Installation view of the Christ Nailed to the Cross triptych, 1480–85, Gerard David. Oil on panel. The National Gallery, London, Layard Bequest, 1916 (center panel); Pilate’s Dispute with the High Priest (left wing) and The Holy Women and Saint John (right wing), Koninklijk Museum voor Schone Kunsten Antwerpen.

Gerard David's Christ Nailed to the Cross Triptych in the Context of his Early Work


Museum Lecture Hall

The reunification of the three paintings of Gerard David's triptych, Christ Nailed to the Cross (around 1481), offers an extraordinary opportunity to reconsider the artist’s working methods and aims in the context of his early career. Maryan Ainsworth, curator of European paintings at the Metropolitan Museum of Art, considers the altarpiece anew and examines how David, a keen observer of everyday life, drew inspiration from the works of his contemporaries both in panel painting and manuscript illumination. 


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