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Madonna of Canon van der Paele
1434–1436 · olieverf op paneel (oil on panel) · Groeningemuseum, Musea Brugge
Sizes
image 20×15.5 in on a 20×16 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
An old canon kneels in white with a pair of spectacles in his fingers, held over his open book, not worn. Saint George, in armour, lifts his helmet and lays a hand on the canon's shoulder to present him; across the throne stands Saint Donatian with a wheel ringed by five burning candles. The Flemish Art Collection ties that wheel to Donatian's legend as a child drawn safely from a river, and names George as the canon's name-saint. Between them the Christ Child sits in Our Lady's lap. Stephen Hanley notes the shadow the frames cast, and reads the held spectacles as magnification: over his page the canon magnifies the Word, the verb with which the Virgin before him opens her canticle, Magnificat. Jan van Eyck leaves the Word open beneath the glass.
Sources: Stephen Hanley, 'Optical Symbolism as Optical Description,' Journal of Historians of Netherlandish Art, vol. 1.1 (2009) · Saint George removing helmet, presenting kneeling canon to the Virgin; George as canon's name-saint · Museum object page confirming figures and composition (Mary, Christ Child, Donatian, George, canon) · Luke 1:46, Douay-Rheims (Challoner).