NEW OBSERVATIONS ON JOOS VAN CLEVE
by Jan Bialostocki
Oud Holland, 1955, Vol. 70, No. 2, pp. 121-129
Published by: Brill
Stable URL: https://www.jstor.org/stable/42710630
Introduction to Joos van Cleve
Joos van Cleve, an artist of profound significance in the Northern Renaissance, is often referred to as the "Master of the Death of the Virgin"—a moniker indicating his initial anonymity in art history.
The pivotal identification of this anonymous master as Joos van Cleve was proposed by art historians Eduard Firmenich-Richartz and Carl Justi in 1894, fundamentally reshaping the discourse around his oeuvre (Historical Context).
This identification led to a significant shift from referring to the artist merely by his most famous subject matter to recognizing him by name.
This attribution has been widely, though not universally, accepted by prominent art historians:
Ludwig Baldass and M. J. Friedländer are among those who firmly supported this identification, integrating it into their extensive research on Netherlandish art.
However, scholars like Martin Davies have critically assessed the identification, pointing to the weak and often circumstantial supporting evidence.
Erwin Panofsky, a highly influential art historian, similarly expressed considerable doubts about the cogency and definitive nature of this attribution, suggesting a need for more robust proof.
Important Work: St. Reinhold Altarpiece
A cornerstone in the scholarly effort to identify and contextualize Joos van Cleve's work is the St. Reinhold altarpiece.
This monumental work was originally commissioned for and installed in the Church of Our Lady in Gdańsk, a major urban and cultural center.
It is currently housed in the National Museum at Warsaw, where it remains a crucial object of study.
Notably, this altarpiece has never been fully reproduced in its entirety, making comprehensive analysis challenging for scholars without direct access.
When the altarpiece is opened for viewing, it reveals a series of intricate scenes:
Inner Wings: These panels depict central moments from the life of Christ, emphasizing themes of redemption and sacrifice:
"Baptism of Christ": Typically symbolizes purification and new beginnings.
"Last Supper": A foundational scene depicting Christ's final meal with his apostles.
"Christ Before Pilate": Illustrates Christ's trial and condemnation, highlighting human judgment.
"The Road to Calvary": Portrays Christ's arduous journey to his crucifixion.
Outer Wings: These scenes continue the narrative of Christ's life and Passion, often serving as a counterpoint to the inner panels:
"Presentation in the Temple": A joyful occasion marking the infant Christ's dedication.
"Ecce Homo": Latin for "Behold the Man," depicting Christ presented to the crowd by Pilate.
"Garden of Olives": Also known as the Agony in the Garden, showing Christ's prayer before his arrest.
"Crucifixion": The climactic scene of Christ's sacrifice.
The backs of the outer wings are adorned with imposing individual figures:
Saint John the Baptist: A precursor to Christ, recognized by his traditional attributes.
Saint Reinhold: The patron saint of the brotherhood that commissioned the altarpiece, appearing as an imposing figure.
Historically, the Saint figures, particularly Saint Reinhold, were singled out for their exceptional artistic quality and have been the only parts of the altarpiece to be widely reproduced and studied in detail.
Artistic Style and Characteristics
Detailed observations of the St. Reinhold altarpiece, particularly the Passion scenes, suggest a collaborative effort within the master's workshop, indicating that while Joos van Cleve oversaw the project, assistants likely contributed significantly to the execution.
A critical element for the definitive identification of the artist is the signed panel of the "Last Supper."
This panel uniquely features the artist's monogram, a distinctive mark that has also been identified in other works attributed to him.
The monogram is ingeniously crafted as a ligature, combining the letters ‘J V A B.’ This has been interpreted as an abbreviation for Joos van der Beke, which scholars have directly equated to Joos van Cleve. This monogram serves as a crucial piece of forensic art history.
The St. Reinhold altarpiece holds immense importance as the only signed work among the attributed pieces that can be precisely dated through historical documentation.
It was consecrated in the chapel of the St. Reinhold brotherhood in Danzig during the autumn of 1516.
This specific date provides an invaluable anchor for establishing a chronological framework for Joos van Cleve's artistic development and the dating of other related works.
Self-Portraits and Artistic Coherence
Self-portraits are a recurrent and notable feature within the oeuvre of Joos van Cleve, offering intimate glimpses into the artist's self-perception and preferences for self-representation.
While art historians Ludwig Baldass and M. J. Friedländer previously proposed a chronology for dating these self-portraits, their methodology largely lacked convincing evidentiary support, leading to ongoing scholarly debate about the precise sequence and development of these representations.
Despite chronological uncertainties, a strong argument supports the overall coherence of the artist’s body of work, specifically based on the consistent appearance of his self-portraits across approximately ten known pieces.
