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Redemption Triptych; right hand (to viewer) panel showing the expulsion of Adam
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Redemption Triptych; right hand (to viewer) panel showing the expulsion of Adam
XIR488611 Redemption Triptych; right hand (to viewer) panel showing the expulsion of Adam and Eve from Paradise, c.1460 (oil on panel)
, c.1460 (oil on panel) (see 488870 and 488609) by Stockt, Vrancke van der (c.1420-c.95); Prado, Madrid, Spain; (add.info.: An angel with a sword stands above the gates of Paradise (Genesis 3:24) to prevent their re-entry and around the borders are small scenes showing the 7 days of the creation of the world by God; Triptyque de la Redemption, volet droit, Adam et Eve chassA©s du Paradis; Vranke van der Stockt was a pupil of Rogier van der Weyden, who was formerly considered the painter of this triptych; in the 16th century this picture belonged to Leonor Mascarenas, governess of King Philip II; she gave it to the Convent of Nuestra SeAnora de los Angeles, which she founded; ); Netherlandish, out of copyright
Media ID 12914653
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Adam Banished Banishment Creation Eden Exile Expulsion Fig Leaf Garden Of Eden Genesis Paradise Shame Triptych Punishment
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EDITORS COMMENTS
The Redemption Triptych, right-hand panel, captures the poignant moment of Adam and Eve's expulsion from Paradise. Painted by Vrancke van der Stockt around 1460, this oil on panel print showcases the artist's mastery in depicting biblical narratives. In the foreground, we witness a sorrowful Adam and Eve being banished from the Garden of Eden. An angel with a sword stands guard above the gates, symbolizing their eternal separation from paradise. The scene is filled with palpable emotion as remorse and regret are etched on their faces. As our gaze moves towards the borders of the triptych, we discover intricate small scenes illustrating God's creation of the world over seven days. These vignettes serve as a reminder of humanity's fallibility juxtaposed against divine perfection. It is worth noting that Van der Stockt was initially considered to be Rogier van der Weyden's pupil, who was believed to have painted this masterpiece. However, recent research has attributed it to Van der Stockt himself. This particular print belongs to Prado Museum in Madrid and holds historical significance as it once belonged to Leonor Mascarenas, governess of King Philip II during the 16th century. She generously gifted it to Convento de Nuestra Señora de los Angeles which she founded. The Redemption Triptych continues to captivate viewers with its portrayal of human vulnerability and divine justice while reminding us about our own capacity for redemption amidst life's trials and tribulations.
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