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Saint Catherine, c. 1520. Creator: Master of the Holy Blood (Netherlandish)
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Saint Catherine, c. 1520. Creator: Master of the Holy Blood (Netherlandish)
Saint Catherine, c. 1520. Saint Catherine holds the sword with which she was martyred, and Saint Barbara holds both a book and a ring symbolizing her scholarly pursuits and union with God. According to legend, the leather thongs with which she was beaten were transformed into peacock plumes. These two paintings 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 painting in the Chapel of the Holy Blood in Bruges. Bruges flourished as an international commercial center through the 1400s and early 1500s. Among its residents were many foreign merchants and bankers who, along with the Burgundian court, patronized artists and attracted specialized craftsmen such as furriers, hatters, jewelers, and goldsmiths. Brugess artistic production in the 1400s included celebrated artists like Jan van Eyck, Petrus Christus, Hans Memling, and Gerard David who painted large altarpieces, small panels for private devotion, and portraits. Bruges also remained an important center for the production of illuminated manuscripts
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Media ID 19640318
© Heritage Art/Heritage Images
Bruges Tempera On Wood Panel Netherlandish
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EDITORS COMMENTS
This print showcases the exquisite artwork of "Saint Catherine" created by the Master of the Holy Blood in Netherlandish during circa 1520. The painting depicts Saint Catherine, a revered Christian martyr, holding the very sword that was used to end her life. Standing beside her is Saint Barbara, portrayed with both a book and a ring symbolizing her devotion to knowledge and spiritual union with God. Legend has it that the leather thongs used to beat Saint Barbara were miraculously transformed into peacock plumes. Originally part of an altarpiece flanking a central panel (now lost), these two paintings are a testament to the artist's skill and attention to detail. Although their creator remains unknown, he is named after one of his works located in Bruges' Chapel of the Holy Blood. During this period, Bruges thrived as an international commercial hub attracting merchants, bankers, and members of the Burgundian court who generously patronized artists like Jan van Eyck, Petrus Christus, Hans Memling, and Gerard David. These talented individuals produced magnificent altarpieces for churches as well as smaller panels for private devotion and striking portraits. Bruges also maintained its reputation as an important center for illuminated manuscript production—a craft that required specialized craftsmen such as furriers, hatters, jewelers, and goldsmiths. This particular print allows us to appreciate not only the artistic beauty but also provides insight into Bruges' flourishing cultural scene during this era.
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