par Martens, Didier
Référence Revue de l'art, 197, 3, page (29-41)
Publication Publié, 2017
Article révisé par les pairs
Résumé : The present article studies several unrecognized aspects of the artistic descendants of Jan van Eyck's Madonna with Canon Van der Path (1436). Probably in the years before 1500, a painter from Lai beck, Bernt Notke, borrowed from van Eyck the sophisticated design of the majolica pavement, on which his personages are placed. He used it in a Mats of Saint Cregcry, destroyed in 1942, a monumental composition in which several figures could also have been inspired by Jan van Eyck's epitaph- panel. In die 1530s-1540s, a painter from Bruges close to Gerard David repeated in a modernized form the Saint Donatian from Jan van Eyck's panel. He is represented in front of a landscape on the right wing of a Little known triptych in the Victoria and Albert Museum. Finally in the 19∗ century, a Belgian neo-Gothic painter (?), perhaps a forger, painted a version of the Madonna ntib Canon Van der Parft in triptych form. The image emphasizes the divine character of papal authority. The descendants of van Eyck's masterpiece were rich and varied and constitute in themselves a chapter of art history.