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拍品专文
This dramatic painting represents Christ’s Resurrection, the climax of the Crucifixion narrative. Christ appears before his sepulcher within a golden Mandorla, startling two of the four slumbering soldiers who had been ordered to guard his tomb. Behind them, four kneeling donors piously observe the miraculous event – a Carthusian monk, an elderly woman in a black headdress and two younger women, one of whom wears a nun’s habit and is thought to be a Canoness regular. Five additional scenes continue the narrative in the background. From left to right, these are Christ appearing before the Magdalene (Noli me tangere), Christ before the Virgin Mary, the Incredulity of Saint Thomas, Christ on the road to Emmaus and the Supper at Emmaus.
As Peter van den Brink has observed in an unpublished study of this painting, Jacob Cornelisz. drew upon several sources for his composition, all woodcuts, some of his own design and others by Albrecht Dürer, as was frequently his practice. The primary model was the artist's own woodcut of the Resurrection from the Large Round Passion series of 1511-14 (fig. 1), from which the artist adapted the central figures of Christ and the soldiers, filling out the rest of the medallion in the lower corners with still life elements. The artist made several compositional changes, likely to adapt the composition into a format that would allow the donor figures to be seen, including transforming’s Christ’s grave from a cave, as it appears in the woodcut, to a free-standing stone grave. He also changed the halberd held by the solder at left into a shorter axe or hammer for the same reasons. For the background scenes, Jacob Cornelisz. turned to Dürer’s woodcuts from the Small Passion (1511), yet once again, these were used as points of departure, with several details changed in some scenes and others more faithfully reproduced.
Infrared reflectography reveals extensive underdrawing applied freehand in a dry medium, probably black chalk or charcoal. Van den Brink observes that only one draughtsman seems to have been responsible from these preliminary designs, which incorporated the four donor portraits from the start. Numerous revisions are seen throughout the painting, both in the underdrawing itself, and its relationship to the painted surface. Based on the nature of the underdrawing, van den Brink suggests that it dates to the early 1520s, around the same time the artist executed his All Saints Altarpiece (Gemäldegalerie Alte Meister, Museumslandschaft Hessen, Kassel). Noting a difference in quality between the highly refined principal figures and the less sophisticated background scenes, he concludes that the painting must have been produced by Jacob Cornelisz. and one or two assistants from his studio, with the master laying out the composition and painting the most important parts himself, including Christ, the foreground scene with the two soldiers, the donor portraits and the subsidiary scene of Christ appearing to Mary Magdalene in the garden. As for its original function, van den Brink proposes that the painting was likely part of an epitaph that was installed in a family chapel, with the four donors likely family members – a widow and her three children, who have yet to be identified. The missing father/husband would have appeared on a separate work of art.
The earliest painter and printmaker in Amsterdam known by name, Jacob Cornelisz. came from Oostzaan, a village north of Amsterdam. By 1500, he had moved to Amsterdam, where he bought a large workshop on Kalverstraat, enjoying the patronage of affluent burghers and clergymen from the city and across Holland. Both his sons, Cornelis Jacobsz. (c. 1490-1532) and Dirck Jacobsz. (c. 1497-1567), trained as painters with their father and worked in the family business, and it is possible that his two grandsons, Cornelis Anthonisz. and Jacob Dirksz., worked there, too. In addition to family members, Jacob trained several other artists, the most famous of whom was Jan van Scorel (1495-1562).
Jacob Cornelisz. was extremely versatile, producing large painted altarpieces, smaller panels for private devotion, portraits and ceiling paintings in churches. He also supplied designs for stained-glass windows and the embroidery on church vestments, and produced more than two hundred woodcuts. However, Karel van Mander noted that much of his religious art was destroyed during the iconoclastic riots, the so-called Beeldenstorm, of 1566 when churches and religious houses throughout the Netherlands were ransacked and religious images destroyed. Further works probably perished following the Alteration in 1578, when Calvinism replaced Roman Catholicism as the official religion in Amsterdam and as a result many monasteries were closed and parish churches stripped of their contents. Today, only around thirty-five of his paintings have survived. The recent rediscovery of the present painting, which for nearly a century had been sheltered within a private collection and unavailable for public study, is therefore a significant addition to his now much-depleted oeuvre.
