Crucifixion with the Donor Brother Amelius of Emael

Datec. 1465

circle of Rogier van der Weyden (Flemish, c. 1399–1464)

CultureFlemish

MediumOil on oak panel

DimensionsImage: 13 3/8 x 13 3/4 in. (34 x 35 cm)
Unframed: 14 3/16 x 14 3/16 in. (36 x 36 cm)
Framed: 17 11/16 x 16 15/16 in. (45 x 43 cm)

Credit LinePurchase, Betsy Mudge Wilson, class of 1956, Memorial Fund; Pratt Fund; Suzette Morton Davidson, class of 1934, Fund; Francis Woolsey and Helen Silkman Bronson, class of 1924, Fund

On View

On view

Period15th c

Classification(s)

Painting

InscribedInscribed (CL): fr. amelius. de emael; (UC): ___(illegible) RE FILIVS DEI ERAT ISTE; (verso, per Marco Grassi condition report of April 1995): 1867.116 / 6653 x 10 / Receipt and Item #M1528013

BibliographyMundy, James, The Frances Lehman Loeb Art Center: Vassar College The History and Collection (New York: Prestel Publishing, 2007), pp. 26-27; White, Richard Grant. Companion to the Bryan Gallery of Christian Art: Containing Critical Description of the Pictures, and Biographical Sketches of the Painters. New York: Baker, Godwin &, 1853: pp. 58-59, no. 93; Friedländer, Max J., Die altniederländische Malerei, vol. 2. Berlin and Leiden, 1934: p. 121, no. 92ProvenanceCollection of Thomas Jefferson Bryan (1802–1870);
given to the New York Historical Society, 1867;
Sotheby's, New York, Important Old Master Paintings, the Property of the New York Historical Society, January 12, 1995

Vassar Exhibitions

An Era of Opportunity: Three Decades of Acquisitions

Label TextBisecting this panel is the crucified Jesus accompanied on his right by the Virgin, St. John the Evangelist, Mary Magdalene, and a kneeling donor figure. Soldiers stand opposite, including a bearded man in a magnificent green and gold robe, above whom Latin text reads “Indeed, this was the the son of god.” This declaration is associated with Longinus, the Roman centurion credited with uttering these words upon Jesus’ death. Pictorial elements such as the bright hues and swooning Virgin link this painting to Flemish master Rogier van der Weyden. Distinct, however, is the donor in black labeled “Brother Amelius of Emael.” Infrared reflectography reveals that he was added later, suggesting that the portrait was incorporated into an existing painting.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email loebcollections@vassar.edu