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Published byDoreen Stokes Modified over 9 years ago
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Northern Early Modern Diptychs and Triptychs
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“Flemish painting will, generally speaking, please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many…. It will appeal to women, especially the very old and the very young, and also to monks and nuns and to certain noblemen who have no sense of true [artistic] harmony. In Flanders they paint with a view to deceiving sensual vision…. They paint stuffs and masonry, the grass of the fields, the shadows of trees, and rivers….which they call landscapes…. And all this though it pleases some persons, is done without reason or art, without symmetry or proportion, without skill, selection or boldness, and finally without substance or vigor. And I do not speak so ill of Flemish painting because it is all bad, but because it attempts to do so many things well, that it does none well.”
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The Merode Altarpiece by Robert Campin, oil on panel, 1426
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Western “Royal” portal, Chartres Cathedral, Chartres, France, 12 th ce
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Diptychs and Triptychs
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Bibaut Diptych Master of the Magdalen and Anon. French artist, 1523, oil on panels
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[verso] Bibaut diptych
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Maarten van Nieuwenhove diptych by Hans Memling, 1487, oil on panel
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The Merode Altarpiece by Robert Campin, oil on panel, 1426
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(exterior wings) Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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(detail of landscape) Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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detail of still life in Portinari Altarpiece
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Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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detail of angels in Portinari Altarpiece
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detail of demon in Portinari Altarpiece
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Portinari Altarpiece by Hugo van der Goes, oil on panel, 1473 - 78
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