DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42081#0122
they are by the magnitude of the divine Sacrifice. In our
panels, on the contrary, is depicted the joyousness of dimpied
childrens bodies, so fresh and so pink, with their pretty
wings tinted with blue and green and red, showing up against
the Naples yellow background, in the midst of grey and
blue clouds; in the accessories of the most frightful of tortures,
our small angels see but subjects of pleasure and play, they
transform the Passion into a scene of triumph. It is a sign
of the times, and at the same time, the distinctive mark of
Gossart, that realistically - minded man, enamoured of sensual
beauty. In the art of Flanders all this is new. t-i-:-
When Mr. Renders acquired these two panels he found
them forming the wings of a central part (which still
exists) containing a bad and late copy (of the 17th. century)
of the famous picture of « Christ at the Pillory » painted
by Gossart, which, nowadays, is only known to us by its
very numerous replicas. Our advised collector was thus naturally
led to conclude that in the centre of his triptych, the same
scene had originally been represented, on a panel contemporary
to the wings, but which had since disappeared; in that case,
our angels would have been the original composition intended
by Gossart to accompany the figure of Christ. Seeing that
the subjects are in perfect accordance, that the dimensions
are almost similar and that our two paintings are of fine
workmanship, denoting at any rate the immediate circle of the
Master, this appears to be a very likely supposition, t-——*—
48 An argument in support of this theory could be drawn
from the following remark : contrarily to what is generally
panels, on the contrary, is depicted the joyousness of dimpied
childrens bodies, so fresh and so pink, with their pretty
wings tinted with blue and green and red, showing up against
the Naples yellow background, in the midst of grey and
blue clouds; in the accessories of the most frightful of tortures,
our small angels see but subjects of pleasure and play, they
transform the Passion into a scene of triumph. It is a sign
of the times, and at the same time, the distinctive mark of
Gossart, that realistically - minded man, enamoured of sensual
beauty. In the art of Flanders all this is new. t-i-:-
When Mr. Renders acquired these two panels he found
them forming the wings of a central part (which still
exists) containing a bad and late copy (of the 17th. century)
of the famous picture of « Christ at the Pillory » painted
by Gossart, which, nowadays, is only known to us by its
very numerous replicas. Our advised collector was thus naturally
led to conclude that in the centre of his triptych, the same
scene had originally been represented, on a panel contemporary
to the wings, but which had since disappeared; in that case,
our angels would have been the original composition intended
by Gossart to accompany the figure of Christ. Seeing that
the subjects are in perfect accordance, that the dimensions
are almost similar and that our two paintings are of fine
workmanship, denoting at any rate the immediate circle of the
Master, this appears to be a very likely supposition, t-——*—
48 An argument in support of this theory could be drawn
from the following remark : contrarily to what is generally