The Crucifixion and The Last Judgement

Description

Azure dominates the left panel, a hard clear blue that runs from the sky at the horizon up past the three raised crosses, broken only by the dull red and ochre of distant Jerusalem and the deep wine tones in the robes of the mourners below. This Crucifixion and Last Judgement reproduction carries that same cold brightness across to the right panel, where the blue turns to black and grey in the lower register, the abyss rendered in charcoal and rust while gold leaf and pale flesh tones mark the ranks of the risen dead above.

About Crucifixion and Last Judgement Reproduction

In the Crucifixion, Christ hangs between the two thieves against that unbroken sky, the Virgin and her companions gathered in grief at the foot of the cross while soldiers and horsemen press through the middle ground in reds, browns, and the dull gleam of armour. The Last Judgement answers it with Christ enthroned above as judge, flanked by Mary and John the Baptist, angels ranked in gold and white above a chaos of grey bodies. A warrior angel, read as the archangel Michael, drives a sword into a skeletal figure of Death, and a bat-winged skeleton presides over the damned as they are drawn into the dark.

Painted around 1436 to 1438, with portions finished by an unnamed member of the workshop, the diptych compresses an enormous cast into a surface barely larger than a single sheet of paper. Jan van Eyck builds each face, each inscription, each fold of cloth through thin layers of oil glaze, so that colour reads as light passing through coloured glass rather than pigment sitting on a panel. The density of incident, individual faces in a crowd of hundreds, the lettering on the original frames, belongs to the final years of a career spent perfecting that layered, luminous technique.

The hand-painted reproduction

Our painters work from the same two scenes, panel by panel, matching the blues, the ochres, the blacks of the abyss, and the gold of the angels stroke by stroke in oil on canvas. This oil painting reproduction is built up in the studio rather than printed, with visible brushwork and a worked surface standing in for the glazes of the original, so the diptych arrives as a hand-painted replica rather than a flat facsimile. The two panels are set side by side as they hang at the Metropolitan Museum, the palette carried across from one half to the other so the cold blue of the Crucifixion answers the darker register of the Judgement beneath the hand of the same painter.

• Hand-painted oil on canvas, not a printed reproduction
• Available in multiple sizes to suit your wall
• Gallery-ready presentation on artist-grade canvas
• Certificate of authenticity included
• Free worldwide shipping, with no shipping charge to any country