292:
316:
304:
256:
280:
268:
34:
20:
213:, and painting is generally of greater interest to modern art historians than sculpture. De Baerze's two retables are probably the earliest Netherlandish examples to survive complete, although there were evidently many more such works in existence by this date, and the form probably developed first in the
142:(another Fleming who also previously worked for Louis) — a common arrangement for a grand altarpiece. These painted outer panels only survive for the larger of the two retables. The triptychs would normally be shown closed, displaying the paintings, but opened to show the carvings for
382:
363:
291:
379:
360:
122:, as the dynastic burial-place of the Burgundian Valois, and was filling it with impressive works of art. In 1390, he commissioned de Baerze to create two similar altarpieces for Champmol: one, now known as the
315:
255:
279:
190:
The retables were transported to Dijon from
Dendermonde in August 1391, but were returned to Flanders a year later. There, the painting and gilding was finished by Broederlam at his studio in
303:
91:, as two commissions from Louis to produce carved altarpieces are recorded, though the works have not survived. These were for the chapel of the castle of Dendermonde, and the hospice of the
217:. With hardly any works from the period to compare to those in Dijon, it is hard to assess the originality of de Baerze, or his place in the tradition, though he clearly participates in the
547:
225:
after the
Reformation was so destructive of Netherlandish wood-carved altars that only a few fragments survive there from the following eighty years, while Germany has many examples.
198:
regulations usually mandated that the carving and painting or guilding were performed by members of different guilds. They were returned to
Champmol, approved by a committee including
209:, along with the Broederlam panels, which now, unlike at the time of their creation, receive more attention than the carvings, as they are of great significance in the development of
267:
228:
Other smaller carvings attributed to de Baerze survive, including the 28 cm high figure from an altar crucifix which formed part of the
Champmol commission, now in the
532:
404:
527:
138:
with hinged wings, carved on the interior, but the exterior panels, showing when the wings were closed, were to be painted by his court artist
429:
206:
542:
111:
210:
33:
537:
229:
153:
of the two artists' elements was designed to complement each other, with a painted sequence of scenes from the
221:
style of the period. Presumably most of his work was for local churches and religious houses. In fact the
159:
401:
218:
171:
84:
139:
179:
with small figures of saints and angels. The whole of both works is either gilded or painted. The
202:, and installed by the end of 1399, after which de Baerze disappears from documented records.
83:. He was clearly a well-established master before the death in January 1384 of the local ruler,
425:
103:
61:
26:
408:
386:
367:
99:
88:
175:, flanked by saints on the inside of the side-panels. Above there is elaborate Gothic
19:
521:
508:
237:
214:
127:
340:
459:
199:
165:
150:
72:
222:
107:
92:
53:
75:(Termonde in French) some thirty kilometres away, which is also not far from
143:
390:
135:
115:
80:
49:
183:
is 159 cm high, and 252 cm wide with the wings open. For the
176:
76:
241:
479:
195:
191:
119:
68:
57:
32:
18:
205:
The altarpieces were moved after the French
Revolution to the
187:
the equivalent figures are 167 cm and 252 cm.
102:, Duke of Burgundy, Louis' son-in-law and successor as
23:Scene from the smaller Champmol altarpiece; the
548:14th-century people from the county of Flanders
134:, for the main altar of the church. Both are
8:
95:abbey of Bijloke, then just outside Ghent.
52:sculptor in wood, two of whose major carved
48:(active before 1384, died after 1399) was a
285:The Retable of the Crucifixion, right side.
273:Retable of the crucifixion, central panel.
261:The Retable of the Crucifixion, left side.
511:see also for a bibliography on de Baerze.
424:, pp. 73 and 294, 1985, Harry N. Abrams,
60:, now in France, then the capital of the
332:
251:
7:
343:. Macmillan Publishers Limited. 2000
130:, and the larger, now known as the
411:juxtaposing the inside and outside
297:Detail: the Adoration of the Magi.
14:
157:and within, carved scenes of the
314:
302:
290:
278:
266:
254:
533:Flemish sculptors (before 1830)
106:. In 1385 Philip had founded a
248:The Retable of the Crucifixion
1:
528:Early Netherlandish sculptors
391:more pictures and French text
341:"The Grove Dictionary of Art"
207:Musée des Beaux-Arts de Dijon
67:De Baerze probably came from
211:Early Netherlandish painting
98:These works were noticed by
181:Altar of Saints and Martyrs
124:Altar of Saints and Martyrs
564:
490:Snyder, 71 and 293–4
389:– Dijon Museum, and
185:Retable of the Crucifixion
132:Retable of the Crucifixion
41:; detail of the right side
39:Retable of the Crucifixion
509:Art Institute of Chicago
440:Dijon Museum links above
422:Northern Renaissance Art
380:Photo and text in french
361:Photo and text in french
309:DĂ©tail: the Crucifixion.
