예수 책형 및 최후의 심판

1430년경

On view at The Met Fifth Avenue in Gallery 605

최후의 심판과 인류를 구원하기 위한 그리스도의 희생을 병렬한 이 그림은 15세기 유럽에서 가장 유명한 화가였던 브뤼주 화가 얀 반 에이크의 후기 작품입니다. 예수 책형,/em>은 멀리서 바라 본 것처럼 표현합니다. 반대로, 최후의 심판,/em>은 성미술처럼 세 가지 층으로 정리하였는데, 인물들의 상대적 중요성을 나타내기 위한 계층 구조로 되어 있습니다. 원래의 액자 틀에 새겨진 문구는 정해진 형식으로서 놀라울 만큼 정확히 그림을 표현하는데, 이를 통해 단어와 그림 간의 역할을 명확히 하고 있습니다. 최후의 심판의 상반에서 일부는 조수에 의해 채색되었습니다.

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33.92a

33.92b

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Fig. 1. “The Holy Women at the Tomb,” plaque from the Reliquary of the Stone of the Sepulcher of Christ, Byzantine, 1150–1200, Constantinople (Musée du Louvre, Paris © 1987 RMN-Grand Palais, Musée du Louvre / Daniel Arnaudet)

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Fig. 2. Barthélemy d’Eyck, “Sainte Hostie de Dijon,” from Hours of René d’Anjou, 1442–43 (British Library, London, MS. Egerton 1070, fol. 110. © The British Library)

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Fig. 3. 15th-century reliquary cross with three host relics at the center. Estienne Ydens, "Histoire du S. Sacrement de Miracle," 1605, p. 72.

Fig. 4. Infrared reflectography (IRR) of the underdrawing in "The Crucifixion"

Fig. 5. Infrared reflectography (IRR) of the underdrawing in "The Last Judgment"

Fig. 6. Infrared reflectography (IRR) detail of the underdrawing in "The Last Judgment" showing the crown on the Virgin’s head

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Fig. 7. Hypothetical reconstruction of the Miraculous Bleeding Host reliquary shrine for the chapel in the Church of Saints Michel and Gudula, 1436–38 © C. La Fontaine

Fig. 8. Infrared reflectography (IRR) detail of the proposed portraits of Cardinal Albergati and Philip of Burgundy in "The Crucifixion"

Fig. 9. Painted detail of the proposed portraits of Cardinal Albergati and Philip of Burgundy in "The Crucifixion"

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Fig. 10. Jan van Eyck, "Portrait of Cardinal Niccolò Albergati," ca. 1435, silverpoint drawing, 21.2 x 18 cm (Kupferstichkabinett, Staatliche Kunstsammlungen Dresden; photo: Herbert Boswank)

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Fig. 11. Jan van Eyck, "Portrait of Cardinal Niccolò Albergati," 1438, oil on wood, 34 x 29.5 cm (Kunsthistorisches Museum, Vienna © KHM-Museumsverband)

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Fig. 12. Reconstruction of the 33.92ab in an Italian-style tabernacle frame, according to the 16th-century inventory © Drawing Dan Kershaw

Fig. 13. Reverse of 33.92ab showing inscriptions on the transfer canvases

Fig. 14. Inner sides of frames, oriented reverse to reverse, showing recesses for hinges

Fig. 15. Detail of outer sides of frames, oriented face to face, holes left by latching hardware indicated with arrows

Fig. 16. Details of x-radiographs with arrows showing cavities associated with hardware from triptych arrangement, above a similarly positioned latch ©Verougstraete 2015, p.109, fig. b.

Fig. 17. Detail from "Tthe Crucifixion" in normal light and infrared reflectograms; yellow arrows indicate the bold underdrawing, while white arrows indicate the finer underdrawn lines

Fig. 18. Detail from "Tthe Crucifixion" in normal light and infrared reflectograms; yellow arrows indicate the bold underdrawing, while white arrows indicate the finer underdrawn lines

Fig. 19. Detail from "The Last Judgment" ©The Met, Juan Trujillo, in collaboration with KIK-IRPA, Brussels

Fig. 20. Detail from “The Crucifixion” ©The Met, Juan Trujillo, in collaboration with KIK-IRPA, Brussels

Fig. 21. The lower member of “The Last Judgment” frame shown in: A. Before treatment photography B. X-radiography C. Lead distribution map obtained by macro X-ray fluorescence (MA-XRF) D. After treatment photography. ©The Met, Departments of Paintings Conservation and Scientific Research

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Fig. 22. Profile drawing of frame. W 1 3/8 in. 3.5 cm (T. Newbery)

Artwork Details

제목: 예수 책형 및 최후의 심판

아티스트: 얀 반 에이크 및 공방 조수, 네덜란드, 1390– 1 441년

연대: 1430년경

재료: 목재에서 옮긴 캔버스 유채

크기: 각기 56.5 × 19.7cm

크레디트 라인: 플레처 기금, 1933

작품 번호: 33.92ab

Learn more about this artwork

View of Jan van Eyck's "Crucifixion" and "Last Judgment" installed in a European paintings gallery at The Met Fifth Avenue

Unlocking the Mysteries of Two Jan van Eyck Frames, Part Five: Mysteries Unlocked

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.

A man wearing a headpiece with magnifying glass closely inspects a wooden painting frame in a sunlit conservation studio

Unlocking the Mysteries of Two Jan van Eyck Frames, Part Four: What Does the Text Mean?

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.

A group of art experts hold a discussion in a brightly lit conservation studio

Unlocking the Mysteries of Two Jan van Eyck Frames, Part Three: Addressing Questions of Display

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.

Detail view of one section of the frame for Jan van Eyck's "The Last Judgment"

Unlocking the Mysteries of Two Jan van Eyck Frames, Part Two: Imaging the Hidden Details

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.

Composite image showing a detail of the Archangel from Jan Van Eyck's "The Last Judgment" and a detail view of an X-radiograph image of the artwork's frame

Unlocking the Mysteries of Two Jan van Eyck Frames

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.

The Artist Project: Christopher Noey in Conversation with Walton Ford and Nina Katchadourian

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

Van Eyck's The Crucifixion; The Last Judgment: Rethinking a Masterwork

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.

Walton Ford on Jan van Eyck and workshop's "The Last Judgment"

The Artist Project: Walton Ford

Artist Walton Ford reflects on Jan van Eyck and workshop's _The Last Judgment_ in this episode of The Artist Project.

Can you listen to a painting?

"Van Eyck has really broken the silence."

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예수 책형 및 최후의 심판

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