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La crucifixion du musée marmottan de paris, point de départ pour une révision du corpus des œuvres d'albrecht bouts

par Henderiks, Valentine
Référence Revue belge d'archéologie et d'histoire de l'art, 80, 1, page (129-176)
Publication Publié, 2014

Article révisé par les pairs

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Résumé :

The Crucifixion of the Marmottan museum, generally attributed to Albrecht Bouts, has been thoroughly studied in 1975 during the preparations of the exhibition Dirk Bouts en zijn tijd in Leuven. Laboratory research revealed significant changes in the iconography of the painting after the underlying drawing was made and during the brushwork. These changes could be explained by the fact that the painting belongs to a larger entity that included probably the three panels that are currently kept at the Abbey of Mehrereau in Bregenz. At first, I will analyze the style and technique of the triptych of the Assumption of the Virgin of the Royal Museums of Fine Arts of Belgium, the only undisputed autograph painting by Albrecht Bouts, which therefore can be used as a reference to establish a critical catalog of his work and his artistic personality. This triptych is then compared to the Crucifixion of Paris. The results of this study will enable us to develop new hypotheses regarding the attribution of the panel of the Marmottan museum. They will finally lead to a nucleus of works usually given to Albrecht Bouts, but which a closer examination of style and technique suggest to me rather a close collaborator.