#jeanhey

[aic-european]

Fragment from Christ Carrying the Cross: Mourning Virgin, Jean Hey,, 1500, Art Institute of Chicago: European Painting and Sculpture

These two fragments are all that remain of a painting of Christ carrying the Cross by Jean Hey, the leading painter working in France at the end of the 15th century. Saint John the Evangelist was acquired by the Chicago collector Martin Ryerson in the 1890s; Mourning Virgin, recently identified as a fragment of the same work, was acquired in 2004. Technical examination showed traces of the cross and the head of Christ on both fragments and also provided evidence to connect them to another panel in Kelvingrove Art Gallery and Museum, Glasgow, depicting a saint and donor. These fragments were thus formerly part of an intensely emotional image of Christ’s road to Calvary, which would have formed the left half of a diptych, or portable folding altarpiece, with the representation of the donor in prayer on the right. The Art Institute of Chicago, Lacy Withers Armour Fund, restricted gift of the Old Masters Society, the Rhoades Foundation, Marilynn Alsdorf, Barbara Danielson in honor of James Wood, Mr. and Mrs. John W. Madigan, and John and Mary Gedo through the Old Masters Society, through prior gift of the George F. Harding, Mr. and Mrs. Morris I. Kaplan, Charles H. and Mary F. S. Worcester, and Max and Leola Epstein collections Size: 10 13/16 × 7 7/8 in. (27.5 × 19.9 cm); image: 10 3/8 × 7 1/4 in. (26.3 × 18.4 cm) Medium: Oil on panel

https://www.artic.edu/artworks/183006/

[aic-european]

Fragment from Christ Carrying the Cross: Saint John the Evangelist, Jean Hey,, 1500, Art Institute of Chicago: European Painting and Sculpture

These two fragments are all that remain of a painting of Christ carrying the Cross by Jean Hey, the leading painter working in France at the end of the 15th century. Saint John the Evangelist was acquired by the Chicago collector Martin Ryerson in the 1890s; Mourning Virgin, recently identified as a fragment of the same work, was acquired in 2004. Technical examination showed traces of the cross and the head of Christ on both fragments and also provided evidence to connect them to another panel in Kelvingrove Art Gallery and Museum, Glasgow, depicting a saint and donor. These fragments were thus formerly part of an intensely emotional image of Christ’s road to Calvary, which would have formed the left half of a diptych, or portable folding altarpiece, with the representation of the donor in prayer on the right. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 10 3/4 × 7 7/8 in. (27.3 × 20 cm); image: 10 1/4 × 7 7/16 in. (26 × 18.8 cm) Medium: Oil on panel

https://www.artic.edu/artworks/25749/

[aic-european]

The Annunciation, Jean Hey,, 1490, Art Institute of Chicago: European Painting and Sculpture

The archangel Gabriel’s announcement to Mary that she will give birth to a son, and her immediate acceptance of this news, represent the moment of Christ’s Incarnation. Although The Annunciation appears to be an independent painting, it is actually a fragment that once formed the right side of an altarpiece; the left side, now in the National Gallery, London, depicts the moment of Mary’s own Immaculate Conception, believed to have occurred when her parents, Joachim and Anne, greeted each other at the Golden Gate. A central section, now lost, probably featured the enthroned Virgin and Child, perhaps with Saint Anne. Jean Hey, known as the Master of Moulins,was the leading painter working in France in the last decades of the fifteenth century. He worked in Moulins in central France for Duke Pierre II of Bourbon and his wife, Anne of France, who played a large role in the government of of the kingdom during the minority of Anne’s brother Charles VIII. As their court painter, Hey, who was probably of Netherlandish origin, fused the intense naturalism and preciousness of Flemish and French painting and manuscript illumination with the emerging Renais-sance interest in antiquity, as is evident in this painting’s Italianate architecture. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 72.5 × 50.1 cm (28 1/2 × 19 11/16 in.); painted surface: 71.7 × 49.2 cm (28 1/4 × 19 3/8 in.) Medium: Oil on panel

https://www.artic.edu/artworks/16327/

[aic-european]

The Annunciation, Jean Hey,, 1490, Art Institute of Chicago: European Painting and Sculpture

The archangel Gabriel’s announcement to Mary that she will give birth to a son, and her immediate acceptance of this news, represent the moment of Christ’s Incarnation. Although The Annunciation appears to be an independent painting, it is actually a fragment that once formed the right side of an altarpiece; the left side, now in the National Gallery, London, depicts the moment of Mary’s own Immaculate Conception, believed to have occurred when her parents, Joachim and Anne, greeted each other at the Golden Gate. A central section, now lost, probably featured the enthroned Virgin and Child, perhaps with Saint Anne. Jean Hey, known as the Master of Moulins,was the leading painter working in France in the last decades of the fifteenth century. He worked in Moulins in central France for Duke Pierre II of Bourbon and his wife, Anne of France, who played a large role in the government of of the kingdom during the minority of Anne’s brother Charles VIII. As their court painter, Hey, who was probably of Netherlandish origin, fused the intense naturalism and preciousness of Flemish and French painting and manuscript illumination with the emerging Renais-sance interest in antiquity, as is evident in this painting’s Italianate architecture. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 72.5 × 50.1 cm (28 1/2 × 19 11/16 in.); painted surface: 71.7 × 49.2 cm (28 1/4 × 19 3/8 in.) Medium: Oil on panel

https://www.artic.edu/artworks/16327/

[aic-european]

