Петрус Кристус Petrus Christus

In 1444 a clerk of the Burgomaster's Guild in Bruges recorded that Peter Christos son of Peter born in Barel acquired citizenship on July 6 through Joseph Andere Donck in order to become an artist That same September Christos paid a fee of three Flemish pounds—equivalent to the wages of a skilled craftsman for three months—in order to be permitted to practice his trade in the city The discovery of this record in the registry contradicted the long-held belief dating back to the 19th century that Petrus Christus was a pupil of Jan van Eyck and worked in his workshop The thing is there were three ways to become a citizen of Bruges—marrying a female citizen living in Bruges for a year and a day or purchasing citizenship rights Had Christos been employed by Jan van Eyck's workshop for even a single year he would have automatically gained citizenship but he had to pay for it Let's verify through several examples that he indeed followed these models Compare two terrifying scenes—the right panel of each artist’s diptych Christos’s panel is large measuring 134 by 56 cm while Van Eyck’s is roughly half that size A similar composition with shared details—the pose the red cloak fastened by a brooch on Jesus the posture of Michael the Archangel trampling death The borrowing is even more apparent in these two paintings On the left is the so-called Madonna of Jan Vos believed to have been begun by Jan van Eyck but completed after his death by members of his workshop On the right: the eccentric Madonna of Petrus Christos On this 20 by 14 cm panel Saint Barbara is depicted presenting the monk Devi Maria along with the infant to the Virgin Mary In the 17th century the painting belonged to an eccentric marquis from whom it derives its name The monk was identified as Jan Vos abbot of Val de Grace monastery Perhaps he commissioned the painting from Petrus Christus using a Van Eyck work as a reference since he needed a small-format panel for a portable altar Madonna's work by the workshop of Jan van Eyck was unsuitable for this purpose measuring 47 by 61 centimeters The figure of Jan Vos himself is clearly copied from the original with the cloak's folds arranged identically The pose of Saint Barbara and the shape of her tower are similar Maria's headdress and hairstyle are likewise alike However one cannot call these charming Madonnas of Christ Based on the facial features and certain differences in technique it's determined that the painting was created by different artists Although previously both paintings were attributed to Christos or both to Van Eyck Both paintings feature a detailed cityscape in the background Notably Christos demonstrates a more confident handling of perspective and three-dimensional space modeling Settling in Rügen three years after the death of Jan van Eyck Petrus Christus quickly became the city's most prominent artist It remained that way for over two decades until Hans Memling appeared there Nevertheless Christos remains a second-tier painter More reliant on the achievements of their predecessors and contemporaries than on pioneering new possibilities in visual art Yet his name must be known at the very least because the two portraits he painted are the finest examples of portrait painting They appear on book covers and posters and most importantly they bring people from the 15th century closer to us First let's examine his early work dated and signed Portrait of a Cartesian Here Petrus employs several original techniques The man in the portrait faces left yet his eyes gaze elsewhere The face is brightly lit yet there is another light source coming from behind as if from an invisible window This creates an illusion of spatial depth and adds realism to the portrait The painting features a trompe-l'œil effect meaning an optical illusion A highly realistic fly is depicted sitting on the lower illustrated frame as if the letters were carved into the wood There is debate over whether this fly holds symbolic significance or is merely a demonstration of the artist's skill Overall the painting is executed with astonishing detail Notice the iris of the eye the meticulously detailed hair A sense of adherence to Van Eyck's traditions is evident The identity of the person in the portrait is unknown Monks are required to be completely shaven and wear a turban on their heads He was either Miryanin's brother or a convert meaning he had taken only part of the monastic vows The character has a strikingly attractive face though the artist does not idealize the model We see a calm focused individual observing us with interest Another extremely famous portrait of Christos is that of a young lady A polished pearl nearly opalescent resting on a cushion of black velvet This is how art historian Joel Alton described the model She might not be considered a beauty but her intriguing slightly sidelong glance is mesmerizing So this is one of the contenders for the title of northern jacundá The original frame later lost bore the artist's signature and a Latin inscription stating that the model is the niece of the famous Talbot In any case this inscription was interpreted by Gustav Wagen director of the Berlin Museums The Talbots are an esteemed English family Although the member of this family who was alive during Christ's