An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Lamentation with Saint John the Baptist and Saint Catherine of Alexandria1493–1501
Artist: Master of the Legend of Saint Lucy
Netherlandish (South Netherlands), active c. 1475 - 1505
Religion. Central panel is a Pieta with an elaborate view of 15th century Bruges in the background. Donors included with saints in the scene. Left wing - St. John; Right wing - St. Catherine Figures of Christ, Mary and Saints all portraits of real people. Artist was primarily a portraitist though fashion of the time demanded religious pictures. Rich costumes of St. Catherine in right wing and donors in central panel reveal artist's interest in color and rich fabrics. People grouped tightly in foreground with little space around them. Space extends backward into picture but not forward. View of Bruges in background characteristic of this painter's work. The non-religious figures save Catherine, surpass the others, and show genuine bent for portraiture. The Spanish cast of Christ's features an unusual detail. STYLE: Flemish paintings in oil on panel derive from earlier schools of manuscript illumination and reveal their influence in: - Colors which are brilliant and harmonious with enamel-like hardness of finish. - Delicacy of technique and proportion. - Minute and sympathetic rendering of landscape. - Long flowing lines in the tradition of the International Style. Grace of pose and gesture also characteristic of this style.
39 1/4 x 31 1/4 in. (99.7 x 79.38 cm) (panel, central exterior)
34 5/8 x 26 3/8 in. (87.95 x 66.99 cm) (panel, central interior)
39 1/4 x 15 5/8 in. (99.7 x 39.69 cm) (panel, right wing exterior)
34 1/2 x 11 in. (87.63 x 27.94 cm) (panel, right wing interior)
39 1/2 x 15 5/8 in. (100.33 x 39.69 cm) (panel, left wing exterior)
34 1/2 x 11 in. (87.63 x 27.94 cm) (panel, left wing interior)
Oil on panel
Painting
Netherlands
15th-16th century
Bequest of John R. Van Derlip in memory of Ethel Morrison Van Derlip
In the hushed sanctity of a medieval church, where flickering candles dance with shadows, a triptych unfolds—a hinged masterpiece, delicately resting behind the altar. Its three panels tell a profound story, wrapping viewers in its solemn embrace.
In the heart of this triptych, the central scene captures a poignant moment: men and women gathered in sorrow, their faces etched with grief as they mourn the death of Jesus. The city of Bruges, where the artist poured his soul into this piece, forms a distant backdrop, its cobbled streets whispering tales of the past.
Flanking this heart-wrenching tableau are the side panels, where Saint John the Baptist stands resolute, a symbol of faith and prophecy, alongside Saint Catherine of Alexandria, her gaze filled with strength and determination. They stand vigil, guardians of the story, each representing a steadfast spiritual presence amidst the turbulent emotions surrounding them.
But as one gazes at the outer wings of this captivating work, another story quietly unfurls—the Annunciation. There, in gentle tones, the angel Gabriel appears before Mary, proclaiming the miraculous news that she will bear a divine son. The moment is tender, filled with the weight of destiny and a profound sense of hope, a serene reminder of the beauty and complexity of faith.
This journey of conservation, a loving act of preservation, came to fruition through the generosity of Al and Dena Naylor, whose contributions through the Art Champions program ensured that this masterwork could continue to touch hearts, telling its timeless story in the illuminated quiet of the chapel. In this space, the triptych stands not just as an artwork but as a bridge across time, inviting all who visit to pause, reflect, and resonate with its sacred narratives.
About the artist
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