Hulin de Loo, Georges: Early Flemish paintings in the Renders Collection at Bruges: exhibited at the Belgian Exhibition, Burlington House, January 1927 (London, 1927)

(1345), in a Saint Antony painted in 1355 and in many
other pictures. The special kind of drapery stretched half - way
up and decorated with more or less geometrical designs is
also an Italian tradition : it is constantly used for the « scenes
d’interieur » in the frescoes of Giotto and of the Loren^etti.
56 On the other hand the realistic, gaunt figure of Christ,
cleverly modeled, with the light effects on the body carefully
indicated, even the face of the Benedictine donor so clearly
individualised, the folds of the heavy draperies, of which the
weight can almost be felt, and that fall into volutes, the type
of angel with such finely shaded wings and garments, all this
together recalls recent discoveries and new customs : we are
coming to the period of the Van Eycks, *-:--t--t-
56 A simple comparison of our picture with Meister Wilhelm’s
figure of Christ, will show us very plainly what personality
Flemish painting has acquired and what a great difference there
is already between it and the art of the neighbouring Cologne
56 We observe in our picture a wholly realistic, vigorous
side, going sometimes as far as brutality, a certain excess of
affirmation, a force tending to strike rather than to charm,
neglectful of poise, or harmony of line, or composition, but
which on the other hand is triumphant in colouring, making
of this picture a delicate ensemble in which the head of
Christ stands out in masterly relief from the golds and blues
and pinks. We have already here in embryo many a quality
and many a tendency which later on will be the characteristics
of the Flemish School.

— 46 —