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Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.
Wearing the crown of thorns, Jesus sits on Golgotha with his hands tied to the cross. The path to Calvary is visible in the left middle ground at the gates of Jerusalem. On the right, the followers approach mount Calvary in the background, where the crosses of Christ and of the two thieves stand. In this work, Isenbrant separates the story of the crucifixion from that of the Passion of Christ, whi
Mary Magdalene is depicted slightly more than half-length. She is slightly turned and reads a book inside a room. The jar of salve bearing the inscription “Magdele” identifies her and helps to avoid confusion with representations of the Annunciation. Isenbrand follows models created in the previous century, from Van der Weyden to Gérard David. The slight sfumato in Mary´s face and her graci
