03 — ARTWORK
Triptych
- MEDIUM
- Oak, 73 x 56 cm (central panel), 76,4 x 24,5 cm (each wing)
- TYPE
- Religious
PALETTE
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- FILE
- 1063 × 672 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Jan de Beer was a Flemish painter, one of the Antwerp Mannerist school many of whose paintings were formerly ascribed to him.
The central panelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. depicts the Adoration of the Shepherds. On the left wing is St Felicity with her sons and on the right is St Ursula with her followers. The composition and style are characteristic of Antwerp MannerismA movement in Italian art from about 1520 to 1600. Developing out of the Renaissance, Mannerism rejected Renaissance balance and harmony in favor of emotional intensity and ambiguity. In Mannerist painting, this was expressed mainly through severe distortions of perspective and scale; complex and crowded compositions; strong, sometimes harsh or discordant colors; and elongated figures in exaggerated poses. In architecture, there was a playful exaggeration of Renaissance forms (largely in scale and proportion) and the greater use of bizarre decoration. Mannerism gave way to the Baroque. Leading Mannerists include Pontormo, Bronzino, Parmigianino, El Greco and Tintoretto. of the early 16th century.
CITE THIS RECORD — BIBTEX
@online{wga-rd820b0219e84b8,
author = {Krén, Emil and Marx, Daniel},
title = {Triptych by BEER, Jan de},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/beer-jan-de-r43b9ffdd319ae1/triptych-rd820b0219e84b8},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
