Our Lady of the Seven Sorrows (left wing of diptych: Joris van de Velde, his wife Barbara Le Maire and their children with Saints George and Barbara)

The figures are rendered with careful modeling and fine brushwork, while the landscape recedes through layered atmospheric perspective.

Executed in oil on panel, the work displays the meticulous detail and subdued palette characteristic of the Northern Renaissance. The figures are rendered with careful modeling and fine brushwork, while the landscape recedes through layered atmospheric perspective. The overall approach remains conservative, adhering to the established conventions of early Netherlandish religious painting while incorporating subtle Renaissance spatial cues.

Attributed to Adriaen Isenbrandt, a Bruges‑based painter active during the shift from Early Netherlandish to Northern Renaissance styles, the panel has been part of the Royal Museums of Fine Arts of Belgium’s collection. Its provenance traces back to the original devotional diptych commissioned by the van de Velde family, though the companion right wing is presently unaccounted for.

The painting reflects the early sixteenth‑century Flemish practice of integrating donor portraits within sacred narratives. By situating the van de Velde family alongside saints, the work serves both as a personal act of devotion and a visual assertion of social status. Its modest setting and restrained iconography align with contemporary religious sensibilities that favored intimate, contemplative representations over grandiose spectacle.