A groundbreaking new observation reveals that a self-portrait can be definitively identified as part of the St. Reinhold altarpiece—a discovery that marks this altarpiece as exceptionally unique due to its signed status coupled with the presence of the artist’s own image.
This self-portrait appears disguised as Saint Reinhold on the right outer wing of the altarpiece.
Crucially, this figure directly covers the "Last Supper" panel, which bears the artist's monogram.
This alignment of the self-portrait with the signed work strongly reinforces its authenticity and integrates this figure with other previously accepted self-portraits by the artist.
This identification of the Saint Reinhold figure as a self-portrait, supported by the altarpiece's precise dating to 1516, offers a significantly clearer chronological reference.
It allows scholars to more accurately estimate the artist's age at the time of its creation, providing a concrete point of reference for his artistic maturity and personal appearance during that period.
Artistic Reflections and Contemporary Context
Joos van Cleve’s profound self-representation often underscores a youthful and vibrant creative visage, subtly conveying an evolving perception of artistic identity.
His work reflects a nuanced blend of traditional artistic humility and the burgeoning recognition of artists' individual rights and elevated status characteristic of the Northern Renaissance era.
This period witnessed a broader cultural shift towards individualism.
Other prominent artists of the time, such as Rogier van der Weyden and Albrecht Dürer, similarly integrated complex allegorical representations and self-portraits into their works, signaling an increased self-awareness and the assertion of artistic dignity.
The transformation in the depiction of the artist's self-importance is a direct reflection of these wider societal movements that championed individual achievement and intellectual contributions, moving artists from mere craftsmen to respected intellectuals.
Influences and Artistic Techniques
Joos van Cleve’s distinctive stylistic influences are a rich tapestry woven from various contemporary and historical sources:
Dürer’s Woodcuts: He drew inspiration from Albrecht Dürer’s acclaimed "Little Passion" series, published in 1511. This influence is evident in the dramatic intensity and intricate details found in some of Cleve's narrative scenes.
Bruges Tradition: Elements of the Bruges artistic tradition are clearly discernible, particularly with compositions that echo the serene and refined style of Gerard David.
Antwerp Mannerists: Cleve absorbed influences from the Antwerp Mannerists, incorporating their characteristic elegant compositions, elongated figures, and often flamboyant drapery, though without fully adopting their more extreme stylistic tendencies.
Jan van Eyck: There are notable allusions to the foundational master Jan van Eyck, especially observed in the composition of the "Last Supper" within the St. Reinhold altarpiece, where certain elements bear a striking resemblance to Eyckian prototypes.
Cologne "Death of the Virgin": Specific comparisons can be drawn between Cleve's work and the famous Cologne "Death of the Virgin" altarpiece, indicating a deep engagement with significant earlier German and Netherlandish painting.
Landscape Absence: It is particularly noteworthy that the artistic landscapes within Cleve's works from this period (post-1515) demonstrate a conspicuous absence of the distinctive influence of Joachim Patenir, a contemporary landscape specialist known for his expansive panoramic views. This suggests either a different artistic trajectory or a deliberate choice by Cleve to avoid Patenir's innovations in landscape painting at this point.
Investigation of Leonardo da Vinci Influence
The St. Reinhold altarpiece presents intriguing elements, such as the grotesque heads of the apostles, which potentially connect to the innovative studies of human physiognomy by Leonardo da Vinci.
This observation challenges previous art-historical assumptions about the precise timeline and nature of da Vinci's influence on Northern European artists, suggesting an earlier or more direct transmission than previously thought.
The observable differences in the execution quality and style across the interior panels of the altarpiece strongly hint at a collaborative structure within Joos van Cleve’s workshop.
This variation is evident in the artistic quality, suggesting multiple hands at work under the master’s supervision.
In this context of shared artistic labor, Joos van Cleve’s prominent inclusion of a self-portrait within the altarpiece may suggest a compensatory mechanism, an assertion of his personal authorship and mastery despite the cooperative artistic circumstances prevalent in large workshop commissions.
Conclusion and Further Research Recommendations
This in-depth analysis of Joos van Cleve's artistic contributions, with a particular focus on the St. Reinhold altarpiece, offers comprehensive insights into his intricate artistic evolution.
It further illuminates the broader artistic and cultural context of the early 16th-century Northern Renaissance, characterized by evolving artistic identities and cross-cultural influences.
Future scholarly endeavors are strongly encouraged to delve deeper into several complex areas:
Artistic Influences: Further investigation into the specific ways various masters and traditions shaped Cleve's style.
Workshop Practices: More detailed examination of the division of labor, training, and collaboration within his workshop.
Self-Representative Strategies: A comprehensive study of Joos van Cleve's consistent use of self-portraits as a means of artistic self-assertion and identity formation.