time had no nieces They decided it must be his granddaughter He had two granddaughters of the right age The portrait is undated but its approximate creation date is estimated based on the style of clothing and the form of Enon a rigid head covering that could take the form of a bifurcated cone a simple cone-cylinder and so on The enon in the shape of a truncated cone as depicted in the model was worn precisely in the late 15th century at the turn of the 16th century Although a chin strap is an unconventional element of an outfit If the girl depicted in the portrait is indeed Talbot's granddaughter She could have been wearing trousers in 1468 during the wedding celebrations The sisters of English King Edward IV and Burgundian Duke Charles the Bold The dimensions of this painting are 29 by 22 centimeters The portrait of the Cortezian measures 29 by 19 centimeters That is both portraits are approximately A4 size I will continue to refer to the painting dimensions as the reason for that when studying the artist's technique researchers note the following distinctive feature while small paintings executed with refined brushes by miniature artists Larger ones are distinguished by very broad brushstrokes The sense of gemlike precision and movement characteristic of the smaller paintings They are less noticeable in monumental works Let's take a look at other portraits by Petrus Christus although they are not as well known Portrait of Edward Grimston ambassador of King Henry VI of England at the court of Philip the Good The portrait is dated and signed It is slightly larger than the previous ones—34 by 25 centimeters Unlike his predecessors Christos portrays the model against a conventional dark background And in the corner of the room with a ceiling of wooden beams Light pours in through a round window Behind on the wall we see two coats of arms The chain in Grimston's hand is formed by the sequence of letters "S" e emblem of the Lancaster family The portrait was painted in the same year as the one of the Cortezian but not as meticulously finished Portrait of a young man Here Christos once again positions his character in the corner of the room Outside the window elements of the landscape are visible but their details are undefined and the character himself is unimpressive And this portrait is excellent The character is less romantic than a Cortezian but their personality is easy to imagine Although the model's identity remains unknown the paintings are unsigned yet there is consensus regarding their authorship Notice Christos's distinctive signature approach to light and shadow Portrait of a man with a hawk A drawing executed in silver pencil Although some refer to it as a self-portrait by Petrus Christus it is unlikely to be so Christos's authorship is even in question though here we observe a characteristic The model's position in the corner of the room is precisely for him The face is exceptionally well- rendered while the other elements are especially the hands were poorly rendered Perhaps it was a sketch for a painting But no one could link this sketch to any of the paintings And another pair of portraits showing donors kneeling in prayer The wings of the altar whose central panel has not survived Both the faces and the landscapes are rendered with little care but one can certainly note Christos's confident handling of perspective This even gave rise to a hypothesis at Christ was in Italy where he learned perspective from Italian artists But these are just speculations—there is no documentation to support them But it's time to return to the biography of Petrus Christos His date of birth is unknown possibly between 1410 and 1420 The birthplace of Barle then a village Today a small town in Brabant on the border between modern-day Belgium and the Netherlands Nothing is known about his family or his teachers The first known document mentioning him e very entry in the Bruges guild register that marked the beginning of our story In the same year 1444 Christos joined the local guild of artists And in 1446 he painted two portraits which we have seen An unknown Cortezian and de Edward Grimston He appears to have worked intensively over the next 10 years A total of nine works signed and dated by him have reached us Later he stopped signing his paintings which naturally poses challenges for art historians There are no accompanying documents evidence of Christos's activities from 1457 to 1463 It is believed he may have been in Italy during those years but there is no reliable evidence to confirm this It is unknown exactly when Petrus Kristos married But in 1463 he and his wife named Gaudicina They are listed among the brethren of the Virgin Mary of the Dry Tree It was a highly prestigious brotherhood Its members included representatives from the ducal family the aristocratic society of Brux and foreign merchants Clearly membership in this brotherhood allowed Christos to secure lucrative contracts both from the city magistrate of Brüki and from private clients Such commissions from the city magistrate are documented as They are indeed mentioned In 1467 Christos and his wife became members of yet another elite club e Brotherhood of the Virgin of the Snows In the following years the name Christos appears repeatedly in documents as a representative