Wing from the So-Called Salamanca Triptych Right wing: Saint Peter; verso: Virgin Annunciate

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Wing from the So-Called Salamanca Triptych Right wing: Saint Peter; verso: Virgin Annunciate

Artist Jan Gossaert, called Mabuse Flemish, ca. 1478-1536

Date1521

DimensionsFrame: 52 5/8 × 46 1/2 × 2 3/8 in. (133.7 × 118.1 × 6 cm)
47 1/4 × 18 1/2 in. (120 × 47 cm)

MediumOil on wood panel

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1952.85A

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 16

Published ReferencesThe Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 132-33, repr. (col.) (4 views).

Allart, Dominique, et al., L'eglise Saint-Jacques a Liege: Templum pulcherrimum. Une historie, un patrimoine, Wallonia, Belgium, Institute du Patrimoine Wallon, 2016, p. 169, repr. (col.) fig. 117a-b.

Acosta, Taylor J., European Paintings and Sculpture from Joslyn Art Museum, Joslyn Art Museum, Oct. 1, 2020, p. 54, fig. 12 repr. (col.), p. 54.

Exhibition HistoryNew York, NY, The Metropolitan Museum of Art; London, England, The National Gallery, Man, Myth, and Sensual Pleasures: Jan Gossaert's Renaissance, Oct. 2010- May 2011, no. 24A, B, p. 4, 10, 42, 73, 93, 164,168, 195-99, 200, 215, 326, 367, 396, repr. (col.) p. 196-7, fig. 68 p. 73, fig. 199 (col.) p. 215.

Museum Boymans-Van Beuningen, Rotterdam. 1965.

Groeninge Museum, Brugge, Belgium. 1965.

Label TextOriginally part of a three-section Christian altarpiece (triptych), these wings would have been hinged to a now-missing central panel. An altarpiece is a devotional object, and this example would likely have been placed on an altar in the private chapel of a wealthy family. It was painted by Flemish artist Jan Gossart, who visited Rome in 1508–1509, where he was influenced by the ancient Greek and Roman sculpture and classically-inspired Italian Renaissance style he encountered there. When the altarpiece was closed, as here, the viewer was presented with the biblical Annunciation scene in which the Archangel Gabriel appears to the Virgin Mary and announces that she will miraculously conceive the Christ Child. They are painted in grisaille—monochrome gray—as if they are stone sculptures, placed in an elaborate Gothic architectural setting. When open, the viewer saw the paintings—now in full color—on the other side of the panels. John the Baptist (on the left) and St. Peter (on the right), in a Renaissance interior, flanked the central image, which may have depicted a scene from the life of Christ.