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Article

Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm

Japan Society for the Promotion of Science, Tokyo 102-0083, Japan
Academic Editors: Karen Shelby and Ann Cesteleyn
Received: 8 October 2021 / Revised: 10 December 2021 / Accepted: 11 December 2021 / Published: 25 December 2021
(This article belongs to the Special Issue Flemish Art: Past and Present)
The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its attribution, composition, functional intent, and even its dating. In light of prior scholarship addressing these remarkable panels, this paper focuses on the skeleton represented in the Last Judgment to reveal its iconographical meanings. Specifically, I highlight the inscriptions written on the skeleton’s wings, suggesting that the texts were cited from an All Saints’ Day sermon delivered by the Burgundian abbot Bernard of Clairvaux (1090–1153) who discussed a temporal location for blessed or sinful souls. View Full-Text
Keywords: Jan van Eyck; the New York Diptych; Bernard of Clairvaux Jan van Eyck; the New York Diptych; Bernard of Clairvaux
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MDPI and ACS Style

Sugiyama, M. Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm. Arts 2022, 11, 4. https://doi.org/10.3390/arts11010004

AMA Style

Sugiyama M. Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm. Arts. 2022; 11(1):4. https://doi.org/10.3390/arts11010004

Chicago/Turabian Style

Sugiyama, Miyako. 2022. "Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm" Arts 11, no. 1: 4. https://doi.org/10.3390/arts11010004

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