作品

早期作品(1464年以前)

次的最早的工作是三联画的圣母的生活在普拉多博物馆(马德里),大约1445人。格拉纳达的沉积祭坛的装饰品(Capilla真实)可能也始于这个时期,大约1450 - 60。肢解画布altarpiece-now美术的延续Royaux de比利时(布鲁塞尔),保罗·盖蒂博物馆(洛杉矶)国家美术馆(伦敦),诺顿西蒙博物馆(帕萨迪纳市),和一个瑞士私人典藏圣体相同的维度装饰画可能属于这一时期。卢浮宫哀歌(圣母怜子图)是另一个早期的工作。

记录工作

最后的晚餐是中央面板圣体祭坛的装饰品从发作的委托鲁汶团体圣体在1464年。所有的房间的中部正交(想象背后行和垂直于投影面收敛消失点)导致一个消失点在基督的头顶上方壁炉的中心。然而,小房间有自己的消失点,它和消失点的主要风景的房间落在地平线上透过窗户。最后的晚餐是第二个日期(在工作Petrus Christus处女和孩子坐在圣杰罗姆和圣弗朗西斯在法兰克福,可追溯到1457年)显示意大利的理解直线透视图.

学者也指出,次《最后的晚餐》是第一个佛兰德的板画描述最后的晚餐。在这个中心面板,发作不关注圣经叙事本身,而是提出了基督神父的角色执行奉献的圣体的主机从天主教的弥撒。这与其他最后的晚餐的描述对比强烈,经常关注犹大约翰的背叛或基督的安慰。发作也添加到这个形象的复杂性包括四个仆人(两个在窗口和两个站),所有穿着佛兰德的装束。尽管一旦确认为艺术家本人和他的两个儿子,这些仆人是最有可能的画像团体的成员负责调试祭坛的装饰品。最后的晚餐的中心部分祭坛的装饰品在圣彼得教堂,鲁汶.

神圣圣的装饰画有四个额外的面板,一边两个。因为这些被送往博物馆在柏林和慕尼黑在19世纪,重建原来的装饰画很困难。今天人们认为亚伯拉罕和麦基洗德的面板是左翼的逾越节筵席之上,而收集的吗哪高于Elijiah和右边的天使翅膀。所有这些都是类型“最后的晚餐”在中央面板的先兆。

后获得的秩城市鲁汶画家1468年,次收到一个委员会来漆两个工作市政厅。首先是一个祭坛的装饰品的最后判断(1468 - 70),存在于今天只有在天堂之路的两个翅膀,秋天的诅咒美术博物馆,里尔(法国),基督的断断续续的半身像从中央面Nationalmuseum,斯德哥尔摩。在这之后,他转向更大的司法委员会面板(1470 - 75),占领他,直到他1475年去世。他完成了一个面板,开始第二个,描绘的生活11世纪神圣罗马帝国的皇帝奥托三世.这些作品现在可以在布鲁塞尔博物馆。剩下的两个正义面板没有完成。

虔诚的面板和肖像

发作的许多真实的作品小虔诚的面板,通常的圣母和耶稣的画像。一个早期的例子是戴维斯麦当娜在纽约(大都会艺术博物馆),优秀的副本的存在Bargello在佛罗伦萨,旧金山艺术博物馆。这篇作文是公式的奇迹般的图标Notre-Dame-des-Graces,这是安装在大教堂期间在1454年(法国)。的处女和儿童在国家画廊(伦敦)的最大、最雄心勃勃的玛丽安的照片。领域的肖像画,发作扩展建立的传统罗伯特Campin,Jan范艾克,Rogier van der Weyden,Petrus Christus。他1462年的一个人在国家画廊(伦敦)是第一个坐着的半截视图所示的实例之前明显的背景,瞥见窗外的风景。也普遍归因于发作是一个男人的肖像在大都会艺术博物馆(纽约),类似于一些人物的艺术家的后期正义板1470 - 75。其他肖像与发作有关,如那些在华盛顿(国家美术馆的艺术)和安特卫普(皇家美术博物馆),有更多的问题。

