All the oil paintings of Dieric Bouts

HOME

BACK

ID	Image	Painting(From A to Z)	Details
52094		Altarpiece of the Holy Sacrament	1464-67 Oil on wood, 185 x 294 cm
52095		Altarpiece of the Holy Sacrament	1464-67 Oil on wood, 185 x 294 cm
84277		Christ Crowned with Thorns	. 1470(1470) Medium Oil on egg tempera Dimensions 37.1 x 43.8 cm (14.6 x 17.2 in) cyf
10024		Christ in the House of Simon	1440s Oil on wood,40,5x61cm Staatliche Museen,Berlin
52096		Christ in the House of Simon	1440s Oil on wood, 40,5 x 61 cm
74237		Christ in the House of Simon	Date 1440-1450 Current location Staatliche Museen Deutsch: Berlin, Deutschland cyf
10031		Ecce agnus Dei	1462-64 Wood 53,8 x 41,2 cm Alte Pinakothek, Munich
83272		Head of Christ	1464(1464) (1463-1465) Medium Oil on panel Dimensions 36 x 27 cm (14.2 x 10.6 in) cyf
87618		Hell	Date 1450(1450) Medium Oil on wood Dimensions Height: 115 cm (45.3 in). Width: 69.5 cm (27.4 in). cjr
45696		Installation of the hl. Communion	mk186 1464-67 Lowen, Sint-Pieterskerk
69130		kristushuvud	1468 olja på trä 22.5x19 se
90891		Lamentation of Christ	between 1480(1480) and 1510(1510) Medium oil on panel Dimensions 72.2 x 102 cm (28.4 x 40.2 in) cyf
33434		Last Supper	mk86 1464-1467 Tempera on wood 180x150cm Louvain,Sankt Peter
10038		Last Supper central section of an alterpiece	1464 Tempera on wood Sankt Peter, Louvain, Belgium
30426		Last Supper Triptych	mk68 Oil on wood,central panel 6 3/4x4 Louvain,Church of Saint Peter
53676		Mansportratt	mk234 1426 32x20cm
52098		Martyrdom of St Erasmus	Oil on wood
91294		Martyrdom of St Erasmus	1458(1458) Medium oil on panel cyf
91295		Martyrdom of St Erasmus	1458(1458) Medium oil on panel cyf
91296		Martyrdom of St Erasmus	1458(1458) Medium oil on panel cyf
91297		Martyrdom of St Erasmus	1458(1458) Medium oil on panel cyf
199		Musee Royal des Beaux Arts, Antwerp	1450 Musee des Beaux Arts, Lille
45461		Museem national Christ in the house the Pharisaers Simon	mk186 around 1460 Berlin foundation. Gemaldegalerie
10028		Paradise	1450 Oil on wood, 115 x 69,5 cm Mus??e des Beaux-Arts,Lille
87620		Paradise	Date 1450(1450) Medium Oil on wood Dimensions Height: 115 cm (45.3 in). Width: 69.5 cm (27.4 in). cjr
10039		Pearl of Brabant	1470 Oil on wood 61 x 113 cm Alte Pinakothek, Munich
202		Portrait of a Man	1462 The National Gallery, London
42841		Portrait of a Man	mk170 dated 1462 Oil on oak 31.6x20.5cm
84276		Portrait of a Man	1462(1462) Medium Oil and egg tempera on wood Dimensions 20.5 x 31.6 cm (8.1 x 12.4 in) cyf
52103		Prophet Elijah in the Desert	1464-68 Oil on panel, 88 x 71 cm
10027		Resurrection	Tempera on canvas 89 x 72,5cm Norton Simon Museum of Art, Pasadena
10042		Saint Christopher	1470 Oil on wood 62,6 x 27,5 cm Alte Pinakothek Munich
26706		Saint Luke Drawing the Virgin and Child	mk52 c.1455 Oil on canvas transferred from wood 109x86cm
10040		St John the Baptist	1470Oil on wood 62,6 x 27,5 cm Alte Pinakothek, Munich
78913		Studio of Dieric Bouts	Studio of Dieric Bouts (the elder) (b. ca. 1415, Haarlem, d. 1475, Leuven) Saint Luke painting the Virgin Penrhyn Castle, Bangor, North Wales Oil and tempera transferred from panel to canvas in 1899 cjr
10041		The Adoration of the Magi	1470 Oil on ood, 62,6 x 27,5 cm Alte Pinakothek Munich
10036		The Adoration of Angels	c. 1445. Oil on panel. Museo del Prado Madrid
10037		The Adoration of Magi.	c. 1445. Oil on panel. Museo del Prado Madrid
