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Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass), c. 1440-1450
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Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass), c. 1440-1450
Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass), c. 1440-1450. This splendid crucifixion scene originally served as the canon illustration in a liturgical missal. The open landscape is remarkable since it is not found in Dutch missals before the end of the 1500s. The large number of figures at the foot of the cross is also exceptional. The composition is thought to have been copied from a painting by Jan van Eyck, now lost. The painter of this miniature derives his name from the illuminations in the Old Testament commentary of Nicholas of Lyra, which Otto van Moerdrecht, canon of Utrecht Cathedral, gave to the nearby Carthusian monastery of Nieuwlicht in 1424. The style is found in several manuscripts traced to various towns in the North Netherlands. Recent scholarship points to a group of artists working in the same style in locations such as Guelders, Utrecht, and elsewhere, as opposed to one artist who moved from place to place
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Media ID 19621931
© Heritage Art/Heritage Images
And Gold On Vellum Netherlandish North Netherlands Tempera
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EDITORS COMMENTS
This print showcases a leaf from a missal, specifically the frontispiece for the Canon of the Mass, dating back to around 1440-1450. The crucifixion scene depicted in this artwork is truly magnificent and originally served as an illustration within a liturgical missal. What makes this piece particularly noteworthy is its open landscape, which was not commonly found in Dutch missals until much later in the 16th century. Additionally, the abundance of figures gathered at the foot of the cross is quite exceptional. It is believed that this composition was copied from a lost painting by Jan van Eyck, adding another layer of intrigue to its history. The artist responsible for creating this miniature takes his name from illuminations found in Nicholas of Lyra's Old Testament commentary. These illuminations were gifted by Otto van Moerdrecht, canon of Utrecht Cathedral, to Nieuwlicht Carthusian monastery in 1424. The style exhibited in this artwork can be traced back to various towns across North Netherlands such as Guelders and Utrecht. Recent research suggests that it may have been produced by a group of artists working collectively rather than one individual artist who traveled between locations. This remarkable print provides us with an opportunity to appreciate both the artistic skill and historical significance behind this beautiful crucifixion scene captured on paper centuries ago.
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