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Epoch Times
10-05-2025
- Entertainment
- Epoch Times
Mystery Surrounds This Rare Altarpiece
Art experts remain baffled by a 16th-century altarpiece titled 'The Virgin and Child With Saints Louis and Margaret.' The National Gallery, London recently acquired the devotional work for 16.4 million pounds (around $21.7 million). The American Friends of the National Gallery, London helped fund the acquisition. Members of the public will be able to view the altarpiece for the first time in over 60 years, when the gallery displays it starting May 10. They'll also learn some of the surprising elements in the work that explain why its artist remains a mystery. 'The Virgin and Child with Saints Louis and Margaret,' circa 1510, by an unknown Netherlandish or French painter. Oil on oak wood; 48 1/8 inches by 41 5/8 inches. Bought with the support of the American Friends of the National Gallery, London, 2025. National Gallery, London. Copyright The National Gallery, London The Altarpiece The artist rendered an open-air chapel, with the king of France St. Louis, St. Margaret, and two angel musicians flanking the enthroned Virgin and Christ. The Virgin is full of grace. She's dressed in red, symbolic of her humility and earthly presence. She gently holds a flower between her thumb and forefinger. Christ sits on her lap, toying with a goldfinch, a common pet in medieval times and an art motif symbolizing the goldfinch that plucked a thorn from Christ's crown of thorns at Calvary. St. Louis appears lifelike; it could almost be his portrait. He wears blue robes embroidered with gold fleur-de-lis emblems and the collar of the Order of St. Michael, a French dynastic order of chivalry. The pious St. Margaret ascends from the stomach of the dragon, which swallowed her. Both her poise and opulent gown belies her terrifying ordeal. She holds a jewel-encrusted cross, perhaps symbolizing her faith and the sign of the cross she made that allowed her miraculous escape. Related Stories 4/2/2020 5/25/2023 The angel beside plays the mouth harp, the other holds a hymn book open at 'Ave regina caelorum, Mater regis angelorum' ('Hail, queen of heaven, Mother of the king of angels.') The painter rendered artistic rather than accurate musical notations for the score. Delightful and Peculiar Details The artist deftly rendered exquisite details: the double knots in St. Louis's chain, the gems on St. Margaret's cross, and the sunlight sweeping across her cheek. He also included unusual elements. The figures on St. Louis's spectre may symbolize the Last Judgment, an odd theme for metalwork at the time. St. Margaret's sequined hairnet, her daisy crown, and the bird are all unusual. The bird could refer to the bird that descended from heaven to crown Margaret in 'The Golden Legend,' a collection of 153 hagiographies (biographies of saints) written by Italian chronicler and archbishop of Genoa Jacobus de Voragine between 1250 and 1280. Of course, the altarpiece abounds with biblical references. Carved into the capitals of the open-air chapel are episodes from the Old Testament: Adam and Eve, Cain and Abel, The Grapes of Canaan, and The Drunkenness of Noah. Of particular interest are the stark wooden steps and nailheads that lead to the enthroned Virgin and Child; they may symbolize Christ's crucifixion. According to the gallery, 'No other example of such imagery is known to survive.' Understanding the Altarpiece The altarpiece was first documented in 1602, in Drongen Abbey in Ghent, modern-day Belgium. It's uncertain whether the altarpiece was commissioned for the abbey, but there are several striking connections: The monastery's coat-of-arms include the fleur-de-lis and a swan (which is painted on the right pilaster). In addition, in 1608, the monks consecrated the abbey's altar dedicated to the Virgin and St. Margaret. Experts believe a French or Netherlandish artist painted the work around 1510. They favor the Netherlandish artist attribution because the oak wood for the panel was sourced from the Baltic area; French artists preferred painting on local wood panels. According to the gallery, 'The panel's overall eccentricity and the dramatically foreshortened faces of the saints and angels are reminiscent of the early work of Jan Gossaert (active 1508; died 1532). … The composition and versatile execution—alternating smoothly painted areas and minute details with more dynamic passages—also pay homage to the Netherlandish tradition of Jan van Eyck (active 1422; died 1441) and Hugo van der Goes (active 1467; died 1482). The overall sense of plasticity, monumentality, and the strong shadows recall the work of French painters like Jean Hey (Master of Moulins) (active 1482; died after 1504.)' Whoever painted the altarpiece remains a mystery for now. For the art lovers and the faithful, it is, in all certainty, a glorious work of devotion. 'The Virgin and Child with Saints Louis and Margaret' will be displayed at the National Gallery, London starting May 10. To find out more, visit What arts and culture topics would you like us to cover? 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The Independent
