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figures are averted from the viewer; only the child Jesus looks directly out of the canvas. The work is highly symmetrical; the two central figures are balanced by two pairs of angels arranged on either side; Jesus occupies the dead centre of the canvas; and the garden is balanced by the lines of the pathway seen on either side of Mary. The church in the distance to the right is balanced by the hill in the far left.
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David has added two more angels to van Eyck's scene, and sets the figures in a recognisable contemporary location. The figures of Mary and Jesus are near identical in both works, from the vertical folds of Mary's dress, to the raised knee and arms of Jesus, with one arm reaching over his mother's
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All the figures are highly idealised, typical of the art of the period; naturalism is abandoned in favour of elongated figures, who in this work are out of proportion to each other. Mary is far larger than the angels, which adds to her unnatural, ethereal, heavenly presence. The eyes of all the
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Painted on wood with a narrow, fine brush, the work is unusually vivacious and detailed. Mary has long curled blonde hair, the strands of which are finely detailed with extremely thin brush strokes. She wears a heavily folded red gown lined with minutely described gold stitches which are so
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Art historian Maryan
Ainsworth describes the painting as a "devotional object for the veneration of an esteemed icon" and believes that the Byzantine influence "trickled down" from van Eyck. It is not known for certain, however, which specific icons may have formed the basis for
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in its humanising of the Virgin and child; in earlier works the mother and child figures were presented as distant and remote deities. In David's panel they are entirely human and recognisable as an affectionate and bonded mother and son.
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and child. However, David has introduced many significant modifications, including the widening of the pictorial space, the placement of two additional angels, and the setting of the scene in a contemporary setting with a view of
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Painted for private devotion, it shows a full-length Mary holding Jesus. Mother and son are surrounded by four angels; the two above Mary are adorned with large colourful wings and hold a golden crown, symbolising her role as
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became standardised, often copied from earlier painters, especially if the source picture itself was successful commercially—a panel painting of this type would have been commissioned at the highest end of the market. His
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by two angels above her, accompanied by music provided by another two angels placed at either side of her. In its fine detail and lush use of colour the work is typical of both David and late period
Flemish art.
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blanket, some of which hangs below him in vertical folds, the lines of which are continued in the folds of Mary's dress. The angels to their right and left wear dark green and light blue robes respectively.
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which was broken up at some unknown point. It has been speculated that the archway above Mary extended to two side panels in reference to the
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while another two, each bearing large wings, sit on either side of her playing a harp and lute respectively. The scene takes place below a
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monk walking underneath a tree in the garden behind the main figures makes it likely that the work was commissioned by a member of their
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During the early 1500s Jan van Eyck's influence was at its height, and David heavily based his painting on van Eyck's late work
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delicately woven into the trims of dress they are not usually visible in reproduction. Jesus is wrapped in a white
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Baetjer, Katharine; Moffett, Charles; Walker, Dean; Christiansen, Keith; Sprinson, Mary. "Notable
Acquisitions".
135:, New York, since its donation from a private collection in 1977. David inscribed the painting with the words
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apprentices would make multiple versions of a near copy and hold them in inventory to be sold at art markets.
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outside Bruges. It is likely that the painting was the centre panel of a triptych or small winged
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and is one of three near identical variants David painted of the scene in that format and pose.
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Powell, Amy. "A Point "ceaselessly Pushed Back": the Origin of Early
Netherlandish Painting".
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This work showing the Virgin and Child has been speculated as possible source for van Eyck's
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This article is about the painting by Gerard David. For the bronze roundel by
Donatello, see
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31:
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Van Eyck to Dürer: The
Influence of Early Netherlandish Painting on European Art, 1430–1530
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shoulder, while the other reaches for her neck. van Eyck's work was influenced by the
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in the distance. Van Eyck's panel was heavily influenced by the conventions of
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held by the angels in the van Eyck is replaced by David with a golden crown.
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can be identified in the cityscape beyond the garden. The placement of a
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Gerard David: purity of vision in an age of transition
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Wrightsman
Collection: Paintings, Drawings, Sculpture
471:'. Metropolitan Museum of Art. Retrieved 2 July 2011.
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Smeyers, Maurits; Cardon, Bert; Smeyers, Katharina.
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691:The Cult of the Virgin Mary in the Middle Ages
576:. New York: Metropolitan Museum of Art, 1998.
