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Dieric Bouts Installation of the hl. Communion mk186
1464-67 Lowen, Sint-Pieterskerk
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Dieric Bouts The way to Paradise nn09
c.1450
Oil on wood
115x69.5cm
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Dieric Bouts The Fall of the Danned nn09
c.1450
Oil on wood
115x69.5cm
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Dieric Bouts Altarpiece of the Holy Sacrament 1464-67
Oil on wood,
185 x 294 cm
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Dieric Bouts Altarpiece of the Holy Sacrament 1464-67
Oil on wood,
185 x 294 cm
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Dieric Bouts Christ in the House of Simon 1440s
Oil on wood,
40,5 x 61 cm
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Dieric Bouts Triptych of the Virgin c. 1445
Oil on wood
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Dieric Bouts Martyrdom of St Erasmus Oil on wood
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Dieric Bouts The Meeting of Abraham and Melchizedek 1464-67
Oil on wood
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Dieric Bouts The Execution of the Innocent Count c. 1460
Oil on wood,
324 x 182 cm
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Dieric Bouts The Gathering of the Manna 1464-67
Oil on wood
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Dieric Bouts The Feast of the Passover 1464-67
Oil on wood
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Dieric Bouts Prophet Elijah in the Desert 1464-68
Oil on panel,
88 x 71 cm
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Dieric Bouts Mansportratt mk234
1426
32x20cm
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Dieric Bouts kristushuvud 1468
olja på trä 22.5x19
se
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Dieric Bouts Christ in the House of Simon Date 1440-1450
Current location Staatliche Museen
Deutsch: Berlin, Deutschland
cyf
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Dieric Bouts Studio of Dieric Bouts Studio of Dieric Bouts (the elder) (b. ca. 1415, Haarlem, d. 1475, Leuven)
Saint Luke painting the Virgin Penrhyn Castle, Bangor, North Wales
Oil and tempera transferred from panel to canvas in 1899
cjr
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Dieric Bouts Virgin Penrhyn Castle Oil and tempera transferred from panel to canvas in 1899
cyf
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Dieric Bouts Virgin and Child Date second half of 15th century
Medium Oil on wood
Dimensions Height: 21.6 cm (8.5 in). Width: 16.5 cm (6.5 in).
cjr
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Dieric Bouts Head of Christ 1464(1464) (1463-1465)
Medium Oil on panel
Dimensions 36 x 27 cm (14.2 x 10.6 in)
cyf
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Dieric Bouts
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1420-1475 Flemish Dieric Bouts Locations
Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter."
It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background.
The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions.
In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places.
The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape.
In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.
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