The Crucifixion by Jan van Eyck (1390 - 1441). Flemish painter
She is shielded in grief
A destined maiden she
How will Mary be comforted
Of her dear son Jesus departed
Stone, heavier than the weight
Of sins; lightly shifted stone
Revealeth then angelic might
For devotion's pity sight
New Jerusalem is written awaits
What hope behold this city new
And what about seeing eyes of doubt
Does resurrection consider such clout
© gillena cox
Poems In April DAY NINE - words vs pictures
CHALLENGE: to combine words and art...to pen a poem about a piece of art that moves us. It can be something famous, something a child made for you or a loved one, or it can be a carved bar of soap. It just has to move you in a profound way. Your poem will gives us insight to the 'why'!...give credit to the artist selected.
The Crucifixion and Last Judgement diptych (or Diptych with Calvary and Last Judgement) consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil on panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for personal and private devotion….
Along with Robert Campin and later Rogier van der Weyden, Van Eyck revolutionised the approach towards naturalism and realism in Northern European painting during the early to mid 15th century. He was the first to manipulate oils to give the close detailing that infused his figures with the high degree of realism and complexity of emotion seen in this diptych. He coupled this with a mastery of glaze to create luminous surfaces with a deep perspective—most noticeable in the upper portion of the Crucifixion panel—which had not been achieved before...
The Crucifixion panel comprises three horizontal planes, each representing different moments from the Passion. The upper third shows the crucifixion before a view of Jerusalem; the lower two thirds detail the crowds and Jesus' followers at Golgotha (Place of the Skull). Located outside the city walls amongst rock tombs and gardens, in the first century Golgotha was Jerusalem's place of execution, and the visible patches of hill highlight the area's "stony, forbidding, and lifeless" nature. The atmosphere of bleakness is reinforced by the random figures in the upper ground that scramble for a better view. The gospels tell of Jesus' followers and relatives, as well as his prosecutors and assorted spectators, attending the crucifixion at Golgotha. In van Eyck's panel the former are represented in the foreground, while the latter, including High Priests and Temple Elders, are shown in the mid-ground.
The centre foreground shows a group of five mourners, with three other figures set to the right and left. In the center group, John the Evangelist supports the Virgin Mary, surrounded by three women. Mary's dramatic swoon in grief pushes her forward in the pictorial space, and according to Smith, places her "closest to the viewer's presumed position". Dressed in an enveloping blue robe that hides most of her face, she collapses and is caught by John, who supports her by her arms. Mary Magdalene kneels to the right, dressed in a white-trimmed green robe and red sleeves. Raising her arms aloft, she clenches her fingers in a distraught, agonised manner. She is the only figure from this group shown to look directly at Christ and serves as one of the key painterly devices to direct the viewer's gaze upwards towards the crosses. from Wikipedia