Focus on this artwork and explore the Attribution and source material.
Among the artist's larger-scale religious works, the Lamentation may have been the central panel of a triptych, where the wings have been lost. It may also have come from the Bouts workshop in Leuven, after a lost original.Max Friedländer saw the work as early in the artist's oeuvre, based on "bony hands and lively contour of the Savior's body." Others base the period on the influence of Rogier van der Weyden.Endpoints for when the panel may have been created extend from 1445 (when van der Weyden's Milaflores altarpiece would have been available as a model—through 1466, the year identified by dendrochronologiccal analysis as the date for the panel of the copy of the Bouts Lamentation in Frankfurt.Evidence of tracing and some inconsistencies in style maybe argue for a reassignment of attribution, according to Catheline Périer-D’Ieteren, who insists the painting would have been made in the Bouts workshop (if not entirely by the artist himself) after an original painting there.
triptych Milaflores altarpiece dendrochronologiccal Max Friedländer Rogier van der Weyden