Offered by Antichità di Alina
Resurrection of Christ
Attributed to the Master of the Prodigal Son / Jan Mandyn (1500-1560)
Oil on panel, 73 x 56 cm (without frame), 81 x 63 cm (with frame)
The work was examined by Professor Peter van den Brink, who confirmed its connection to the circle of the Master of the Prodigal Son, identified as Jan Mandyn (1500-1560). An artist active in Antwerp, Mandyn was known for his interpretation of Northern Mannerism, characterized by elongated figures, pronounced anatomical details, and a visionary atmosphere. Influenced by the Flemish engraving tradition and the fantastical world of Bosch, he developed a keen interest in narrative detail and imaginary architecture.
His style is part of the Flemish Mannerist school, which flourished in Antwerp and Haarlem in the second half of the 16th century, with artists such as Marten de Vos. His works are distinguished by complex perspectives, theatrical gestures, and vibrant colors.
Professor Peter van den Brink is a recognized specialist in 16th- and 17th-century Flemish and Dutch painting. Former director of the Suermondt-Ludwig Museum in Aachen, he has focused on history painting, portraiture, and collecting practices between the 16th and 19th centuries. He has studied the Antwerp and Haarlem schools and their connections to Italy, specializing in technical analysis, particularly infrared reflectography (IRR). He has curated exhibitions and published numerous studies on Flemish Mannerists.
On the back of the panel, two old printed paper labels indicate an attribution to the Haarlem school, second half of the 16th century, and a connection with the Master of the Prodigal Son.
A preparatory drawing is visible beneath the paint surface, characterized by rigid and angular contours, reminiscent of the Northern graphic tradition. Christ, in ascension, holds a processional cross and a flowing veil. His emphatic gestures and the twisting of the figures enhance the Mannerist monumentality, evoking sculpture and Italian and Flemish bronzetti.
The soldiers, wearing magnificent uniforms inspired by Ancient Rome, reflect the late Florentine and Roman Mannerist style, which was introduced north of the Alps by Northern painters who had worked in Italy.
The landscape, with unreal green hues typical of Flemish painting, features Gothic and fantastical architectural elements. The color contrasts and theatrical composition heighten the supernatural and dreamlike character of the scene.
The iconography follows the traditional model of the "Resurrection of Christ", where the Savior emerges from the tomb enveloped in divine light. The soldiers, taken by surprise, collapse to the ground, while on the right, the Holy Women, witnesses of the scene, approach with fear and devotion.
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