Santa Catarina e Santa Margarida

Executed in oil on panel, the painting employs chiaroscuro to model the figures, creating a three‑dimensional presence against a neutral backdrop. Fine attention to the textures of the gowns, cloaks, and jeweled accessories reflects the meticulous surface treatment characteristic of the Antwerp school, while the limited setting focuses the viewer on the saints’ gestures and attributes.

The diptych was painted by Goswin van der Weyden, a descendant of Rogier van der Weyden who worked in Antwerp and helped transmit the Brussels school’s legacy to the emerging Antwerp tradition. After remaining in private hands for centuries, the panels entered the National Museum of Ancient Art’s collection, where they continue to illustrate the cross‑regional flow of devotional art in the early sixteenth century.