Who painted Simon van Haarlem (toegeschreven aan). Dood van Maria?

Simon van Haarlem (toegeschreven aan). Dood van Maria was painted by Unknown in 1495.

Where can I see Simon van Haarlem (toegeschreven aan). Dood van Maria?

Simon van Haarlem (toegeschreven aan). Dood van Maria is held by Catholic University of Leuven.

What movement is Simon van Haarlem (toegeschreven aan). Dood van Maria?

Simon van Haarlem (toegeschreven aan). Dood van Maria is associated with Northern Renaissance.

Artwork

Simon van Haarlem (toegeschreven aan). Dood van Maria

Unknown , 1495

Simon van Haarlem (toegeschreven aan). Dood van Maria is an unspecified painting by the Northern Renaissance artist Unknown. It dates from 1495 and is held in the collection of the Catholic University of Leuven. The work, traditionally linked to Simon van Haarlem, depicts the death of the Virgin Mary.

About this work

Overview

The work, traditionally linked to Simon van Haarlem, depicts the death of the Virgin Mary. Executed in oil on panel around the close of the 15th century, it belongs to the Flemish Primitive tradition. The painting is presently housed in the Hessisches Landesmuseum in Darmstadt, Germany.

Subject & Meaning

The scene presents Mary reclining on a bed, her hand gently clasped by the infant Jesus. Surrounding them are several angels, some marked by subtle halos, emphasizing the sacred nature of the moment and the transition from earthly life to heavenly assumption.

Technique & Style

Rendered in the characteristic flat, linear style of early Netherlandish art, the figures display stylised, almost rigid facial features, a hallmark before the full adoption of linear perspective. Despite its age, the palette retains a vivid brightness, and the soft illumination of the interior suggests careful handling of light.

History & Provenance

Created between 1490 and 1500, the painting entered the collection of the Hessisches Landesmuseum Darmstadt, where it remains on display. Its attribution to Simon van Haarlem is based on stylistic comparison, though the original documentation is lacking.

Context

The composition reflects the devotional trends of late medieval Flanders, where the death of the Virgin—known as the Dormition—was a frequent subject for private contemplation. Such works often served as focal points for personal piety within domestic settings.