Who painted it? When and where?
Melchior Broederlam painted these two beautiful pieces made for the exterior of an altarpiece. Inside the altarpiece we could see a carved wooden triptych which was sculpted by Jacques de Baerze (it was common to combine sculpture and painting in a single altarpiece). Together, the paintings and sculpture are known as the Crucifixion Altarpiece and it is the only piece of Broederlam’s work that survived.
This work was commissioned in 1390 by the Duke of Burgundy, Philip the Bold, for the monastery he founded the “Chartreuse de Champmol” (Champmol Charterhouse), outside of Dijon. At the time, Dijon was the capital of the Duchy of Burgundy and the Duke, Philip the Bold, was one of the wealthiest men in western Europe. The Champmol Charterhouse was intended to be the final resting place for the duke and his family. This altarpiece was installed the church of the monastery in 1399.
What can we see?
The Crucifixion Altarpiece illustrates the life of Christ. The beginning of the story is represented on the exterior part of the altarpiece. The viewer can enjoy Broederlam’s paintings showing the early life of Christ: the Annunciation, the Visitation, the Presentation in the Temple, and the Flight into Egypt. When the altarpiece is open, the story continues with the Adoration of the Magi, the Crucifixion of Christ (the central and largest of the scenes), and the final representation of Christ’s Entombment.
The left wing of the altarpiece represents the figures of Saints: George fighting a dragon, Magdalen with a perfume bottle, John the Evangelist with a poisoned chalice, Catherine with her wheel and Christopher carrying Christ. Whereas the right wing depicts the figures of Saints Anthony with his pig, Marguerite with a dragon, a holy king carrying sword, Barbara with her tower and maybe Saint Josse de Ponthieu.
What about colours and style?
Broederlam’s painted panels are an excellent example of the International Gothic style which developed in the courts of Europe during the 15th century. This style often features rich colors, gold, and carefully observed naturalistic details. The figures and architecture of the International Gothic style are commonly very elegant.
Here, the sculptures are almost entirely gilded, and the work is extremely precise and delicate as we can see, if we look at the moldings and the drapes. The gilded background with punched patterns allows the radiant colours to dazzle such as the most expensive pigment, the ultramarine blue, which is commonly used for the Virgin’s garment.
The repeated use of red, blue, and pink is keeping the viewer’s eye moving from one scene to the other and create continuity amongst the events. Filled with brilliant colours, elegant figures, and beautiful details, the panels are visual delights. The style of these paintings matches the carved, gilded interior of the altarpiece and together, they create a stylistically unified narrative of the life of Christ.
The painter’s research on perspective, light and the presence of numerous symbolic details make him the precursor of the Flemish primitives.
Jacques de Baerze, Sculpteur : Jacques de Baerze (1390-1399) ; Peintre : Melchior Broederlam (à partir de 1392), Retable de la Crucifixion, bois peint et doré, peinture à l’huile sur bois, Attribution du Conseil Général de la Côte d'Or, 1827. L'œuvre est classée au titre des monuments historiques depuis 1939, © Musée des Beaux-Arts de Dijon/François Jay, inv. CA 1420
Melchior Broederlam, La Présentation au Temple et la Fuite en Egypte, huile sur bois, Attribution du Conseil Général de la Côte d'Or, 1827. L'œuvre est classée au titre des monuments historiques depuis 1939, © Musée des Beaux-Arts de Dijon/François Jay, inv. CA 1420 A
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