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The altarpiece provides us with more knowledge about the functioning of the guilds of surgeons and barbers, of which the Holy Saints Cosmas and Damian were patron saints. It is therefore important for the preservation of the collective memory. With a monogram and date on the central panel in the medallions on the left pillar, the work can be considered as Blondeel’s earliest painting, giving it great historical value. The artwork serves as a starting point for the stylistic evolution of the painter and therefore holds special artistic significance. This oil painting is a busy and complex composition with figures in affected poses. The work still shows influences of Mannerism, but through the architectural construction, Blondeel demonstrates his extensive knowledge and admiration for the Italianization of visual language. The grotesque painting, which he transposes into a three-dimensional architecture in his own unique way, makes him a precursor of the grotesque in the Netherlands. He incorporates fashionable decorative elements, such as medallions, in the central panel. Using motifs from ornament prints by Agostino Musi, Giovanni Antonio de Brescia, and other German or Dutch prints, he creatively transforms them to adorn his frames. Furthermore, the twelve tableaux vivants, which he himself designed for the Joyous Entry of Charles V in Bruges in 1520, inspired him in executing this work, especially in terms of the architectural construction. Despite Blondeel’s style being a distinct phenomenon within Bruges art, the work serves as an important link. The early use of canvas gives this work a rare value

This painting, together with the Brussels panel, formed a diptych that is exceptional for early painting in the Netherlands, solely due to its monumental size. Furthermore, this diptych should be considered a centrepiece in Isenbrant’s diverse body of work, given its high quality. The iconography of the painting reflects the growing popularity of the ‘Compassio Mariae’ in Bruges since the late 15th century. The theme of the Seven Sorrows was an important subject of lay devotion in the Southern Netherlands. The Bruges panel is innovative in the way it replaces the traditional medallions depicting the seven sorrows with an architectural framework that incorporates the scenes. The formal language and ornamentation of this simulated architecture have a Renaissance feel, while the individual scenes are predominantly rooted in the older Flemish visual tradition. The patron, Joris van de Velde, had himself depicted with his entire family and patron saints on the left panel. This exceptional combination of portraits and the Our Lady of Sorrows on the other side can be explained by the diptych’s representative function as an epitaph.

The large religious paintings by Joseph-Benoît Suvée are particularly rare for Flanders. The monumental canvas in the Saint Walburga Church in Bruges is still located in its original position on the main altar. The history of the creation of this artwork, which was displayed at the Paris Salon in 1783 and garnered much commentary, is very well-documented.

Due to its baroque features such as chiaroscuro, colors and composition, this artwork fits perfectly within the majestic main altar of this former Jesuit church. The highly realistic character heads of the Roman soldiers and the meticulous depiction of the fabrics and draperies also testify to a high artistic quality.

The artwork is exceptional due to its exceptionally high artistic quality and its preservation in its original location. It is one of van Dyck’s most well-known paintings, yet also the most atypical. It is one of the most Rubensian paintings ever created by van Dyck, showcasing his ability to adopt Rubens’ style in a chameleon-like manner if desired. Additionally, it serves as an important link within the context of the Rubens workshop and holds significant value within Antoon van Dyck’s body of work. This early piece by van Dyck is based on an oil sketch by Rubens, making it a unique testament to the collaboration between these two top artists of the 17th century.

The holy Saint Jerome must have held a special significance for Hieronymus Bosch as his patron saint. Bosch depicts him multiple times throughout his body of work. Due to his relentless moralism and personal dedication, the learned Jerome serves as an example for the artist. Jerome lived in the 4th century and is one of the four Western Church Fathers. At the age of 38, he withdrew from public life in Rome to lead an ascetic life in Palestine. In the painting, we see Jerome half-naked, immersed in prayer with the cross between his arms, lying amidst peculiar plants, tree trunks and rocks. The lion, the saint’s attribute, is depicted here as a small pet. A popular legend tells how Jerome freed a lion from a painful thorn in its paw, thus making it his friend. Numerous other animals populate the strange world in which the saint has secluded himself. The painting underwent thorough restoration and analysis during the period of 2015-2016. The painting technique, style, materials used for the underdrawing and traces of the creative process at all stages of realisation place the work at the centre of Bosch’s oeuvre. The work was entirely created by Bosch himself, without the assistance of his workshop. The original frame has been lost, and the panel has been slightly trimmed at the top and bottom. Dendrochronological research dates the creation of the painting between 1485 and 1495

‘De blinde’ (The blind one) possesses a unique artistic value. Through a clear language of light, muted colors and sharp lines, the artist creates a melancholic world centered on the social theme of a blind woman. By depicting the characters from the back, Laermans intensifies the contrast between the blind woman and the sighted observer. The artist places the child at the heart of the painting. The child not only guides the blind woman through this ominous landscape but also directs the viewer’s gaze into the painting.

‘De sjees’ (The Shepherd) is a pinnacle in Permeke’s body of work. This piece was painted in the vicinity of Jabbeke. ‘De sjees’ stands out in his portfolio from the 1920s thanks to its warm, contrasting hues. Permeke captures the good spirits of a Sunday. The cheerful movement of the horse pays a playful tribute to rural life.

The sculpture is a significant milestone in the development of sculpture. Its style is characterised by a sense of simplification and monumentality, combined with a more voluminous and softer treatment of details. Beauneveu’s work has had a great influence throughout the Netherlands. This rare remaining piece from his body of work is a highly important reference point for understanding sculpture in the Netherlands (high benchmark value).