of the guild of artists in the municipal council and also as head of the artists' corporatio and other commercial organizations In 1472 Christos for the last time He is mentioned as a representative of the artists' guild His name appears in the verdict on the dispute resolution between the artist Pierre Custard and his assistant However until 1476 Gaudicina continues making contributions on Christos's behalf to the brotherhood of the Virgin of the Snow The same brotherhood also paid for his funeral However the exact date of Christos's death remains unknown In 1476 Peter's workshop was taken over by his illegitimate son Bastian Became a master of the Guild of Artists But let's return to the paintings This is one of the most famous works by Petrus Christus "Jeweler in the workshop " The painting is signed by the artist but its title is not listed Thus in different centuries it was known by various names Or is Saint Linge the patron saint of jewelers And they even added a halo above his head one that wasn't on the original Or simply "Jeweler in the Shop " At the time artists did not produce genre paintings so one theory suggests this is a portrait of a specific couple about to get married Or else the advertisement from the guild of jewelers the pants Another version is that the guild of jewelers commissioned the painting for a clock not intended for public display For daily use by jewelers The painting is large—1 meter by 86 centimeters Then the figure depicted there is indeed Saint Ling In any case the items shown on the right side of the painting serve as advertisements for the jewelry trade We see corals crystal porphyry open pouches containing small pearls precious stones Also beads and finished jewelry items Among them are brooches rings and belt buckles Mirror coins weights scales rings and the wedding sash in the foreground They refer to the secular world Here one can see moral teachings a contrast between a virtuous couple The workshop's perfect order contrasts with the chaos of the outside world In the reflection in the hands of one of the two men a falcon rests a traditional symbol of pride and greed Regarding the artistic quality of the work the figures appear stiff and wooden Although every detail is rendered with meticulous care and affection the illusionistic quality found in Van Eyck's work is absent Christos was unable to reach here This same cat dates the Madonna with the Infant From the Antwerp Museum The inscription "Vitey in Atom" in the original frame's typeface states "Petrus Christus painted me in 1449 " This work has a sorrowful history In the sixteenth century it was covered over with a crucifixion scene which was later removed but the original painting still bears the damage Christos has a distinctive type of halos especially in Jesus and also a recognizable type of Madonna's face Let's take a look at a few more paintings depicting the Madonna with the infant The exact dates of these works are unknown and the artist's signatures have not survived However there is no doubt about attributing these works to him Petrus Christus is unmistakable in them Here I will hide behind authority and quote a passage from Max Friedlander's book On everything written by Peter the glow of Vaneika's art lingers giving his works value and polish His characters resembling dolls Most are shortened in size and have large heads where the whiskey makes the forehead and cheeks seem impossibly broad while the eyes mouth and nose are closely set together The figures are wrapped in loose-fitting garments as if the garments were swelling with energy everywhere revealing straight or rounded forms yet at the same time the outlines remain relatively static " I would add personally that unlike his contemporary Dutch artists Petrus Christos works flawlessly with perspective This is especially evident in this Madonna A baby in a domestic interior A corridor stretching into the distance Saint Joseph enters through the door In the urban landscape visible through the window the outlines of a canal house are discernible and the interior is typical of a bourgeois home in the Netherlands But one of the Madonnas with the infant Peter Christ is so unusual It became one of his signature works This is the so-called "Madonna of the Dry Wood " Work without a date signature but experts unanimously regard Christos as its author It is believed this image is associated with the religious ceremonies of the Brotherhood of Our Lady of the Dry Tree in Bruges members of which were Petrus Kristos and his wife Godicina Judging by the tiny size 15 by 12 centimeters —this was most likely a custom order There are several theories What might the iconography be associated with Possibly it is based on the words of the prophet Ezekiel "And all the trees of the field shall know" I the Lord have brought down the tall tree exalted the lowly tree and dried up the green tree and made the dry tree blossom " Perhaps this entangled thorny tree is an embodiment of the biblical e ancient knowledge that must be revived through the sacrifice of Christ who redeemed original sin Fifteen golden letters "A" hanging from the branches are usually interpreted as initial letters The letters of the Hail Mary prayer Whatever it may mean the image is mesmerizing inviting meditation But let's