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168:). She is shown with reddened eyes full of tears that spill down her cheeks. Her head is bowed in grief, and although she looks outwards, her expression is reflective and introspective. Her eyes – like those of Christ on the right panel – are coyly and dignifiedly averted from the viewer. Hers are downcast, his equally tear reddened eyes gaze to his right. In comparison to the passionate and expressively rendered depictions of Mary's suffering in the art of Bouts' near contemporaries
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Christ is shown in suffering and in pain, reflecting one of two broad styles of single portrait representation popular in the mid to later 15th century, both of which showed his head in either near close up isolation, in half length. The representation of Christ in the "Holy Face" format dates back
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176:, here, Mary's grief is highly restrained and, according to art historian Joseph Van der Elst, all the more "appealing and deeply moving. She is timeless like human suffering."
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Although devotional diptychs were common in mid-15th century northern art, they typically, following the innovations of the highly commercially successful
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The original autograph diptych is lost, although numerous versions of generally rather poor quality survive including a near identical diptych in
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c. 1485–95. Bouts' earlier right hand panel is similarly typical, showing Christ bleeding at the forehead from incisions made by the
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In this work Bouts shifts the emphasis and presents both Christ and Mary in the tradition, with Mary now presented as the
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attributed to Bouts, is comparable in composition, colorisation and tone, and is today in the London
National Gallery.
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at
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and the lost van Eyck frontal representation of Christ known through a copy in the
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Wolff, Martha. "An Image of
Compassion: Dieric Bouts's 'Sorrowing Madonna'".
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The second popular means of presenting the heads of Christ, that of the "
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246:. Workshop of Dieric Bouts the Younger, c. 1470–75. 38.7 × 30.3 cm.
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94:. Other versions of each panel survive. The best versions of the
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consisted of two small oil on oak panel paintings by the
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Bouts depicts the Virgin Mary as the "Mater
Dolorosa" (
54:. Workshop of Dieric Bouts, c 1470–75. 36.8 x 27.8 cm.
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553:Triptych with Scenes from the Life of the Virgin
475:. London: National Gallery Publications, 1998.
321:"Mater Dolorosa (Sorrowing Virgin), 1480/1500"
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473:The Fifteenth Century Netherlandish Schools
193:Staatliche Preussischer Kulturbesitz Museen
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676:Paintings in the Art Institute of Chicago
154:in dramatic grief and despair, supported
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501:Art Institute of Chicago Museum Studies
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187:and the motif was popularised again by
397:Crucifixion and Last Judgement diptych
147:Crucifixion and Last Judgement diptych
487:The Last Flowering of the Middle Ages
102:and in the Weissberger collection at
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456:, London. Retrieved 6 August 2012
388:See van der Weyden's c 1435–1438
352:, London. Retrieved 6 August 2012
585:Altarpiece of the Holy Sacrament
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265:, Dirk Bouts, c. 1470. Oil with
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577:The Martyrdom of Saint Erasmus
503:, 15/2, 1989. 112–125; 174–175
489:. Kessinger Publishing, 2005.
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609:Christ and the Virgin Diptych
68:Christ and the Virgin Diptych
691:Paintings of the Virgin Mary
627:Early Netherlandish painting
110:is in the collection of the
16:Lost diptych by Dieric Bouts
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593:The Ascension of the Elect
588:(attributed; c. 1464–1468)
450:Christ Crowned with Thorns
346:Christ Crowned with Thorns
263:Christ Crowned with Thorns
52:Christ Crowned with Thorns
671:Paintings by Dieric Bouts
294:c. 1485–95. Oil on wood,
90:and a similar diptych in
638:Dieric Bouts the Younger
325:Art Institute of Chicago
296:Museum Catharijneconvent
248:Art Institute of Chicago
218:very similar c 1470 work
100:Art Institute of Chicago
394:, or van Eyck's c 1440
601:The Fall of the Damned
485:Van der Elst, Joseph.
391:Descent from the Cross
292:Geertgen tot Sint Jans
204:Geertgen tot Sint Jans
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632:Rogier van der Weyden
569:Lamentation of Christ
174:Rogier van der Weyden
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123:Rogier van der Weyden
165:Our Lady of Sorrows
156:John the Evangelist
73:Early Netherlandish
686:Paintings of Jesus
400:. Van der Elst, 79
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225:Woman of Sorrow".
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170:Jan van Eyck
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267:egg tempera
133:Description
98:are in the
660:Categories
439:Wolff, 117
430:Wolff, 118
421:Wolff, 119
379:Wolff, 114
370:Wolff, 113
195:, Berlin.
118:, London.
88:the Louvre
77:Dirk Bouts
604:(c. 1470)
596:(c. 1470)
580:(c. 1464)
556:(c. 1445)
545:Paintings
273:, London.
182:Byzantine
58:, London.
39:, London.
681:Diptychs
152:swooning
75:painter
620:Related
463:Sources
300:Utrecht
230:Gallery
92:Toronto
81:diptych
493:
479:
108:Christ
104:Madrid
646:(son)
640:(son)
308:Notes
185:Icons
127:donor
491:ISBN
477:ISBN
332:2013
216:. A
65:The
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206:'s
180:to
172:or
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158:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