其他作品

参见:类别:画作Dirk发作

最后的晚餐和正义板是唯一已知工作肯定由发作。剩下的板的最后审判日祭坛的装饰品(表1468 - 70)和圣伊拉斯谟殉难的三部曲(1466年以前)也相当安全的归因。除了这些之外,其他一些画作都归功于他。

这些是:基督的西蒙,基督的西蒙和诞生片段与圣母祈祷的Staatliche Museen。三部曲的殉难圣希波吕托斯(Groeningemuseum),维珍坐在四个天使(Capilla真实,格拉纳达),和一个报喜 (位于张Gulbenkian,里斯本)。的国家美术馆持有埋葬的,圣母为圣彼得和圣保罗,和圣母和耶稣的画像。

其他人则圣詹姆斯就越大 (位于德《骶骨丰沙尔,葡萄牙马德拉群岛),《羔羊经,(Alte Pinakothek),摩西在燃烧的树丛 (费城艺术博物馆),基督的半身像(博物馆Boijmans Van Beuningen),处女和儿童 (华盛顿国家美术馆的艺术),和复活诺顿西蒙艺术博物馆。两个都在罗浮宫——一个诞生片段和圣约瑟夫圣母和孩子坐在一个利基。

两个Boutsian的工作Alte Pinakothek在慕尼黑艺术历史学家困惑。一个是所谓的珍珠tryptich布拉班特的,作家早在1902年试图分开发作的真实的工作。最近的研究似乎驳斥这一尝试。另一对板从一个祭坛的装饰品描绘Passion-respectively显示背叛基督的复活。很长一段时间这些被认为是一些发作的早期作品,但是dendrochronological现在的地方他们的证据在1475年去世。Schone 1938年发明的“慕尼黑背叛大师”是一个更合适的归因。

Works

Early works (before 1464)

Bouts' earliest work is the Triptych of the Virgin's Life in the Prado (Madrid), dated to about 1445. The Deposition Altarpiece in Granada (Capilla Real) probably also dates to this period, around 1450–60. A dismembered canvas altarpiece—now in the Musées Royaux des Beaux-Arts de Belgique (Brussels), the J. Paul Getty Museum (Los Angeles), National Gallery (London),Norton Simon Museum (Pasadena), and a Swiss private collection—with the same dimensions as theAltarpiece of the Holy Sacrament may belong to this period. The Louvre Lamentation (Pietà)is another early work.

Documented works

The Last Supper is the central panel of Altarpiece of the Holy Sacrament, commissioned from Bouts by the Leuven Confraternity of the Holy Sacrament in 1464. All of the central room's orthogonals (lines imagined to be behind and perpendicular to the picture plane that converge at a vanishing point) lead to a single vanishing point in the center of the mantelpiece above Christ's head. However the small side room has its own vanishing point, and neither it nor the vanishing point of the main room falls on the horizon of the landscape seen through the windows. The Last Supper is the second dated work (afterPetrus Christus' Virgin and Child Enthroned with St. Jerome and St. Francis in Frankfurt, dated 1457) to display an understanding of Italian linear perspective.

Scholars also have noted that Bouts's Last Supper was the first Flemish panel paintingto depict the Last Supper. In this central panel, Bouts did not focus on the biblical narrative itself but instead presented Christ in the role of a priest performing theconsecration of the Eucharistic host from the Catholic Mass. This contrasts strongly with other Last Supper depictions, which often focused on Judas's betrayal or on Christ's comforting of John. Bouts also added to the complexity of this image by including four servants (two in the window and two standing), all dressed in Flemish attire. Although once identified as the artist himself and his two sons, these servants are most likely portraits of the confraternity's members responsible for commissioning the altarpiece. The Last Supper was the central part of the altarpiece in the St. Peter's Church, Leuven.

