Gerard David was a celebrated Netherlandish painter and manuscript illuminator born around in Oudewater, Netherlands. Not much is known about his early years, but he later became a well-respected member of the painters&#; guild in Bruges. He was the last great master of the Bruges school and created portraits, altarpieces, and illuminations during his lifetime.
David had a fascination with landscape and townscape, which he blended with figures that were portrayed naturally and at ease within them. This unique style drew appreciation from art enthusiasts across Europe during his time. David&#;s work remained undiscovered for centuries after his death until they were rediscovered in the late 19th century.
Although not confirmed, historians believe that David ran two workshops- one in Antwerp and another in Bruges which contributed to his high success rate as an artist. As an artist, David was careful about color usage; some notable features of his style include brilliant use of colors that set him apart from others.
Despite being a celebrated artist in his time, little is still known about Gerard David today apart from gathered historical knowledge. Nevertheless, history has sh
| Gerard David | |
|---|---|
| Born | c. Oudewater |
| Died | Aug. 13, Bruges |
| Nationality | Netherlandish |
| Movement | Early Netherlandish painting |
| Field | Painting |
| Works | View Complete Works |
Imagine that one of the greatest artists the world has ever known being somehow forgotten about for more than years.
Such was the case with Gerard David, one of the most significant artists of the early Renaissance. It was in that a researcher by the name of William Henry James Weale was delving through ancient records in the city of Bruges, Belgium, and discovered a treasure trove of information about the life and works of the painter Gerard David.
Early Life
David is called a man of Netherlandish nationality. He was born in in Oudewater, a town in the Netherlands province of Utrecht. Like many early artists of this era, information about his early life is sketchy, although it is known he spent most of his adult life in Bruges. It was there that he became a respected member of the painter&#;s guild. It is believed he became the head painter, or the recognized master of his field by
Themes, Styles, Influences,
The majority of Gerard David&#;s works take on Christian and Biblica
With its prime location not far from the western coast of what is today Belgium and its easy access to the Atlantic Ocean through the Zwin River, fifteenth-century Bruges became the chief economic hub of western Europe and an important international center with especially strong trade links to Italy, Spain, England, and the German territories. In addition, the Prinsenhof there was the favored residence of the dukes of Burgundy, whose regular visits with full entourage lent a festive atmosphere to the city. It is not surprising that the concentration of wealth, power, and prestige in Bruges attracted an unbroken succession of highly skilled immigrant painters who recognized the advantage of settling there to practice their craft. Jan van Eyck came from Maaseik in the Mosan region; Petrus Christus from Baerle, near the present Dutch-Belgian border; Hans Memling from the German town of Seligenstadt; and Gerard David from Oudewater, in the northern Netherlands, near Gouda.
The details of David’s life, like those of his contemporaries, were lost over time and rediscovered only in the nineteenth century, largely due to research carried out by the Englishman James Weale in the Bruges
Gérard David
Crucifixion (v. ). Huile sur bois, 88 × 56 cm, Museo Thyssen-Bornemisza, Madrid. L'influence de Campin, Van Eyk et Van der Weyden domine cette œuvre de jeunesse.
L'adoration des mages, enluminure (v. ). Manuscrit, 23 × 16 cm, British Library, Londres. Miniature extraite du Bréviaire d'Isabelle de Castille. Il s'agit d'une Adoration des mages qui sera reprise sous forme de tableau en
Triptyque de la famille Sedano (). Huile sur bois, 97 × 72 cm (panneau central), musée du Louvre, Paris. Le commanditaire est un marchand espagnol, Jean de Sedano. Le panneau central montre la Vierge et l'Enfant Jésus entourés de deux anges musiciens. Sur le panneau de gauche, Jean de Sedano accompagné de saint Jean-Baptiste et de son fils tenant une croix. Sur le panneau de gauche, son épouse Marie avec Saint Jean.
Le jugement de Cambyse (). Huile sur bois, × ,5 cm, Groeninge Museum, Bruges. Ce diptyque a été commandé à David pour décorer la salle des échevins de l'Hôtel
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