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The Cambrai Madonna, (anonymous), c. 1340. Tempera on cedar panel. 35.7 cm x 25.7 cm. Cambrai Cathedral, France. The Cambrai Madonna, also called the Notre-Dame de Grâce, produced around 1340, is a small Italo-Byzantine, possibly Sienese, [1] replica of an Eleusa ( Virgin of Tenderness) icon. The work on which it is based is believed to have ...
The Cambrai Madonna (Notre Dame de Grâce) (see fig. 1 above), brought from Rome to Cambrai in 1440 by Canon Fursy de Bruille, and believed to have been painted by Saint Luke himself, initiated the wide dissemination of a compositional type known as the Eleousa, or Virgin of Tenderness.
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The Cambrai Madonna, and by proxy the Royal Collection picture, derive from a Byzantine format known as the 'Virgin Eleousa', or the 'Virgin of Tenderness', in which the Virgin and the infant Christ touch their cheeks together in a loving and intimate moment. This format dates back to early Christian times, and became widespread in the ...
The Cambrai Madonna, also called the Notre-Dame de Grâce, produced around 1340, is a small Italo-Byzantine, possibly Sienese, replica of an Eleusa icon. The work on which it is based is believed to have originated in Tuscany c. 1300, and influenced a wide number of paintings from the following century as well as Florentine sculptures from the 1440–1450s.
- It Was Probably Completed During The Final Years of The Artist’S Life
- It Depicts The Virgin and Child in The Interior of A Gothic Cathedral
- Mary Is Disproportionately Large Compared to Her Surroundings
- The Pose Resembles A Type of Byzantine Art from The 13th Century
- The Painting Was Probably The Left Panel of A Lost Diptych
- How Big Is Madonna in The Church by Jan Van Eyck?
- Where Is The Painting Located Today?
Jan van Eyck was born in Maaseik (Maaseyck back then), a city in modern-day Belgium, and his name is a reference to his place of birth. It’s unknown when exactly he was born with estimates ranging from 1380 to 1390. He lived and worked in The Hague, Lille, and eventually settled in Bruges in 1429. Here he became the court painter of Philip the Good...
The Virgin Mary and her child Jesus Christ were a common subject in the oeuvre of van Eyck. They are often depicted in the lavish interiors of a chapel or church. This painting depicts Mary as the Queen of Heaven as she wears a magnificent crown full of jewels. Angels can be seen singing in a doorway in the background. The painting was completed in...
The light comes from several windows on the left and ends up on the floor just behind Mary. This is a sign of the presence of God in the church. Other iconography includes the crucifix in the background which serves as an omen to the fate of the child. It occupies about the same space as the child himself which gives us a sense of perspective. Just...
One of the main reasons why art historians believe that this painting was one of the final Madonna and Child paintings by Jan van Eyck is because of the Virgin’s positioning. Her pose resembles that of Madonna at the Fountain(1439), a painting that is signed and dated by the artist. A link has been made to paintings that were imported to Northern E...
The fact that the frame of the Madonna in the Church features clasps is enough evidence that it was once hinged to another painting. It’s likely that the painting was part of a diptych that could be closed. The small size of the work possibly meant that it was commissioned by a patron for devotional purposes. Jan van Eyck completed several other pa...
These types of paintings were commissioned by wealthy people from Bruges who wanted a devotional work they could easily bring along. That’s why they are pretty small. The Madonna in the Church by Jan van Eyck is a small oil on oak panel painting that has dimensions of 31 × 14 centimeters (12 × 5.5 inches).
This Madonna painting by Jan van Eyck has a mysterious history. A description from the 16th century might point to Phillip the Good as the patron but this remains uncertain. It was only mentioned for the first time in 1851 and it was acquired by the Gemäldegalerie in Berlinin 1874. The painting was stolen 4 years later in 1877 and since then, the o...
It seems certain that van der Weyden's Madonna is based on the Italo-Byzantine Cambrai Madonna which had been brought back from Rome by a Cambrai monk in 1440 and installed with great ceremony in 1451 in the Cathédrale Notre-Dame de Grâce de Cambrai (the name itself derives from the image) at Cambrai some 30 miles to the south of Tournai ...
Byzantium: Faith and Power (1261- 1557), Metropolitan Museum of Art, New York, March 23-July 4, 2004, no. 350. This Virgin and Child was inspired by the so-called Cambrai Madonna, a painting thought to have been painted by Saint Luke and therefore revered as a cult image with miraculous powers.