The Altarpiece of the Holy Sacrament has four additional panels, two on each side. Because these were taken to the museums in Berlin and Munich in the 19th century, the reconstruction of the original altarpiece has been difficult. Today it is thought that the panel with Abraham and Melchizedek is above the Passover Feast on the left wing, while the Gathering of the Manna is above Elijiah and the Angel on the right wing. All of these are typological precursors to the Last Supper in the central panel.

After attaining the rank of city painter of Leuven in 1468, Bouts received a commission to paint two more works for theTown Hall. The first was an altarpiece of the Last Judgment (1468–70), which exists today only in the two wings with theRoad to Paradise and the Fall of the Damned in the Musée des Beaux-Arts, Lille (France), and a fragmentary Bust of Christ from the central panel in the Nationalmuseum, Stockholm. After this, he turned to the larger commission for the Justice Panels (1470–75), which occupied him until his death in 1475. He completed one panel and began a second, both depicting the life of the 11th-century Holy Roman Emperor Otto III. These pieces can now be seen in the Brussels museum. The remaining two Justice Panels were never completed.

Devotional panels and portraitsMany of Bouts' authentic works are small devotional panels, usually of the Virgin and Child. An early example is the Davis Madonna in New York (Metropolitan Museum of Art), excellent copies of which exist in the Bargello in Florence and the Fine Arts Museums of San Francisco. This composition follows the formula of the miraculous icon ofNotre-Dame-des-Grâces, which was installed in the cathedral of Cambrai (France) in 1454. The Virgin and Child in the National Gallery (London) is the largest and most ambitious of these Marian pictures. In the realm of portraiture, Bouts expanded upon the tradition established by Robert Campin, Jan van Eyck, Rogier van der Weyden, and Petrus Christus. His dated 1462 Portrait of a Man in the National Gallery (London) is the first instance of a sitter shown in three-quarter view before a discernible background with a glimpse of the landscape out the window. Also widely attributed to Bouts is the Portrait of a Man in the Metropolitan Museum of Art (New York), which resembles some of the figures in the artist's late Justice Panels of 1470–75. Other portraits associated with Bouts, such as those in Washington (National Gallery of Art) and Antwerp (Royal Museum of Fine Arts), are more problematic.

Other works

See also: Category:Paintings by Dirk Bouts

The Last Supper and Justice Panels are the only works known to be definitely done by Bouts. The remaining panels from the Last Judgment Altarpiece (datable to 1468-70) and the Martyrdom of St. Erasmus Triptych (before 1466) are also fairly secure attributions. Aside from these, a number of other paintings have been attributed to him.

These are: Christ in the House of Simon, Christ in the House of Simon and Nativityfragment with the Virgin at Prayer in the Staatliche Museen. The triptych the Martyrdom of St. Hippolytus (Groeningemuseum), Virgin Enthroned with Four Angels (Capilla Real, Granada), and an Annunciation (Museu Calouste Gulbenkian, Lisbon). The National Gallery holds The Entombment, the Virgin Enthroned with St. Peter and St. Paul, andThe Virgin and Child.

Others are Saint James the Greater (Museu de Arte Sacra do Funchal, Madeira, Portugal), Ecce Agnus Dei, (Alte Pinakothek), Moses before the Burning Bush(Philadelphia Museum of Art), Bust of Christ (Museum Boijmans Van Beuningen), Virgin and Child (National Gallery of Art, Washington), and a Resurrection in the Norton Simon Museum of Art. Two are in the Louvre – a Nativity fragment with St. Joseph and theVirgin and Child Enthroned in a Niche.

Two Boutsian works in the Alte Pinakothek in Munich have perplexed art historians. One is the so-called Pearl of Brabant tryptich, which writers as early as 1902 tried to separate from Bouts' authentic works. Recent research seems to refute this attempt. The other is a pair of panels from an altarpiece depicting the Passion—respectively showing the Betrayal of Christ and the Resurrection. For a long time these were considered some of Bouts' earliest works, but dendrochronological evidence now places them around the time of his death in 1475. Schone's 1938 invention of a "Master of the Munich Betrayal" is a more appropriate attribution.