230:Art Institute of Chicago
321:Detail: the entombment.
169:in the centre, and the
543:14th-century sculptors
42:
30:
160:Adoration of the Magi
36:
22:
370:— Dijon Museum
219:International Gothic
172:Entombment of Christ
118:, then just outside
85:Louis II of Flanders
499:Snyder, 293–4
462:. Answers.com. 2008
460:"Jacques de Baerze"
140:Melchior Broederlam
407:2011-07-26 at the
385:2011-07-26 at the
366:2011-07-26 at the
43:
31:
155:Infancy of Christ
104:Count of Flanders
62:Duchy of Burgundy
46:Jacques de Baerze
555:
538:Gothic sculptors
512:
506:
500:
497:
491:
488:
482:
477:
471:
470:
468:
467:
456:
450:
447:
441:
438:
432:
418:
412:
399:
393:
377:
371:
358:
352:
351:
349:
348:
337:
318:
306:
294:
282:
270:
258:
27:John the Baptist
16:Flemish sculptor
563:
562:
558:
557:
556:
554:
553:
552:
518:
517:
516:
515:
507:
503:
498:
494:
489:
485:
478:
474:
465:
463:
458:
457:
453:
448:
444:
439:
435:
420:Snyder, James;
419:
415:
409:Wayback Machine
400:
396:
387:Wayback Machine
378:
374:
368:Wayback Machine
359:
355:
346:
344:
339:
338:
334:
329:
322:
319:
310:
307:
298:
295:
286:
283:
274:
271:
262:
259:
250:
110:monastery, the
100:Philip the Bold
89:Duke of Brabant
71:, and lived in
17:
12:
11:
5:
561:
559:
551:
550:
545:
540:
535:
530:
520:
519:
514:
513:
501:
492:
483:
472:
451:
442:
433:
413:
394:
372:
353:
331:
330:
328:
325:
324:
323:
320:
313:
311:
308:
301:
299:
296:
289:
287:
284:
277:
275:
272:
265:
263:
260:
253:
249:
246:
15:
13:
10:
9:
6:
4:
3:
2:
560:
549:
546:
544:
541:
539:
536:
534:
531:
529:
526:
525:
523:
510:
505:
502:
496:
493:
487:
484:
481:
476:
473:
461:
455:
452:
449:Grove, op cit
446:
443:
437:
434:
431:
430:0-13-623596-4
427:
423:
417:
414:
410:
406:
403:
398:
395:
392:
388:
384:
381:
376:
373:
369:
365:
362:
357:
354:
342:
336:
333:
326:
317:
312:
305:
300:
293:
288:
281:
276:
269:
264:
257:
252:
247:
245:
243:
239:
238:Mimara Museum
235:
231:
226:
224:
220:
216:
215:Low Countries
212:
208:
203:
201:
197:
193:
188:
186:
182:
178:
174:
173:
168:
167:
162:
161:
156:
152:
147:
145:
141:
137:
133:
129:
128:chapter house
125:
121:
117:
113:
109:
105:
101:
96:
94:
90:
86:
82:
78:
74:
70:
65:
63:
59:
55:
51:
47:
40:
35:
29:
28:
25:Execution of
21:
504:
495:
486:
480:Dijon Museum
475:
464:. Retrieved
454:
445:
436:
421:
416:
397:
375:
356:
345:. Retrieved
335:
233:
227:
204:
200:Claus Sluter
189:
184:
180:
170:
164:
158:
154:
148:
131:
123:
112:Charterhouse
97:
66:
45:
44:
38:
24:
166:Crucifixion
151:iconography
73:Dendermonde
56:survive in
54:altarpieces
522:Categories
466:2008-11-22
347:2008-11-22
327:References
223:iconoclasm
144:feast days
108:Carthusian
93:Cistercian
234:St George
136:triptychs
405:Archived
383:Archived
364:Archived
232:, and a
126:for the
116:Champmol
81:Brussels
236:in the
177:tracery
77:Antwerp
50:Flemish
428:
242:Zagreb
163:, the
402:Photo
196:guild
192:Ypres
120:Dijon
69:Ghent
58:Dijon
426:ISBN
149:The
79:and
37:The
240:in
114:of
64:.
524::
244:.
194:;
146:.
87:,
469:.
350:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
