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Contrasting Images of the Book of Revelation in Late Medieval and Early Modern ArtA Case Study in Visual Exegesis$
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Natasha F. H. O'Hear

Print publication date: 2011

Print ISBN-13: 9780199590100

Published to Oxford Scholarship Online: May 2011

DOI: 10.1093/acprof:oso/9780199590100.001.0001

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Visualizing the Book of Revelation for the Fifteenth‐Century Congregation

Visualizing the Book of Revelation for the Fifteenth‐Century Congregation

The Ghent Altarpiece (1432) and The St John Altarpiece (1479)

Chapter:
(p.69) 3 Visualizing the Book of Revelation for the Fifteenth‐Century Congregation
Source:
Contrasting Images of the Book of Revelation in Late Medieval and Early Modern Art
Author(s):

Natasha O'Hear

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199590100.003.0004

The Van Fycks' The Ghent Altarpiece (c. 1432) and Memling's Apocalypse panel, itself part of his St. John Altarpiece of 1474–9. form the focus of Chapter 3. Key imagery from the Book of Revelation is integrated into the overall iconographie schema of The Ghent Altarpiece while Memling's Apocalypse panel represents the first known synchronic presentation of chapters 1–13 of the Book of Revelation. In hermeneutical terms therefore, these two altarpieces form a marked contrast with the two works discussed in the previous chapters, which are more ‘diachronic’ in terms of their approach to the same text. Thus discussion of the altarpiece format and its Eucharistic connotations. possible influences, visual, litery, and cultural, on both sets of artists and the overall effect of their visualizations of the source‐text lies at the heart ol this chapter.

Keywords:   The Ghent Altarpiece, The St. John Altarpiece, Apocalypse panel, The Van Eycks, Memling, altarpiece, synchronic, Eucharistic

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