Interested in a copy for yourself? Poster or canvas.
Where? Gallery 258 of the Philadelphia Museum of Art
When? About 1460
Commissioned by? Unknown
What do you see?
Symbolism: The skull and the bone refer to Golgotha which means ‘place of the skull’ and was the hill where the crucifixion of Jesus took place. The vermillion banners refer to the blood of Jesus. The dark sky refers to the three hours of darkness during the crucifixion. This darkness is described in Matthew 27:45, Mark 15:33, and Luke 23:44. After the darkness ended, Jesus died. Interestingly, John the Evangelist, probably the writer of the Gospel of John, is the only gospel writer who does not refer to this darkness during the crucifixion.
Who is Van der Weyden? Rogier van der Weyden, also known as Roger de la Pasture, was born in 1399/1400 in Tournai, Belgium. When he was about 36 years old, he moved to Brussels, where he probably lived until he died in 1464. Many of his surviving works are altarpieces, triptychs, diptychs, or portraits. He was a popular painter during his lifetime and received many international commissions for his work, which was rare for that time. Together with Robert Campin and Jan van Eyck, he is considered to be the most influential 15th-century painter from the Northern part of Europe. Van der Weyden was an innovative painter. He was one of the first to include commissioners of his work as participants in the religious scenes that he painted. He also stood out from other painters by including the emotions of his subjects into the painting. One of his masterpieces is The Descent of the Cross in the Prado Museum in Madrid.
Fun fact: This painting is on display at the end of European Art between 1100 and 1500 section on the second floor of the East Wing of the Philadelphia Museum of Art. So, you will have to work your way through a minimum of four other rooms with art from the Middle Ages and Early Renaissance before you can truly admire the painting. However, the Philadelphia Museum of Art has constructed their rooms in such a way that you can already catch glimpses of Van der Weyden’s masterpiece from the central hallway (about 250 feet away). The iconic red of Van der Weyden’s large diptych attracts people from a long distance to have a closer look at it.
Written by Eelco Kappe