Las óleos de todo DARET, Jacques
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ID |
Image |
Painting (From A to Z) |
Details |
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84515 |
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Altarpiece of the Virgin |
Date between 1433(1433) and 1435(1435)
Medium Oil on wood
Dimensions Height: 57 cm (22.4 in). Width: 52 cm (20.5 in).
cjr |
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86998 |
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Altarpiece of the Virgin |
between 1433(1433) and 1435(1435)
Medium Oil on wood
cyf |
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88367 |
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Altarpiece of the Virgin |
between 1433(1433) and 1435(1435)
Medium Oil on wood
cyf |
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6370 |
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Altarpiece of the Virgin (detail) f |
1433-35
Oil on wood
Mus??e du Petit Palais, Paris |
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6367 |
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Altarpiece of the Virgin dfdsg |
1433-35
Oil on wood, 57 x 52 cm
Staatliche Museen, Berlin |
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6369 |
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Altarpiece of the Virgin inx |
1433-35
Oil on wood, 57,5 x 52 cm
Mus??e du Petit Palais, Paris |
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96083 |
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Edge of a Wood |
second half of 17th century
Medium oil on canvas
cyf |
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87013 |
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Visitation |
between 1434(1434) and 1435(1435)
Medium Oil on oak panel
cyf |
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6368 |
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Visitation fdhda |
1434-35
Oil on oak panel, 57 x 52 cm
Staatliche Museen, Berlin |
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| DARET, Jacques
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| Netherlandish Northern Renaissance Painter, ca.1404-1470
was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
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