03 — ARTWORK
The Last Judgment
- MEDIUM
- Oak, 124,5 x 172 cm
- TYPE
- Religious
PALETTE
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- FILE
- 1008 × 720 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
This 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. probably once hung as an illustration of Justice in the Cologne town hall. Its iconographyThe systematic study and identification of the subject-matter and symbolism of art works, as opposed to their style; the set of symbolic forms on which a given work is based. Originally, the study and identification of classical portraits. Renaissance art drew heavily on two iconographical traditions: Christianity, and ancient Greek and Roman art, thought and literature., style and many details follow Netherlandish models such as the Last Judgment in Diest, Belgium. As Lochner is supposed to have trained in Robert Campin's workshop, he must have encountered Netherlandish art and the work of the van Eyck brothers. <P> <TABLE ALIGN=LEFT CELLPADDING=5 BORDER=1 WIDTH=320 BGCOLOR="#99CCCC"> <TR VALIGN=MIDDLE><TD><IMG SRC="/support/gif/listen.gif" BORDER=0 VALIGN=MIDDLE> Suggested listening (streaming mp3, 8 minutes):<BR><A HREF="#" onClick="w=window.open ('/music1/mozart/mozart_requiem.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><B>Wolfgang Amadeus Mozart: Requiem K 626: Dies irae</B></A> </TD></TR></TABLE>
CITE THIS RECORD — BIBTEX
@online{wga-re02f4c56cbef39,
author = {Krén, Emil and Marx, Daniel},
title = {The Last Judgment by LOCHNER, Stefan},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/lochner-stefan-rc618081e973873/the-last-judgment-re02f4c56cbef39},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
