Two Wings from the So-Called Salamanca Triptych

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Two Wings from the So-Called Salamanca Triptych

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

Date1521

Dimensionseach wing: 47 1/4 x 18 1/2 in. (120 x 47 cm)

Mediumoil on wood panel

ClassificationPaintings

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

Object number

1952.85A-B

On View

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

Collections

Paintings

Published ReferencesNieuwenhuys, C., Description de la Galerie des tableaux de S.M. le Roi des Pays Bas, 1843, pp. 92-95, no. 35, 36.

Winkler, F., Gossaert, Thieme-Becker, vol. XIV, 1921, p. 412.

Weisz, E., Jan Gossaert gen. Mabuse, Parchim, 1913, p. 123.

Segard, A., Jean Gossaert dit Mabuse, Brussels, 1923, p. 177, no. 9.

Held, J., "Overzichtder Litteratur betreffende nederlandsche Kunst," Oud Holland, L, 1933, pp. 138-139.

Friedländer, M.J., Die altniederländische Malerei, Leyden, 1934, VIII, no. 7.

Toledo Museum of Art Museum News, new series, vol. 4, no. 1, Winter 1961, repr. p. 10.

von der Osten, Gert, "Studien zu Jan Gossaert," De Artibus Opuscula XL, Essays in Honor of Erwin Panofsky, New York, 1961, p. 464, fig.s 10, 11. Maréchal, J., "La chapelle fondée par Pedro de Salamanca, bourgeois de Burgos, chez les Augustins à Bruges, 1513-1805," Académie Royale de Belgique, Classe des Beaux-Arts, Mémories, XIII, Brussels, 1963, pp. 12-15, 81, doc. XVII.

Borsch-Supan, H., "Jan Gossaert gen. Mabuse zu den Ausstellung im Museum Boymans-van Beuningen, Rotterdam und im Groeningemuseum, Brugge," Kunstchronik, XVIII, 1965, pp. 199-200.

Marlier, G., La Renaissance flamande, Pierre Coeck d'Alost, Brussels, 1966, p. 80, n. 22.

The Toledo Museum of Art, A Guide to the Collections, Toledo, 1966, repr.

Eeckhout, P., "Musées et expositions temporaires," Museum (UNESCO), vol. 20, no. 4, 1967, repr. p. 276.

Wittmann, Otto, "Director's choice," Apollo, vol. 86, no. 70, Dec. 1967, p. 506, repr. (b&w) fig. 2, 3.

Agnew, Geoffrey, Agnew's 1817-1967, London, 1967, repr. (b&w).

Herzog, S., "Jan Gossart, called Mabuse (ca. 1478-1532), A Study of his Chronology with a Catalogue of his Works," unpublished Ph.D. dissertation, Byrn Mawr College, 1968, I, pp. 102-106, II, no. 24, pls. 29, 31, 32.

Osten, Ger van der, Painting and sculpture in Germany and the Netherlands 1500-1600, Harmondsworth, 1969, Pelican History of Art, p. 190.

Cuttler, C., review of G. Marlier, "La Renaissance flamande, Pierre Coeck d'Alost," Art Bulletin, LIII, Sept. 1971, p. 410.

Friedländer, M.J., (ed. H. Pauwels and S. Herzog), Early Netherlandish Painting, New York, 1972, VIII, no. 7, p. 120, n. 53, 54, pls. 15, 17, fig. 7.

The Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, pp. 65-66, pl. 82a-d.

"Painting in Northern Europe 1450-1550," Toledo Museum of Art Museum News, new series, vol 13, no. 2, Summer 1970, pp. 32, 33, repr., det. repr. p. 28.

The Cleveland Museum of Art catalogue of paintings, part 3 : European paintings of the 16th 17th and 18th centuries, Cleveland, 1982, p. 18.

Asperen de Boer, J.R.J. van et al., "Schildertechniek en atelierpraktijk in de zestiende-eeuwse Noordnederlandse Kunst," in Kunst voor de beeldenstorm [catalogus], Amsterdam, 1986, pp. 93, 110, n. 83, fig. 32.

Silver, Larry, "The 'Gothic' Gossaert: native and traditional elements in a Mabuse Madonna," Pantheon, vol. 45, 1987, p. 64, fig. 19 a-d.

Flemish paintings in America, Antwerp, 1992, pp. 121, 123, repr. p. 122 (col.) and fig. a (reverse).

The Toledo Museum of Art, Toledo treasures, Toledo, 1995, pp. 68-69, repr. (col.).

El arte en Cataluna y los reinos hispanos en tiempos de Carlos I, Barcelona, 2000, p. 180, fig. 71 (col.).

Stroo, Cyriel et al., The Flemish primitives: catalogue of early Netherlandish paintings in the Royal Museum of Fine Arts of Belgium, vol. 3, Brussels, Brepols, 2001, p. 112, 119, n. 74.

Mensger, Adriane, Jan Gossaert: die niederlandische Kunst zu Beginn der Neuzeit, Berlin, Reimer, 2002, p. 23, abb. 2, 3, p. 24.

Erasmo en España: la recepcion del humanismo en el primer renacimento español, Slamanca, SEACEX, 2002, p. 163, repr. p. 167 (col.).

Duncan, Sally Anne, Otto Wittmann: Museum Man for All Seasons, Toledo, 2001, p. 13.

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.

Exhibition HistoryRotterdam, Musée Boymans-van Beuningen, Jan Gossaert genaamd Mabuse, 1965, no. 14, repr. pp. 115-116 (cat. by H. Pauwels, H. R. Hoetink and S. Herzog).

Brugge, Groeninge Museum, 1965.

New York, The Metropolitan Museum of Art; London, 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.

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.