Flemish school; first half of the 16th century. "Descent... Lot 40

Flemish school; first half of the 16th century. "Descent from the Cross". Oil on oak panel. It conserves its original frame. Measurements: 63 x 76 cm (open); 63 x 41.5 cm (closed). In this work the artist conceives a complex artistic pattern shaped as a triptych, starting from an architectural conception in the form of a small temple. In the upper area the figure of God the Father opens his outstretched hands and directs his gaze towards the lower area where he observes the sacrifice of his son. In the central area of the triptych, being the main theme both for its position and its dimensions, we can see the scene of Christ's Descent from the Cross. The image is full of figures, as is usual in the iconography of this representation, with the presence of the Virgin and Saint John, who shows his face behind the figure of Christ's mother. The quality of the drawing and the composition result in a truthful and highly dramatic image, as can be seen in the treatment of Christ's body, whose dark skin serves as a focus of light in the scene. The artist's virtuosity is reflected in the details, such as the skull and the small still life on the lower left. The sides are depicted with saints: Saint Jerome, father of the Church, and Saint Nicholas of Bari, both portrayed with their iconographic attributes. Although it should be noted that Saint Nicholas of Bari is located in an interior, while Saint Jerome, being located on the outside, has a certain unity in terms of representation with the scene of the Descent from the Cross and the representation of God. During the 16th century, the Netherlandish realist style had a strong influence abroad, especially in Italy, but in the 17th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Mannerist influences thus arrived in the Low Countries, superimposed on the 16th-century style. Many painters continued the style of the Flemish primitives, but others were so open to Renaissance influences that they stopped painting on panel. In fact, in this work we can appreciate this 17th-century trend, as, while retaining the detail and verism of the Flemish school, the artist opted for monumental figures and a classical spatial conception, typical of the Italian school.