examine how Petrus depicted other popular religious subjects The right panel We have already seen the depiction of the Last Judgment on this altar The panels are signed and dated 1452 On the left wing we see the Annunciation taking place within an interior setting So here Christ follows Campen's traditions more closely than those of Anleyke Compared to Campen everything about him is much more so Better with geometry but not to say better with shapes The angel is unclear how he stands on his feet or on their knees The depiction of worshipping the infant is consistent with the conventional iconography of that era according to the vision of Saint Brigid When the infant was born miraculously without violating her virginity Maria appeared suddenly before her There is another diptych featuring the Annunciation and the Nativity written in the same year 1452 These works have survived poorly and in the 20th century They underwent extensive restoration Authentic here are approximately 30% of the surface of the paintings The Annunciation Floor tiles and arches emphasize the depth of the space where the scene unfolds Yet the faces The characters are lifeless their poses schematic Comparing the Christmas scene from this diptych is intriguing Merry Christmas to Dirk Bouts written several years earlier Very similar composition Dirk Bouts lived and worked in Leuven 130 kilometers from Bruges Undoubtedly Chriskus had seen his works Another artist who influenced Chriskus is Rogier Vanderweyden This is especially evident in the Brussels "Lamentation of Christ " It is one of the few large-scale work by the artist The painting measures 98 by 188 centimeters The main figures in the painting share certain traits with the characters in Yet here we do not see such vid emotions as in Rogier's painting The figures appear immersed in contemplation and stoic endurance of sorrow Ye There is an unusual cohesion in the characters' movements and postures a striking quality uncharacteristic of Chriskus compositions Thus this "Lamentation" can be considered one of his finest works To the left he wrings his hands The hands of Mary Magdalene Joseph of Arimathea and Nicodemus hold the lifeless body of Christ Maria is supported by her sister John the Evangelist To the right is Maria's second sister s conversing with a character who could not be identified leading to the speculation that this must be a portrait e patron of the painting Or even the artist's self-portrait Another "Lamentation of Christ" is located in New York It is earlier It's a modest piece—22 by 36 centimeters— far smaller than the " Brussels lamentation " The painting was popular among its contemporaries as two copies from the early 16th century are known The view is visible e same oval composition of figures around Christ 's body as on the other "Lamentation " but here The character's gestures and movements seem less natural Meanwhile there is no such obvious adherence to Rogier's style The Dormition of the Virgin is Christus's largest known painting measuring 163 by 135 centimeters The work is unsigned Here is the characteristic color palette and geometric style of Petrus Christus accurate linear perspective so most experts consider him the author of this work althoug The characters are depicted in a highly schematic manner The painting presents three scenes simultaneously The Virgin Mary lying on his deathbed surrounded by apostles with Her soul ascends to God accompanied by angels In the far upper right corner angel hands over e belt of the Virgin Mary to Saint Thomas as proof of her assumption into heaven Several depictions of Christ are also attributed to Christus This head of Christ in a crown of thorns It is considered an early work by the artist The panel is small 15 by 11 centimeters Clearly intended for personal devotion this painting is based on the so-called true image of Christ This is a late work by Jan van Eyck the original of which is lost but which is known through numerous copies But Peter gives Christ 's face a suffering expression adding to the thorny crow and current streams of blood down the neck Around the same time this man of sorrows was painted This panel is even smaller measuring 11 by 9 centimeters One angel holds the sword of justice another the lies of mercy a reminder to us of the final judgment Thus here two iconographic images of Christ are combined: the Man of Sorrows Christ wearing the crown of thorns showing His wounds and the Christ of the Day of Judgment Angels part the curtain at gives the scene a sense of mystery Although it might be linked to certain religious practices in Bruges The city's most important relic has always been and remains to this day the vessel containing the blood of Christ which in 1150 brought back from the Crusades Count Derek Alzaski Ever since Bruges has hosted annual festive processions processions of the Holy Blood The face of Christ on this panel is repeated by Peter appearing on both mourning scenes which is why the attribution of this wor There is no doubt about it There are a few other works attributed to Petrus Christus though not with the same level of consensus For instance this is announcement So art historians still have much work ahead to refine attribution dating potential clients But I'll end here Thank you for your attention