02-05-2025
- Entertainment
- The Independent
National Gallery spends £16m on painting without knowing where it's from or who the artist is
The National Gallery has spent more than £16m on a mysterious painting – despite not knowing who the artist is. The 16th-century altarpiece – which has not been exhibited in over 60 years – was bought by the gallery from a private collection for £16.4m, making it one of the largest ever purchases for the national collection. But a panel of experts were unable to agree on the identity of the artist, and the gallery now hopes further research will solve the 'conundrum' of its origin. Dating from about 1510, the painting depicts a virgin and child at its centre, with two saints, two playful angels, a naughty child and a 'magnificent slobbering dragon'. The painting was described as 'outstanding importance' by the National Gallery - though basic facts such as whether the painter was French or Netherlandish - which refers to 15th and 16th century art from the Low Countries, now modern-day Belgium, Netherlands, and parts of France and Germany - is still up for debate. Emma Capron, curator of Early Netherlandish and German paintings at the National Gallery, said: 'This is a rare and exciting addition to the National Gallery's superb collection of Early Netherlandish Paintings. 'This altarpiece is the work of a talented and highly original artist, and I hope that ongoing research and the painting's public display will help solve this conundrum in the future.' The picture is the latest acquisition of the gallery which is celebrating its 200th anniversary, and will go on public display for the first time since 1960 on May 10. 'The Virgin and Child with Saints Louis and Margaret' served as an altarpiece, probably for the urban priory of Drongen in Ghent, modern Belgium. Though the painting was first documented in 1602, tests on the painting's panel revealed it derived from an oak tree which was felled around 1483. The painting is full of 'wildly inventive' details, the gallery said, including the 'humorous' addition of an 'unruly child showing us his behind on the top right capital'. Other more sombre details include bare wooden steps and nail heads, believed to be foretelling Christ's crucifixion. The gallery said: 'With its lack of artist attribution, this painting challenges art historians' tendency to focus on names and demonstrates that for the late medieval and Renaissance periods, anonymity can intersect with extraordinary quality.' The gallery bought the piece, which had been exempted from capital taxes, in a deal arranged by Sotheby's for the 'special price of £16.4 million' with the support of the American Friends of the National Gallery London. The gallery did not specify who the previous owners were, but Art Newspaper reported that it was until recently kept in Dorset, on the Lulworth Estate, home of the Weld family. It was previously sold by a descendant of the family of Henry Blundell, who died in 1810 and is believed to have bought it from Ghent itself by 1803.
Telegraph
02-05-2025
- Entertainment
- Telegraph
National Gallery spends £16m on masterpiece by unknown artist
The National Gallery has spent £16.4 million on a rare Renaissance masterpiece by an unknown artist. The Virgin and Child with Saints Louis and Margaret and Two Angels, estimated to have been created between 1500-1510, features the Virgin Mary seated with Christ as a child, flanked by saints and angels. The work features a snarling dragon, an angel plucking a Jew's harp and an 'unruly child showing us his behind on the top right capital'. The painting, measuring 1.2 metres high, was bought through Sotheby's, with support from the American Friends of the National Gallery London. It will go on public display from May 10 as part of the gallery's bicentenary celebrations and the reopening of its newly refurbished Sainsbury Wing. Emma Capron, curator of early Netherlandish and German paintings, said it was a 'rare and exciting addition' to the collection. She added: 'This altarpiece is the work of a talented and highly original artist, and I hope that ongoing research and the painting's public display will help solve this conundrum in the future.' Experts remain divided over whether it was painted in the Low Countries or France. Possible artists include Jan Gossaert, already represented in the National Gallery's collection, and Jean Hey. Technical analysis shows the oak panel was cut from a tree felled after 1483, with stylistic aspects pointing to a date around 1510. The painting was first recorded at the priory of Drongen near Ghent in 1602. It later entered private hands and was reportedly housed at the Lulworth Estate in Dorset, home of the Weld family. The gallery said in a statement: 'With its lack of artist attribution, this painting challenges art historians' tendency to focus on names and demonstrates that for the late medieval and Renaissance periods, anonymity can intersect with extraordinary quality.' The purchase joins a string of high-profile acquisitions marking the National Gallery's 200th anniversary, including recent additions by Poussin, Alma-Tadema and Eva Gonzales.
