The Lamentation of Christ. Mary, Mary Magdalene and John, shown half-length, gather around the body of Christ. Medium: Oil on panel. Measurements: support 35.5 x 42.9 cm.
A triptych with Mary on the central panel and the Christ Child sitting before her on a cushion. The child holds a bird in his left hand, and at right is a small vase of flowers, with a landscape in the background. On the left wing stands Saint John the Evangelist with a chalice in a landscape, and o
Christ carries the cross to Calvary in the midst of a vast crowd that fills a Flemish landscape, a composition made popular by the Brueghel family workshop. The Flemish painter Pieter Brueghel the Younger (1565-1636) repeated his father's famous design in many versions.
The enthroned Madonna with Saints Jerome and John the Baptist and a kneeling Carthusian monk. At left Mary sits on a throne with the Christ Child on her lap, and the child holds an open book on his lap and a rosary in his outstretched hand. Beside them stand Saint Jerome and Saint John the Baptist,
Christ carries the cross on his shoulders, half kneeling. Grinning soldiers on either side pull on a rope tied around his waist. Behind him a herald blows a trumpet from which hangs a banner with a double-headed eagle, and at right in the distance lies Golgotha. Medium: Oil on panel. Measurements:
The Belgian artist James Ensor (1860-1949) imagines the miracle from the Gospel of Luke in swirling red crayon: Christ stands in a boat over a sea teeming with fish and figures as the disciples haul in their net.
As Christ dragged his cross through the streets of Jerusalem, Veronica wiped sweat from Christ’s face, which was miraculously imprinted on the fabric. This relief probably came from a choir screen, a barrier between the altar and the congregation, common in medieval churches. Yet the sculpture is mo
This pendant was made in the Rhine-Meuse region—now in modern Belgium—renowned for the production of fine metalwork objects, especially enamels. An enamel plaque depicting the enthroned Virgin and Christ child dominates the pendant. Four peripheral enamels depict angelic figures representing virtues
Among the first northern European artists to study in Rome, Gossaert returned north to serve in various German and Flemish courts, incorporating Italian Renaissance ideas. Gossaert also painted the frame, including the Latin inscription: "Mother, may your contemplation be our reconciliation." The pa
Saint Catherine holds the sword with which she was martyred. This painting and another in the collection (1942.633.2) were originally the wings of an altarpiece flanking a central panel, now lost, that may have depicted the Holy Family. The identity of this artist is unknown, but he is named for a p
The overall style of this painting suggests that it was painted by an artist closely associated with the Netherlandish painter Jan van Eyck. The facial structure of the saint as well as the artist's treatment of his cloak are typical of van Eyck's follower, Petrus Christus. Christus was active in th
The scene of the Annunciation to Mary that she will give birth to Christ is depicted here as a contemporary scene that may have been familiar to any viewer at the end of the 1400s. Mary is portrayed as an ordinary but wealthy woman who is interrupted by the Archangel Gabriel as she reads a book of h
David depicts the birth of Christ as a scene running continuously across three panels. However, the kneeling donors, introduced by the standing Saints Jerome and Leonard, are kept distinct from the central sacred event. A later owner converted the original couple's donor portraits into Saints Anthon
One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-
This painting is a rare surviving example of distemper, a water-based medium, on canvas. The artist was active both in his native Ghent, in modern Belgium, and at the refined court in Urbino, Italy. The Adoration takes place on an unusually grand porch with ancient Roman architecture and domestic dw
Memling adapted this composition from a large, celebrated altarpiece that he completed in 1479 for the Sint-Janshospitaal in Bruges. This smaller, more modest version was commissioned by an unidentified donor who kneels at the left, shown reciting his rosary as he contemplates Saint Catherine's myst
This painting shows Christ mocked and crowned with thorns by his tormentors, one of the Sorrowful Mysteries of the Rosary. It was painted around 1618-1620 by the young Flemish artist Anthony van Dyck, then chief studio assistant to Peter Paul Rubens, and shows Rubens' influence in its sombre palette
This panoramic panel shows Christ carrying his cross to Calvary amid a vast crowd of onlookers, an episode from the Passion of Christ and one of the Sorrowful Mysteries of the Rosary. It was painted in 1564 by the Flemish master Pieter Bruegel the Elder and is now held in the Kunsthistorisches Museu
This panel depicts the Ascension of Christ, the moment described in the Acts of the Apostles when the risen Christ departed from earth into heaven forty days after his Resurrection, watched by his apostles. It is a work of the Flemish painter Adriaen van Overbeke, active in Antwerp in the early sixt
This painting shows the body of Christ being laid in the tomb after the Crucifixion. It is by the Flemish Baroque painter Jacob Jordaens, who, alongside Rubens and van Dyck, was one of the leading painters working in Antwerp in the 17th century.
Traditional locations within manuscript psalters were designated by decorated initials or, as is the case here, full-page miniatures. The extraordinary quality of these miniatures suggests they once decorated a deluxe psalter made for a wealthy or aristocratic patron, possibly a cleric.
Oil on panel painting of the descent of the Holy Spirit, made in Flanders. It measures 119 x 93.5 cm (46 7/8 x 36 3/4 in.).
This painting depicts the biblical scene of King David bringing the Ark of the Covenant to Jerusalem, rendered with dynamic composition and rich detail characteristic of the Baroque period.
Suffer the Little Children to Come Unto Me (1615–16) is an oil-on-panel painting by Jacob Jordaens, a prominent Flemish Baroque artist. The artwork illustrates the biblical passage from Mark 10:13–16, where Jesus blesses children brought to him by their parents.
