Retábulo de Gante

Retábulo de Gante

Autor Jan van Eyck
Data 1430-1432
Dimensões 350 × 460 
Localização Catedral de São Bavão, Gante
Vista do retábulo quando fechado (painéis traseiros).

O Retábulo de Gante (também designado por Adoração do Cordeiro Sagrado ou O Cordeiro de Deus, holandês: Het Lam Gods) é um políptico complexo e de grandes dimensões do século XV, do período inicial da pintura flamenga. O retábulo é composto por 12 painéis, oito dos quais são venezianas fechadas. Os painéis laterais são pintados em ambos os lados, dando duas perspectivas diferentes consoante se encontram abertos ou fechados. Aos domingos e aos dias festivos, o retábulo está totalmente aberto; fora destes dias, fica fechado e coberto por uma toalha. A obra foi mandada fazer por Hubert van Eyck, de quem se sabe pouco da sua vida. Ele terá sido responsável pelo seu desenho, mas morreu em 1426. Pensa-se que o políptico tenha sido executado pelo seu irmão mais novo Jan van Eyck, entre 1430 e 1432.[1] Embora tenha havido várias tentativas de separar as contribuições de cada irmão, não se conseguiu chegar a nenhuma conclusão. Actualmente, é aceite que o desenho e a construção se deva a Hubert, e as pinturas individuais a Jan, depois do regresso deste de deveres diplomáticos na Espanha.

História

Durante sua história de 592 anos, esteve prestes a ser queimado por calvinistas rebeldes, roubado por Napoleão para o Louvre, cortado ao meio depois de cair nas mãos do rei da Prússia, cobiçado por Hermann Göring e levado por Adolf Hitler antes de ser resgatado por uma equipa de agentes duplos do comando de uma mina de sal austríaca, onde estava destinada a ser explodido com dinamite.

Um dos seus 12 painéis, Os Juízes Justos continua desaparecido após um assalto na noite de 10 de abril de 1934.[2]

Em 2021, passou a estar protegido por uma vitrine à prova de bala com seis metros de altura e cerca de 100 metros cúbicos, que custou quase 30 milhões de euros[3].

Referências

  1. Burroughs (1933), 184
  2. Charney, Noah (20 de Dezembro de 2013). «The Ghent Altarpiece: the truth about the most stolen artwork of all time» (em inglês). The Guardian. Consultado em 16 de Junho de 2018 
  3. «Ghent Altarpiece: 'most stolen' artwork has new €30m home in bulletproof glass» 

Bibliografia

  • Ainsworth, Maryan Wynn. From Van Eyck to Bruegel: Early Netherlandish painting in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1999. ISBN 0-300-08609-1
  • Borchert, Till-Holger. Van Eyck. London: Taschen, 2008. ISBN 3-8228-5687-8
  • Borchert, Till-Holger. Van Eych to Durer: The Influence of Early Netherlandish painting on European Art, 1430–1530. London: Thames & Hudson, 2011. ISBN 978-0-500-23883-7
  • Boorman, Stanley (ed). Studies in the Performance of Late Medieval Music. Cambridge: Cambridge University Press, 1983. ISBN 0-521-08831-3
  • Burroughs, Bryson. "A Diptych by Hubert van Eyck". The Metropolitan Museum of Art Bulletin, Volume 28, No. 11, Pt 1, November 1933.
  • Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. London, National Gallery. New Haven: Yale University Press, 1998. ISBN 0-300-07701-7
  • Charney, Noah. Stealing the Mystic Lamb. New York: PublicAffairs. 2010. ISBN 1-58648-800-7
  • Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism". Renaissance Quarterly, Volume 51, No. 1, Spring 1998.
  • Dhanens, Elisabeth. Hubert and Jan van Eyck. New York: Tabard Press. 1980. ISBN 0-914427-00-8
  • Hammer, Karl. Secret of the sacred panel. London: Stacey international, 2010. ISBN 978-1-906768-45-4
  • Harbison, Craig. "The Art of the Northern Renaissance". London: Laurence King Publishing, 1995. ISBN 1-78067-027-0
  • Homa, Ramsay. "Jan van Eyck and the Ghent Altar-Piece". The Burlington Magazine, volume 116, No. 855, June 1974.
  • Honour, Hugh; Fleming, John. "A World History of Art". London: Laurence King Publishing, 2005. ISBN 1-85669-451-8
  • Jolly, Penny. "Jan van Eyck's Italian Pilgrimage: A Miraculous Florentine Annunciation and the Ghent Altarpiece". Zeitschrift für Kunstgeschichte. 61. Bd., H. 3, 1998
  • Kurtz, Michael. America and the return of Nazi contraband. Cambridge: Cambridge University Press, 2004. ISBN 978-0-521-84982-1.
  • Lane, Barbara. The Altar and the Altarpiece, Sacramental Themes in Early Netherlandish Painting. London: Harper & Row, 1984. ISBN 0-06-430133-8
  • McNamee, W.B. "The Origin of the Vested Angel as a Eucharistic Symbol in Flemish Painting". The Art Bulletin, Volume 53, No. 3, September 1972.
  • Nash, Susie. Northern Renaissance art. Oxford: Oxford University Press, 2008. ISBN 0-19-284269-2
  • The Oxford Art Online – Jan van Eyck // [1]
  • Pächt, Otto. Van Eyck and the Founders of Early Netherlandish Painting. 1999. London: Harvey Miller Publishers. ISBN 1-872501-28-1
  • Reitlinger, Gerald. The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960. London: Barrie and Rockliffe, 1961.
  • Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk. Early Netherlandish paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2004. ISBN 90-5356-614-7
  • Schmidt, Peter. Het Lam Gods. Leuven: Uitgeverij Davidsfonds, 2005. ISBN 90-77942-03-3
  • Seidel, Linda. "The Value of Verisimilitude in the Art of Jan van Eyck". Yale French Studies: Special Issue: "Contexts: Style and Values in Medieval Art and Literature", 1991. 25–43
  • Snyder, James. "Jan van Eyck and Adam's Apple". The Art Bulletin, Volume 58, No. 4, December 1976.
  • Wolff, Martha; Hand, John Oliver. Early Netherlandish painting. National Gallery of Art Washington; Oxford University Press, 1987. ISBN 0-521-34016-0
  • van Elslande, Rudy. De geschiedenis van de Vyt-Borluutfundatie en het Lam Gods, in: Ghendtsche Tydinghen, 14de jg., 1985, nr.6, blz. 342-348; Ibidem, 15de jg., 1986, nrs 1-6, blz. 56-58, 108-111, 168-171, 230-233, 282-284, 329-332; Ibidem, 16de jg., 1987, nrs.1-6, blz. 25-29, 102-105, 143-148, 201-204, 269-272, 335-349; Ibidem, 18de jg., 1989, nrs. 1-2, blz. 53-55, 95-99.

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