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Redemption Triptych: Sacrament of Extreme Unction, from the series of small images

Redemption Triptych: Sacrament of Extreme Unction, from the series of small images


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Redemption Triptych: Sacrament of Extreme Unction, from the series of small images

XIR488609 Redemption Triptych: Sacrament of Extreme Unction, from the series of small images portraying the sacraments surrounding the central image of the Crucifixion, c.1460 (oil on panel) by Stockt, Vrancke van der (c.1420-c.95); Prado, Madrid, Spain; (add.info.: Triptyque de la Redemption, partie centrale: L ExtrAšme Onction; Vranke van der Stockt was a pupil of Rogier van der Weyden, who was formerly considered the painter of this triptych; in the 16th century this picture belonged to Leonor Mascarenas, governess of King Philip II; she gave it to the Convent of Nuestra SeAnora de los Angeles, which she founded; ); Netherlandish, out of copyright

Media ID 12914687

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Anointing Candle Extreme Unction Rite Sacrament Sacraments Dying Last Sacrament


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EDITORS COMMENTS
This print showcases the "Redemption Triptych: Sacrament of Extreme Unction" by Vrancke van der Stockt, a renowned Netherlandish painter from the 15th century. The triptych is part of a series of small images that depict various sacraments surrounding the central image of the Crucifixion. In this particular panel, we witness the solemn and poignant moment of Extreme Unction, also known as Last Rites or Anointing of the Sick. A priest stands beside a dying individual, holding a candle and anointing them with sacred oil in accordance with this sacramental rite. The atmosphere is filled with reverence and spirituality as both figures engage in this ritualistic act. Van der Stockt's masterful use of oil on panel brings out intricate details and textures, enhancing the emotional impact of the scene. The composition exudes harmony through its balanced arrangement and skillful play between light and shadow. Originally attributed to Rogier van der Weyden, it was later discovered that Van der Stockt was responsible for creating this powerful piece. Its historical significance is further highlighted by its ownership by Leonor Mascarenas, governess to King Philip II during the 16th century. Now housed at Prado Museum in Madrid, Spain, this artwork continues to captivate viewers with its profound portrayal of faith and redemption. It serves as a reminder not only of our mortality but also offers solace in times when one seeks spiritual comfort during

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