeutung im New Yorker Diptychon des Jan van Eyck. PhD diss.Wiesbaden, 1987, pp. 1–137, ill., notes that the shield held by Saint Michael in the Last Judgment precisely evokes a reliquary preserved at the abbey of Mont Saint-Michel, suggesting a connection with France; identifies the female figure seen from behind on the lower right of the Crucifixion as the Cumaen sibyl, whose prophecies referred to the Passion and also to Christ 's return to earth; suggests that the parallel figure on the left may be the Eritriaen sibyl.
Albert Châtelet. "Dagmar Eichberger, 'Bildkonzeption und Weltdeutung im New Yorker Diptychon des Jan van Eyck,' 1987." Bulletin Monumental 146 (1988), pp. 165–66.
Adam S. Labuda. "Hans Belting, Dagmar Eichberger, 'Jan van Eyck als Erzähler, Frühe Tafelbilder im Umkreis der New Yorker Doppeltafel,' 1983." Kunstchronik 41 (March 1988), pp. 109–14.
Hans J. van Miegroet. Gerard David. Antwerp, 1989, pp. 50, 112, 115, 141 n. 80, p. 227, colorpl. 29 (Crucifixion).
Otto Pächt. Van Eyck: Die Begründer der altniederländischen Malerei. German ed. [English ed. 1994]. Munich, 1989, pp. 191–95, figs. 115, 119 [English ed. 1994, pp. 190–9, as by the "Master of the Hours of Turin (Hubert van Eyck?)".
Joel M. Upton. Petrus Christus: His Place in Fifteenth-Century Flemish Painting. University Park, Pa., 1990, p. 5 n. 15, p. 11 n. 13, pp. 39–40, 44–45 n. 56, p. 46, fig. 33, suggests the "considerable possibility that this Last Judgment was not painted by Jan van Eyck but by another artist working in the Eyckian tradition"; refers to it as a diptych and dates it about 1440–50.
Janey L. Levy. "The Keys of the Kingdom of Heaven: Ecclesiastical Authority and Hierarchy in the Beaune Altarpiece." Art History 14 (March 1991), pp. 22–23, 25, 47 nn. 33–35, ill. (Last Judgment), notes that the seated apostles are clearly characterized as assistant judges, and suggests that their portrayal may have been inspired by a 1404 catechetical treatise, "which, elaborating on the well-known bilblical passage, explicitly compares the Apostles at the Last Judgment to aldermen seated on thrones"; adds that the artist has followed conventions found in contemporary depictions of secular courts of justice.
Susan Urbach. "Research Report on Examinations of Underdrawings in Some Early Netherlandish and German Panels in the Budapest Museum of Fine Arts II." Le dessin sous-jacent dans la peinture. Ed. Hélène Verougstraete-Marcq and Roger van Schoute. Colloque 8, Louvain-la-Neuve, 1991, p. 83.
Albert Châtelet. "Peinture et enluminure au XVe siècle." Masters and Miniatures: Proceedings of the Congress on Medieval Manuscript Illumination in the Northern Netherlands. Ed. Koert van der Horst and Johann-Christian Klamt. Doornspijk, The Netherlands, 1991, p. 375.
Rudolf Preimesberger. "Zu Jan van Eycks Diptychon der Sammlung Thyssen–Bornemisza." Zeitschrift für Kunstgeschichte 54 (1991), pp. 474–75, fig. 7 (detail).
Otto Pächt. Rembrandt. Munich, 1991, p. 81, fig. 48 (Last Judgment), as by the Master of the Turin Hours (Hubert van Eyck?).
Stanley David Gedzelman. "The Sky in Art." Weatherwise 44 (December 1991–January 1992), p. 11, ill., identifies all the cloud formations in the Crucifixion; asserts that "a slowly moving cold front has just passed and cleared the sky"; remarks that "astronomers will note that this location is not possible for the waning moon".
Introduction by Walter A. Liedtke inFlemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 334, no. 232, ill.
Christiane Lukatis. "Ein verlorenes Weltgerichtsretabel aus dem künstlerischen Umfeld des Jan van Eyck? Mit einem Tafelbild des Germanischen Nationalmuseums auf Spurnsuche." Anzeiger des Germanischen Nationalmuseums und Berichte aus dem Forschunginstitut für Realienkunde (1992), pp. 175–76, 179, 184, 187, 189–91 nn. 4–5, p. 193 n. 33, ill. (Last Judgment).
Christopher S. Wood. "Book Reviews: . . . Joel M. Upton, 'Petrus Christus: His Place in Fifteenth-Century Flemish Painting . . .'." Art Bulletin 75 (March 1993), p. 177.
Adam S. Labuda. "Jan van Eyck, Realist and Narrator: On the Structure and Artistic Sources of the New York Crucifixion." Artibus et Historiae no. 27 (1993), pp. 9, 11–22, 26–30, ill.
Robert Suckale inStefan Lochner, Meister zu Köln
Artist: Jan van Eyck (Netherlandish, Maaseik ca. 1390–1441 Bruges) and Workshop Assistant
Date: ca. 1440–41
Medium: Oil on canvas, transferred from wood
Dimensions: Each 22 1/4 x 7 2/3 in. (56.5 x 19.7 cm)
Credit Line: Fletcher Fund, 1933
Accession Number: 33.92ab
Philip the Good, Duke of Burgundy, wrote in 1435 that Van Eyck, his court painter, was unequalled in his “art and science.” Modern critiques have praised Van Eyck for his ability to combine observations seemingly viewed through a microscope and a telescope. In The Crucifixion, he evokes a remarkable range of emotions among the crowds against a landscape depicting Jerusalem and western European architecture, and his portrayal of nature likely reflects firsthand experience of the Alps, gained on a diplomatic mission in 1426 to Italy and the Holy Lands. His vision appears no less acute in conveying palpable messages of inevitable judgment and hopeful salvation in The Last Judgment.
See additional object information