As Peter van den Brink has observed in an unpublished study of this painting, Jacob Cornelisz. drew upon several sources for his composition, all woodcuts, some of his own design and others by Albrecht Dürer, as was frequently his practice. The primary model was the artist's own woodcut of the Resurrection from the Large Round Passion series of 1511-14 (fig. 1), from which the artist adapted the central figures of Christ and the soldiers, filling out the rest of the medallion in the lower corners with still life elements. The artist made several compositional changes, likely to adapt the composition into a format that would allow the donor figures to be seen, including transforming’s Christ’s grave from a cave, as it appears in the woodcut, to a free-standing stone grave. He also changed the halberd held by the solder at left into a shorter axe or hammer for the same reasons. For the background scenes, Jacob Cornelisz. turned to Dürer’s woodcuts from the Small Passion (1511), yet once again, these were used as points of departure, with several details changed in some scenes and others more faithfully reproduced.
Infrared reflectography reveals extensive underdrawing applied freehand in a dry medium, probably black chalk or charcoal. Van den Brink observes that only one draughtsman seems to have been responsible from these preliminary designs, which incorporated the four donor portraits from the start. Numerous revisions are seen throughout the painting, both in the underdrawing itself, and its relationship to the painted surface. Based on the nature of the underdrawing, van den Brink suggests that it dates to the early 1520s, around the same time the artist executed his All Saints Altarpiece (Gemäldegalerie Alte Meister, Museumslandschaft Hessen, Kassel). Noting a difference in quality between the highly refined principal figures and the less sophisticated background scenes, he concludes that the painting must have been produced by Jacob Cornelisz. and one or two assistants from his studio, with the master laying out the composition and painting the most important parts himself, including Christ, the foreground scene with the two soldiers, the donor portraits and the subsidiary scene of Christ appearing to Mary Magdalene in the garden. As for its original function, van den Brink proposes that the painting was likely part of an epitaph that was installed in a family chapel, with the four donors likely family members – a widow and her three children, who have yet to be identified. The missing father/husband would have appeared on a separate work of art.
The earliest painter and printmaker in Amsterdam known by name, Jacob Cornelisz. came from Oostzaan, a village north of Amsterdam. By 1500, he had moved to Amsterdam, where he bought a large workshop on Kalverstraat, enjoying the patronage of affluent burghers and clergymen from the city and across Holland. Both his sons, Cornelis Jacobsz. (c. 1490-1532) and Dirck Jacobsz. (c. 1497-1567), trained as painters with their father and worked in the family business, and it is possible that his two grandsons, Cornelis Anthonisz. and Jacob Dirksz., worked there, too. In addition to family members, Jacob trained several other artists, the most famous of whom was Jan van Scorel (1495-1562).
Jacob Cornelisz. was extremely versatile, producing large painted altarpieces, smaller panels for private devotion, portraits and ceiling paintings in churches. He also supplied designs for stained-glass windows and the embroidery on church vestments, and produced more than two hundred woodcuts. However, Karel van Mander noted that much of his religious art was destroyed during the iconoclastic riots, the so-called Beeldenstorm, of 1566 when churches and religious houses throughout the Netherlands were ransacked and religious images destroyed. Further works probably perished following the Alteration in 1578, when Calvinism replaced Roman Catholicism as the official religion in Amsterdam and as a result many monasteries were closed and parish churches stripped of their contents. Today, only around thirty-five of his paintings have survived. The recent rediscovery of the present painting, which for nearly a century had been sheltered within a private collection and unavailable for public study, is therefore a significant addition to his now much-depleted oeuvre.