[13], Christ's body is raised, perhaps awkwardly, on a shroud above the top slab of the sarcophagus. Seilern Triptych 1410-20 Oil on wood Courtauld Gallery, London: The Triptych is named after its present owner, the Count of Seilern. The triptych is today housed at the Courtauld Institute, London. [14], The right hand panel shows the resurrection of Jesus. It’s also known as the Entombment Triptych, after the central scene. Although Campin's life is relatively well documented for the time, there are no surviving records of this commission, and at 60 x 48.9 cm it is too small to have functioned as a church altarpiece - possibly it was intended for private devotion. Seilern (Entombment) Triptych: Analysis and Interpretation Art historians consider The Seilern Triptych (named after its previous owner, the Count of Seilern, and also known as The Entombment Triptych ) to be the earliest surviving work of Robert Campin (c.1378-1444), also known as the Master of Flemalle. Two soldiers sent by Pilate to protect the tomb and prevent the body from being stolen are in the foreground, at the foot of the tomb, Rogier likely studied under Campin as a member of his workshop, https://en.wikipedia.org/w/index.php?title=Seilern_Triptych&oldid=944127434, Creative Commons Attribution-ShareAlike License, van Gelder, J.G. The Seilern Triptych (also known as Entombment ), variously dated c. 1410-15 or c 1420-25[1][2][3] is a large oil and gold leaf on panel, fixed winged triptych altarpiece generally attributed to the Early Netherlandish painter Robert Campin. Campin was one of the very early founders of the Northern Renaissance,[4] and famed and successful in his lifetime for his breakthrough use of oil paints, but was largely forgotten during the early and early-modern period. This may be due to third party copyright restrictions. The Seilern Triptych is one of the finest masterpieces of Early Netherlandish painting. The National Gallery has endeavoured to make as many images of the collection as possible available for non-commercial use. I, This page was last edited on 5 March 2020, at 22:04. There is a brass bowl in front of the fire, and a basket of white cloths – presumably nappies or swaddling bands – o... We are looking through a gilded arch into a small chapel in which the Virgin is breastfeeding the Christ Child to an angelic musical accompaniment. The gold sky is decorated with redcurrants, vines and a gourd, which are symbolic of Christ’s sacrifice and Resurrection. To the left, the painting’s commissioner kneels in devotion before the central scene showing Christ being buried following his crucifixion. The Virgin sits on a cushion on the floor, surrounded by domestic paraphernalia. We do not know who it was made for, or where or how it was used.

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