Overview

No overview.

Inscription

null

Marks and Labels

null

Provenance

Altarpiece of the "capilla Mayor (main chapel)," church of San Lázaro, Palencia, commissioned c. 1508, until at least 1761.[1] Acquired c. 1952 by (Frederick Mont, New York);[2] purchased 11 February 1953 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.

Exhibition History

Bibliography

1887
Justi, Carl. "Juan de Flandes, ein niederländischer Hofmaler Isabella der Katholischen." Jahrbuch der königlich Preussischen Kunstsammlungen (Jahrbuch der Berliner Museen) 8 (1887): 167.
1907
Winkler, [Friedrich]. "Juan de Flandes." In Thieme-Becker. 37 vols. Leipzig, 1907-1950:19(1926):279.
1908
Justi, Carl. Miscellaneen aus drei Jahrhunderten spanischen Kunstlebens. 2 vols. Berlin, 1908: 1:324.
1909
Mayer, August L. "Studien zur Quattrocento-malerei in Nordwestkastilien." Repertorium für Kunstwissenschaft 32 (1909): 519.
1913
Mayer, August L. Geschichte der spanischen Malerei. 2 vols. Leipzig, 1913: 1:149.
1917
Moreno Villa, José. "Un pintor de la reina católica." Boletín de la Sociedad Española de Excursiones 25 (1917): 281.
1932
H[ulin] de L[oo], [Georges]. Trésor de l'art flamand du moyen âge au XVIIIe siècle. Mémorial de l'exposition d'art flamand ancien à Anvers. 1930. 2 vols. Paris, 1932: 1:51.
1933
Post, Chandler Rathfon. A History of Spanish Painting. 14 vols. Cambridge, Mass., 19303-1966: 4, pt. 1:45, 50.
1950
Revilla Vielva, Ramón. "Retablo Mayor de la Santa Iglesia Catedral de Palencia." Publicaciones de la Institución "Tello Téllez de Meneses" no. 5 (1950): 98.
1952
Brans, Jan V. L. Isabel la Católica y el arte Hispano-Flamenco. Madrid, 1952: 96-98, pl. 43.
1952
Museo del Prado. Catálogo. Madrid (and later editions), 1952: 204.
1953
Brans, Jan V. L. "Juan de Flandes, pintor de la Reina y de Castilla." Clavileño 4, no. 21 (1953): 29, 32.
1954
Sánchez Cantón, Francisco Javier. "Las adquisiciones del Museo del Prado en los años 1952 y 1953." Archivo Español de Arte y Arqueologia 27 (1954): 5.
1955
Gudiol Ricart, José. Pintura Gótica. In Ars Hispaniae. 22 vols. Madrid, 1955: 9:259-260.
1956
Paintings and Sculpture from the Kress Colllection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 110, no. 42, repro. 113.
1957
Gudiol, José. "Oeuvres inédites de Jean de Flandres." Miscellanea Prof. Dr. D. Roggen. Antwerp, 1957: 116, 118.
1958
Gaya Nuño, Juan Anotonio. La pintura española fuera de España; historia y catàlogo. Madrid, 1958: 148, nos. 761, 762.
1958
Post, Chandler Rathfon. A History of Spanish Painting. 14 vols. Cambridge, Mass., 1958: 12, part 2:615, 618, 620, 622-625, figs. 262, 263.
1959
Brans, Jan V. L. Vlaamse schilders in dienst der Koningen van Spanje. Louvain, 1959: 55.
1959
Eisler, Colin. "Juan de Flandes's Saint Michael and Saint Francis." Metropolitan Museum of Art Bulletin n.s. 18 (1959): 130.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 267, repro.
1959
Sánchez Cantón, Francisco Javier. The Prado. New York, 1959: 138.
1962
Bermejo, Elisa. Juan de Flandes. Madrid, 1962: 28-31, 44, pls. 36-39.
1962
Puyvelde, Leo van. La peinture flamande au siècle de Bosch et Breughel. Paris, 1962: 353.
1963
Sammlung Heinz Kisters. Altdeutsche und altniederländische Gemälde. Exh. cat. Germanisches Nationalmuseum, Nürnberg, 1963: 14-15, under no. 76.
1964
Anzelewsky, Fedja. "Der Meister der Lübecker Bibel von 1494." Zeitschrift für Kunstgeschichte 27 (1964): 57.
1965
Held, Julius S. "The Bearing of the Cross Hitherto Attributed to Juan de Flandes." The Art Quarterly 38 (1965): 31.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 71
1967
Vandevivere, Ignace. Primitifs flamands. Corpus. La cathédrale de Palencia et l'église paroissiale de Cervera de Pisuerga. Brussels, 1967: 44-47.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 62, no. 1385, repro.
1969
Osten, Gert von der, and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500 to 1600. Harmondsworth, 1969: 142.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 182, 184, repro. 183, 185.
1976
Lurie, Ann Tzeutschler. "Birth and Naming of St. John the Baptist Attributed to Juan de Flandes: A Newly Discovered Panel from a Hypothetical Altarpiece." Bulletin of the Cleveland Museum of Art 63 (1976): 127, fig. 21.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 188, fig. 190.
1978
Rogers, Millard F., Jr. Spanish Paintings in the Cincinnati Art Museum. Cincinnati, 1978: 12.
1979
De Coo, Josef, and Nicole Reynaud. "Origen del retablo de San Juan Bautista atribuido a Juan de Flandes." Archivo Español de Arte y Arqueologia 52 (1979): 140-141, figs. 7, 9.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. Washington, 1984: 138, no. 139, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 212, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 125-133, repro. 129.
1998
Denny, Don. "Baptism." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:107.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 59, no. 45, color repro.
2011
Weniger, Matthias. Sittow, Morros, Juan de Flandes: Drei Maler aus dem Norden am Hof Isabellas der Katholischen. Kiel, 2011: 250-255, no. 12.4, fig. 179.

Conservation Notes

The panel was cradled and the painting cleaned and restored in 1953/1954. Like 1961.9.24, The Adoration of the Magi, this panel retains its unpainted margin on all sides, though the edges have been planed down to give a neat appearance, and the bottom edge is not as wide as those on the other three sides. The preparation of the panel itself, which is made up of four vertical members, is the same as the other panels from the San Lázaro altarpiece. The fully worked out underdrawing in this scene is easiest to detect in the figure of Christ where wide, evenly spaced hatching strokes were made visible with infrared reflectography. The concentric rings around the dove of the Holy Ghost were incised into the ground with a compass. A number of artist's changes have become visible with time: the height of the tower to the right of Christ's head was lowered and the angle and position of Saint John's right hand were changed. The painting is in good condition. Losses along the joins in the boards, particularly at the left, small localized areas of loss throughout, and some larger losses in the drapery hanging down the Baptist's back have been filled and inpainted. The inpainting is now somewhat discolored.

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