Lamentation. Lamentation is an oil painting on panel of the common subject of the Lamentation of Christ that is now regarded as by an artist in the circle of the Early Netherlandish painter Petrus Christus, rather than by Christus himself.
It was painted in c. 1444, and is now in the Louvre in Paris. Bought by the Louvre in 1951 from the Schloss Fuschl Collection for 5,000,000 francs, this work of the Flemish artist belongs to a groups of paintings in which the Italian influence is clearly visible: see for instance, the Entombment, the Nativity, the Death of the Virgin, and the Portrait of a Man.
Petrus Christus, working at Bruges, continued to paint in the style of Jan van Eyck at a time when most Flemish artists had abandoned this manner in favour of Rogier van der Weyden's more dramatic and Gothic character. He seems to have visited Italy some time between 1454 and 1462, and various factors suggest that he may have travelled as far as the south of Italy: Antonello da Messina's influence on him, for example, together with the presence of paintings from his hand in Sicily as early as the 16th century, and certain affinities between his work and that of the School of Naples.
He may possibly have contributed to the introduction of the Flemish technique of painting into Italy. The artist's early manner was dry and awkward, with a tendency towards archaism, but under the beneficial influence o
It was painted in c. 1444, and is now in the Louvre in Paris. Bought by the Louvre in 1951 from the Schloss Fuschl Collection for 5,000,000 francs, this work of the Flemish artist belongs to a groups of paintings in which the Italian influence is clearly visible: see for instance, the Entombment, the Nativity, the Death of the Virgin, and the Portrait of a Man.
Petrus Christus, working at Bruges, continued to paint in the style of Jan van Eyck at a time when most Flemish artists had abandoned this manner in favour of Rogier van der Weyden's more dramatic and Gothic character. He seems to have visited Italy some time between 1454 and 1462, and various factors suggest that he may have travelled as far as the south of Italy: Antonello da Messina's influence on him, for example, together with the presence of paintings from his hand in Sicily as early as the 16th century, and certain affinities between his work and that of the School of Naples.
He may possibly have contributed to the introduction of the Flemish technique of painting into Italy. The artist's early manner was dry and awkward, with a tendency towards archaism, but under the beneficial influence o
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