87591		The Adoration of the Magi	Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr
87593		The Annunciation	Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr
28145		The Annunciation,The Visitation,THe Adoration of theAngels,The Adoration of the Magi	mk61 Oil on panel. 80x56cm 80x105cm
28146		The Annunciation,The Visitation,THe Adoration of theAngels,The Adoration of the Magi	mk61 Oil on panel. 80x56cm 80x105cm
10025		The Capture of Christ	Oil on wood105 x 68cm Alte Pinakothek,Munich
88340		The Capture of Christ	second half of 15th century Medium Oil on wood cyf
33433		The Empress's Ordeal by Fire in front of Emperor Otto III	mk86 c.1470-1475 Tempera on wood 324x182cm
45499		The encounter of Abraham and Melchisedek	mk186 1464-67 Lowen, Sint-Pieterskerk
10026		The Entombment	1450Distemper on flax canvas, 90,2 x 74,3 cm National Gallery, London
52100		The Execution of the Innocent Count	c. 1460 Oil on wood, 324 x 182 cm
89842		The Execution of the Innocent Count	1460(1460) Medium oil on panel cyf
89843		The Execution of the Innocent Count	1460(1460) Medium oil on panel cyf
51760		The Fall of the Danned	nn09 c.1450 Oil on wood 115x69.5cm
52102		The Feast of the Passover	1464-67 Oil on wood
52101		The Gathering of the Manna	1464-67 Oil on wood
10032		The Lamentation of Christ	c. 1460 Oil on wood, 69 x 49 cm Louvre
201		The Last Supper	1467 StPierre at Louvain, Belgium
40219		The Last Supper	mk156 c.1467 Oil on panel 180x150cm
203		The Martyrdom of St.Erasmus
52099		The Meeting of Abraham and Melchizedek	1464-67 Oil on wood
40224		The Ordeal by Fire	mk156 1470-1475 Oil on panel Musee Royaux des Beaux-Arts. Brussels
89838		The Ordeal by Fire	1460(1460) Medium oil on panel cyf
89839		The Ordeal by Fire	1460(1460) Medium oil on panel cyf
89840		The Ordeal by Fire	1460(1460) Medium oil on panel cyf
89841		The Ordeal by Fire	1460(1460) Medium oil on panel cyf
198		The Virgin and Child	Musee Royal des Beaux Arts, Antwerp
42850		The Virgin and Child Enthroned with Saints Peter and Paul	mk170 Circa 1465 oil on oak 68.8x51.6cm
10033		The Virgin and Child Panel	29,5 x 20,5 cm Koninklijk Museum voor Schone Kunsten Antwerp
42849		The virgin Nursing the Child	mk170 circa 1460 oil and egg tempera on oak 38.8x29cm
87592		The Visitation	Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr
10035		The Visitation.	1445.Oil on panel Museo del Prado Madrid
200		The Way to Paradise	1450 Musee des Beaux Arts, Lille
10029		The Way to Paradise
10030		The Way to Paradise
51759		The way to Paradise	nn09 c.1450 Oil on wood 115x69.5cm
89813		The Way to Paradise	1450(1450) Medium oil on panel cyf
52097		Triptych of the Virgin	c. 1445 Oil on wood
197		Virgin and Child	Metropolitan Museum of Art, New York
10034		Virgin and Child	Oil on wood, 21,6 x 16,5 cm Metropolitan Museum of Art,NY
82206		Virgin and Child	Date second half of 15th century Medium Oil on wood Dimensions Height: 21.6 cm (8.5 in). Width: 16.5 cm (6.5 in). cjr
96889		Virgin and Child	second half of 15th century Medium oil on panel cyf
97583		Virgin and Child	between 1465(1465) and 1470(1470) Medium oil on panel cyf
97831		Virgin and Child	1460-5 Medium Oil and tempera on panel cyf
23262		Virgin and Child (nn03)	c 1460-5 Oil on Tempera on panel 27.9 x 24.1 cm 11 x 9 1/2 in Private collection
81968		Virgin Penrhyn Castle	Oil and tempera transferred from panel to canvas in 1899 cyf

Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.