469:Virgin and Child with Four Angels, ca. 1510–15
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661:. New York: The Metropolitan Museum of Art.
901:Paintings in the Metropolitan Museum of Art
428:'. Smarthistory.org. Retrieved 2 July 2011.
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550:Gerard David (born about 1455, died 1523)
18:Virgin and Child with Four Angels (David)
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455:though less so than in the van Eyck
906:Paintings of the Madonna and Child
687:at the Metropolitan Museum of Art.
201:Royal Museum of Fine Arts, Antwerp
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809:Virgin and Child with Four Angels
684:Virgin and Child with Four Angels
612:Jan van Eyck: the play of realism
129:Virgin and Child with Four Angels
60:Virgin and Child with Four Angels
50:, c. 1510–15. 63.2 cm × 39.1 cm,
48:Virgin and Child with Four Angels
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424:Harris, Beth; Zucker, Steven. '
319:Virgin with Child at a Fountain
277:Virgin with Child at a Fountain
104:Virgin with Child at a Fountain
244:Virgin and Child at a Fountain
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843:Rest on the Flight into Egypt
834:Rest on the Flight into Egypt
825:Rest on the Flight into Egypt
800:Rest on the Flight into Egypt
775:Rest on the Flight into Egypt
751:Triptych of the Sedano family
653:Ainsworth, Maryan W. (1998).
628:, volume 9, no. 9, May 1951.
497:Ainsworth; Christiansen, 222
426:Virgin and Child with Angels
412:Ainsworth; Christiansen, 306
66:Virgin and Child with Angels
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916:Musical instruments in art
743:Adoration of the Shepherds
588:Metropolitan Museum of Art
554:Metropolitan Museum of Art
139:("Jesus Redeemer") on the
133:Metropolitan Museum of Art
52:Metropolitan Museum of Art
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896:Paintings by Gerard David
759:The Judgement of Cambyses
614:. Reaktion Books, 1995.
574:From Van Eyck to Bruegel
568:Ainsworth, Maryan Wynn;
556:. Retrieved 8 July 2011.
384:Donated by Mr. and Mrs.
352:Coronation of the Virgin
27:Painting by Gerard David
593:Borchert, Till-Holger.
293:Santa Maria del Carmine
192:Madonna at the Fountain
131:has been housed in the
89:, while she is crowned
852:Adoration of the Kings
767:The Line of Saint Anne
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784:The Baptism of Christ
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285:Notre Dame des Grâce
820:(c. 1510–1520)
817:Agony in the Garden
812:(c. 1510–1515)
787:(c. 1502–1508)
779:(c. 1501–1520)
570:Christiansen, Keith
336:Salus Populi Romani
75:Early Netherlandish
802:(Washington, D.C.)
792:Cervara Altarpiece
400:Baetjer et al., 48
386:Charles Wrightsman
257:Adriaen Isenbrandt
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506:at the lower end
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16:(Redirected from
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217:Onze-Lieve-Vrouw
211:The churches of
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32:Chellini Madonna
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356:Agnolo Gaddi
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197:Jan van Eyck
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99:Jan van Eyck
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85:holding the
79:Gerard David
71:oil-on-panel
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44:Gerard David
36:
863:(1515–1523)
860:Lamentation
855:(1515–1523)
633:Als Ich Can
539:88.4, 2006.
248:iconography
213:Sint-Jakobs
199:, c. 1439.
158:Gothic arch
122:Renaissance
87:child Jesus
83:Virgin Mary
885:Categories
668:0870998773
508:journeymen
364:References
233:altarpiece
229:Sint-Kruis
221:Carthusian
827:(Antwerp)
735:Paintings
225:Genadedal
176:swaddling
836:(Madrid)
777:(Lisbon)
289:Montreal
147:Overview
693:, MMoA.
563:Sources
303:Gallery
281:frescos
237:Trinity
141:columns
109:Madonna
77:artist
795:(1507)
762:(1498)
746:(1490)
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639:
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297:Naples
203:. The
168:Bruges
114:Bruges
512:guild
265:Icons
160:in a
663:ISBN
637:ISBN
616:ISBN
599:ISBN
578:ISBN
291:and
215:and
63:(or
510:or
287:in
283:in
267:of
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