Merode Altarpiece
#1. A. Merode Altarpiece, Workshop of Robert Campin. The dimensions measure approximately twenty-five and three-eighths inches, by forty-six and three-eighths inches overall. The central panel measures; twenty-five and one-fourth inches, and each wing measures twenty-five and three-eight inches by ten and three-fourths inches. It was made in Tournai, South Netherlands, but its current location is at The New York Metropolitan Museum of Art. The medium used in the painting is oil on oak. B. Deposition of Christ, or Descent of Christ from the Cross was created by Rogier van der Weyden. The dimensions are approximately seven feet two inches, by eight feet seven inches. The altarpiece is located in Paseo del Prado, Madrid, Spain. The
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This was the style in the time period when the painting was painted, not during the time of Christ. And even though the clothes are oversized, they don’t appear baggy and you can tell how the body is positioned underneath.
#5. The form in Merode is off. The lineages within the room are unrealistic and the table and the floor looks distorted, but the shadows in the top corner where the pot is hanging is shadowed perfectly as if there are two sources of light. The shadowing in the clothing of Saint Gabriel and Saint Mary give it a life like appearance. Also how the shadow of the key in the door shows the uncanny attention to detain that the artist had when creating this altarpiece.
#6. The vertical and horizontal lines used in the Deposition, is very detailed and has painted in wear along the border that it painted to appear as wood. Even the forty-five degree cuts in the wood in the corners of the border depicting that it is a wooden border. The curvature in each body is realistic and the curves used in making the facial expressions. The shading in each beard and head of hair gives off a lifelike
This was the style in the time period when the painting was painted, not during the time of Christ. And even though the clothes are oversized, they don’t appear baggy and you can tell how the body is positioned underneath.
#5. The form in Merode is off. The lineages within the room are unrealistic and the table and the floor looks distorted, but the shadows in the top corner where the pot is hanging is shadowed perfectly as if there are two sources of light. The shadowing in the clothing of Saint Gabriel and Saint Mary give it a life like appearance. Also how the shadow of the key in the door shows the uncanny attention to detain that the artist had when creating this altarpiece.
#6. The vertical and horizontal lines used in the Deposition, is very detailed and has painted in wear along the border that it painted to appear as wood. Even the forty-five degree cuts in the wood in the corners of the border depicting that it is a wooden border. The curvature in each body is realistic and the curves used in making the facial expressions. The shading in each beard and head of hair gives off a lifelike