キリストの受難と最後の審判

With the mysterious text deciphered and the Crucifixion and Last Judgment back in the galleries, curator Maryan Ainsworth muses on the ways in which the frames serve as an integral part of Jan van Eyck's conception for the paintings.

Now that the originality of the newly uncovered texts on the frames of Jan van Eyck's Crucifixion and Last Judgment had been determined, it was time to engage an ace paleographer, Marc Smith, to help decipher these mysterious fragments of words and phrases.

Having recognized through technical examinations that the mysterious fragmentary texts discovered on the frames of Jan van Eyck's Crucifixion and Last Judgment were original, a paintings conservator discusses the options for revealing the original inscriptions and how best to restore the frames for presentation in the galleries.

After a hidden fragmentary text was discovered in the frames of two of the Museum's most treasured paintings, a research scientist and a paintings conservator got down to work performing technical examinations to determine whether the text was original to the paintings.

The discovery of a mysterious fragmentary text on the frames of two of the Museum's most treasured paintings brought together curators, conservators, scientists, and a paleographer to uncover the meaning of the text and the history of the frames. In this article, the detective work begins. 

Author Christopher Noey converses with artists Walton Ford and Nina Katchadourian about The Artist Project, a new book based on the online series.

Curators Maryan Ainsworth and Keith Christiansen highlight the aspects of Jan van Eyck's The Crucifixion; The Last Judgment that prompted them to reconsider the masterwork.