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Though small in size, this rich devotional tapestry, woven with virtuoso technique in the priciest of raw materials, embodies the highest end production associated with early sixteenth-century Brussels. Complementing its physical appeal was the caliber of its designer, Bernard van Orley, wo was admired official court painter to both Margaret of Austria and, subsequently, Mary of Hungary. With fleeting movement, gorgeously observed draperies billowing, the three kings launch themselves into this scene, as if having just strode into the tapestry from behind its left and right borders. This is a more dynamic version of a design van Orley also executed in oil on panel in a painting now in the collection of the Philadelphia Museum of Art. Van Orley, or a member of his workshop, also explored this composition in a related and extended scene in The Met’s drawing (2014.100) itself, apparently, a design for a larger tapestry.

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  • 1525 / 1535, Brussels
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  • Though small in size, this rich devotional tapestry, woven with virtuoso technique in the priciest of raw materials, embodies the highest end production associated with early sixteenth-century Brussels. Complementing its physical appeal was the caliber of its designer, Bernard van Orley, wo was admired official court painter to both Margaret of Austria and, subsequently, Mary of Hungary. With fleeting movement, gorgeously observed draperies billowing, the three kings launch themselves into this scene, as if having just strode into the tapestry from behind its left and right borders. This is a more dynamic version of a design van Orley also executed in oil on panel in a painting now in the collection of the Philadelphia Museum of Art. Van Orley, or a member of his workshop, also explored this composition in a related and extended scene in The Met’s drawing (2014.100) itself, apparently, a design for a larger tapestry. (en)
sameAs
dc:identifier
  • 14.40.706
P3 has note
  • Though small in size, this rich devotional tapestry, woven with virtuoso technique in the priciest of raw materials, embodies the highest end production associated with early sixteenth-century Brussels. Complementing its physical appeal was the caliber of its designer, Bernard van Orley, wo was admired official court painter to both Margaret of Austria and, subsequently, Mary of Hungary. With fleeting movement, gorgeously observed draperies billowing, the three kings launch themselves into this scene, as if having just strode into the tapestry from behind its left and right borders. This is a more dynamic version of a design van Orley also executed in oil on panel in a painting now in the collection of the Philadelphia Museum of Art. Van Orley, or a member of his workshop, also explored this composition in a related and extended scene in The Met’s drawing (2014.100) itself, apparently, a design for a larger tapestry. (en)
P138 has representation
P102 has title
  • 1525 / 1535, Brussels
is P30 transferred custody of of
is P106 is composed of of
is P41 classified of
is P108 has produced of
is P129 is about of
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is crmsci:O8_observed of
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