Fragment from Christ Carrying the Cross: Saint John the Evangelist, Jean Hey,, 1500, Art Institute of Chicago: European Painting and Sculpture

These two fragments are all that remain of a painting of Christ carrying the Cross by Jean Hey, the leading painter working in France at the end of the 15th century. Saint John the Evangelist was acquired by the Chicago collector Martin Ryerson in the 1890s; Mourning Virgin, recently identified as a fragment of the same work, was acquired in 2004. Technical examination showed traces of the cross and the head of Christ on both fragments and also provided evidence to connect them to another panel in Kelvingrove Art Gallery and Museum, Glasgow, depicting a saint and donor. These fragments were thus formerly part of an intensely emotional image of Christ’s road to Calvary, which would have formed the left half of a diptych, or portable folding altarpiece, with the representation of the donor in prayer on the right. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 10 3/4 × 7 7/8 in. (27.3 × 20 cm); image: 10 1/4 × 7 7/16 in. (26 × 18.8 cm) Medium: Oil on panel

https://www.artic.edu/artworks/25749/

[aic-european]

The Annunciation, Jean Hey,, 1490, Art Institute of Chicago: European Painting and Sculpture

The archangel Gabriel’s announcement to Mary that she will give birth to a son, and her immediate acceptance of this news, represent the moment of Christ’s Incarnation. Although The Annunciation appears to be an independent painting, it is actually a fragment that once formed the right side of an altarpiece; the left side, now in the National Gallery, London, depicts the moment of Mary’s own Immaculate Conception, believed to have occurred when her parents, Joachim and Anne, greeted each other at the Golden Gate. A central section, now lost, probably featured the enthroned Virgin and Child, perhaps with Saint Anne. Jean Hey, known as the Master of Moulins,was the leading painter working in France in the last decades of the fifteenth century. He worked in Moulins in central France for Duke Pierre II of Bourbon and his wife, Anne of France, who played a large role in the government of of the kingdom during the minority of Anne’s brother Charles VIII. As their court painter, Hey, who was probably of Netherlandish origin, fused the intense naturalism and preciousness of Flemish and French painting and manuscript illumination with the emerging Renais-sance interest in antiquity, as is evident in this painting’s Italianate architecture. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 72.5 × 50.1 cm (28 1/2 × 19 11/16 in.); painted surface: 71.7 × 49.2 cm (28 1/4 × 19 3/8 in.) Medium: Oil on panel

https://www.artic.edu/artworks/16327/

[aic-european]

Fragment from Christ Carrying the Cross: Saint John the Evangelist, Jean Hey,, 1500, Art Institute of Chicago: European Painting and Sculpture

These two fragments are all that remain of a painting of Christ carrying the Cross by Jean Hey, the leading painter working in France at the end of the 15th century. Saint John the Evangelist was acquired by the Chicago collector Martin Ryerson in the 1890s; Mourning Virgin, recently identified as a fragment of the same work, was acquired in 2004. Technical examination showed traces of the cross and the head of Christ on both fragments and also provided evidence to connect them to another panel in Kelvingrove Art Gallery and Museum, Glasgow, depicting a saint and donor. These fragments were thus formerly part of an intensely emotional image of Christ’s road to Calvary, which would have formed the left half of a diptych, or portable folding altarpiece, with the representation of the donor in prayer on the right. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection Size: 10 3/4 × 7 7/8 in. (27.3 × 20 cm); image: 10 1/4 × 7 7/16 in. (26 × 18.8 cm) Medium: Oil on panel

https://www.artic.edu/artworks/25749/

[aic-european]

Fragment from Christ Carrying the Cross: Mourning Virgin, Jean Hey,, 1500, Art Institute of Chicago: European Painting and Sculpture

These two fragments are all that remain of a painting of Christ carrying the Cross by Jean Hey, the leading painter working in France at the end of the 15th century. Saint John the Evangelist was acquired by the Chicago collector Martin Ryerson in the 1890s; Mourning Virgin, recently identified as a fragment of the same work, was acquired in 2004. Technical examination showed traces of the cross and the head of Christ on both fragments and also provided evidence to connect them to another panel in Kelvingrove Art Gallery and Museum, Glasgow, depicting a saint and donor. These fragments were thus formerly part of an intensely emotional image of Christ’s road to Calvary, which would have formed the left half of a diptych, or portable folding altarpiece, with the representation of the donor in prayer on the right. The Art Institute of Chicago, Lacy Withers Armour Fund, restricted gift of the Old Masters Society, the Rhoades Foundation, Marilynn Alsdorf, Barbara Danielson in honor of James Wood, Mr. and Mrs. John W. Madigan, and John and Mary Gedo through the Old Masters Society, through prior gift of the George F. Harding, Mr. and Mrs. Morris I. Kaplan, Charles H. and Mary F. S. Worcester, and Max and Leola Epstein collections Size: 10 13/16 × 7 7/8 in. (27.5 × 19.9 cm); image: 10 3/8 × 7 1/4 in. (26.3 × 18.4 cm) Medium: Oil on panel

https://www.artic.edu/artworks/183006/