Artwork

Copy of a detail of the Ghent Altarpiece, Triune God by Hubert and Jan van Eyck in the church of St Bavon, Ghent

Copy of a detail of the Ghent Altarpiece, Triune God by Hubert and Jan van Eyck in the church of St Bavon, Ghent is a watercolor work on paper by the Impressionist artist Christian Schultz. It dates from 1864 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

A watercolour copy, created by Christian Schultz in 1864, reproduces a specific detail from the *Triune God* panel of the renowned Ghent Altarpiece by the van Eyck brothers. This work was commissioned by the Arundel Society and later published in 1870 under Schultz's oversight.

Subject & Meaning

The watercolour depicts a robed, crowned figure in a red garment, adorned with jewels and intricate patterns, blessing with one hand while holding a staff. The scene is set against a golden halo with Latin text in an arch above, and the figure sits on a richly carved throne. The subject matter reflects the religious theme of the original Ghent Altarpiece detail.

Technique & Style

Notably, Schultz executed this copy in watercolour during the 1860s, contrasting with the original's medium of oil painting. Despite this difference, the copy retains vivid colors and meticulous textures, showcasing Schultz's adaptation of earlier stylistic elements in his own work.

History & Provenance

Commissioned by the Arundel Society, the watercolour was produced in 1864 and published six years later in 1870 by Hangard-Mauge under the artist's supervision. The work's creation demonstrates the society's efforts to disseminate and preserve notable artworks through reproductions.

Context

This copy reflects the 19th-century interest in preserving and popularizing medieval and Renaissance art. The Arundel Society's role in commissioning such works highlights the period's scholarly and aesthetic appreciation for early Netherlandish painting, as exemplified by the van Eycks' Ghent Altarpiece.

Legacy

While primarily a reproduction, Schultz's watercolour copy contributes to the broader legacy of the Ghent Altarpiece by facilitating its study and admiration in the 19th century. It also illustrates Schultz's approach to adapting historical styles in his contemporary practice.