"This catalogue is published in conjunction with the exhibition The Charterhouse of Bruges: Jan Van Eyck, Petrus Christus, and Jan Vos on view at The Frick Collection from September 18, 2018, to January 13, 2019." -- t.p. verso. Includes bibliographical references (pages 147-157) and index.
Contents:
Collecting Jan van Eyck from Europe to America / Paintings, prayers, and salvation: the Jan Vos Virgins in context / by Emma Capron -- Checklist of the exhibition -- Appendices -- Bibliography -- Index -- Photo Credits. Attribution mysteries of the Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos / by Maryan W. Ainsworth -- Being there: Jan van Eyck and Petrus Christus in Bruges / by Till-Holger Borchert -- Collecting Jan van Eyck from Europe to America / by Emma Capron -- Checklist of the exhibition -- Appendices -- Bibliography -- Index -- Photo Credits.
Summary:
"At the heart of the exhibition is the reunion--for the first time in more than twenty years and the second time in their history--of the Exeter Madonna and the Frick Virgin, Jan Vos's two surviving commissions. Complementing them will be a selection of objects that place them in their rich context. Leaving questions of attribution aside, the exhibition will focus on the works' patronage, function, reception, and spiritual environment." "This book celebrates the reunion-- for the first time in twenty-four years and only the second time in their history--of two masterpieces of early Netherlandish painting commissioned by the Carthusian monk Jan Vos during his tenure as prior of the Charterhouse of Bruges in the 1440s: The Frick Collection's Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos, commissioned from Jan van Eyck and completed by his workshop; and the Gemaldegalerie's Virgin and Child with St. Barbara and Jan Vos, painted by Petrus Christus. These panels are examined with a selection of objects that place them for the first time in the rich Carthusian context for which they were created. Drawing on recent technical examination and new archival research, this volume explores the panels' creation, patronage, and function in their rich Carthusian context. The Carthusian order was one of the most austere strands of late medieval monasticism. In apparent contradiction to this asceticism, Carthusian monasteries became remarkable repositories of art, a material accumulation often attributed to lay patronage. However this explanation overlooks the ways in which the Carthusians themselves commissioned and used images for their daily devotions and liturgy, as well as their commemoration. The story of Jan Vos and his patronage of Jan van Eyck and Petrus Christus fundamentally informs our understanding of the role played by images in shaping monastic life and funerary strategies in late medieval Europe."--from Front Jacket Flap
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.