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From Attribution
Might this go better in the Description section? If not, maybe the connection to attribution could be made more explicit. Tom Harrison Talk 13:56, 19 May 2012 (UTC)
Dropping this here. Tom Harrison Talk 15:21, 19 May 2012 (UTC)
The full text and description of the inscriptions are here: [1]. I'll make screen prints and send on in case you can't see them - it being g-books and all. Truthkeeper ( talk) 23:33, 19 May 2012 (UTC)
"Longinus, who is blind according to Labuda and therefore accompanied by an assistant..." It's not clear to me what claim Labuda is making. The man with the lance is Longinus because that's the name legend gives to the man who pierced Jesus' side. He's blind because in some versions of the legend Longinus is blind, and is cured by Jesus' blood. The sentence might be changed to " Longinus, blind and aided by a helper who guides his lance, pierces Jesus' side..." If some source contradicts Labuda, or if Labuda is making an unusual claim, we should clarify that. Tom Harrison Talk 14:32, 24 May 2012 (UTC)
There are some inline doubts as to the letters on the placard above the cross, placing a close up here for input. Ceoil ( talk) 00:26, 26 May 2012 (UTC)
"The panels were shipped from Saint Petersburg to the Matthiesen Gallery in Berlin. They were examined by the gallery's assistant director William Ivins..." Did Ivins examine them in Berlin, where he was assistant director, or did Ivins go to Berlin to examine them, or were the panels kept in Berlin for some reason? Tom Harrison Talk 18:14, 26 May 2012 (UTC)
Presumably Jesus is depicted after the conclusion of the dividing of the sheep and goats, otherwise the oblivious masses on his left are about to get a nasty surprise. Yomangani talk 15:29, 28 May 2012 (UTC)
Why is the article title straight but italicised in the lede? — Crisco 1492 ( talk) 06:55, 10 November 2012 (UTC)
The Metropolitan Museum's given provenance has been garbled, perhaps by a misreading of Passavant. General Prince Dmitri Pavlovitch Tatistcheff was appointed minister at Madrid by Tsar Alexander in 1814; the panels were purchased during his residence in Spain.-- Wetman ( talk) 00:49, 29 March 2013 (UTC)
The caption for this image seems a bit odd. It's not a explanation of the artistic qualities of that part of the diptych, or what the image represented to the artist and his contemporaries, but (apparently) a distillation of a modern writer's not-very-NPOV take on the historical event being depicted. This seems out of place. Or am I missing something? -- Yaush ( talk) 17:50, 29 March 2013 (UTC)
The following Wikimedia Commons file used on this page has been nominated for deletion:
Participate in the deletion discussion at the nomination page. — Community Tech bot ( talk) 04:07, 23 August 2019 (UTC)
Hello! This is to let editors know that File:Jan van Eyck - Diptych - WGA07587, left panel.jpg and File:Jan van Eyck - Diptych - WGA07587, left panel.jpg, featured pictures used in this article, have been selected as the English Wikipedia's picture of the day (POTD) for September 14, 2023. A preview of the POTD is displayed below and can be edited at Template:POTD/2023-09-14. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! — Amakuru ( talk) 17:05, 4 September 2023 (UTC)
The Crucifixion and Last Judgement Diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. The diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion. The left wing depicts the Crucifixion, while the right wing portrays scenes associated with the Last Judgement: a hellscape at its base, the resurrected awaiting judgement in the centre-ground, and a representation of Christ in Majesty flanked by a Great Deësis. The diptych is now in the Metropolitan Museum of Art in New York City, United States. Painting credit: Jan van Eyck (attributed)
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![]() | Crucifixion and Last Judgement diptych is a featured article; it (or a previous version of it) has been identified as one of the best articles produced by the Wikipedia community. Even so, if you can update or improve it, please do so. | ||||||||||||
![]() | This article appeared on Wikipedia's Main Page as Today's featured article on March 29, 2013. | ||||||||||||
| |||||||||||||
Current status: Featured article |
![]() | This article is rated FA-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||||||||||||||||||||||
|
From Attribution
Might this go better in the Description section? If not, maybe the connection to attribution could be made more explicit. Tom Harrison Talk 13:56, 19 May 2012 (UTC)
Dropping this here. Tom Harrison Talk 15:21, 19 May 2012 (UTC)
The full text and description of the inscriptions are here: [1]. I'll make screen prints and send on in case you can't see them - it being g-books and all. Truthkeeper ( talk) 23:33, 19 May 2012 (UTC)
"Longinus, who is blind according to Labuda and therefore accompanied by an assistant..." It's not clear to me what claim Labuda is making. The man with the lance is Longinus because that's the name legend gives to the man who pierced Jesus' side. He's blind because in some versions of the legend Longinus is blind, and is cured by Jesus' blood. The sentence might be changed to " Longinus, blind and aided by a helper who guides his lance, pierces Jesus' side..." If some source contradicts Labuda, or if Labuda is making an unusual claim, we should clarify that. Tom Harrison Talk 14:32, 24 May 2012 (UTC)
There are some inline doubts as to the letters on the placard above the cross, placing a close up here for input. Ceoil ( talk) 00:26, 26 May 2012 (UTC)
"The panels were shipped from Saint Petersburg to the Matthiesen Gallery in Berlin. They were examined by the gallery's assistant director William Ivins..." Did Ivins examine them in Berlin, where he was assistant director, or did Ivins go to Berlin to examine them, or were the panels kept in Berlin for some reason? Tom Harrison Talk 18:14, 26 May 2012 (UTC)
Presumably Jesus is depicted after the conclusion of the dividing of the sheep and goats, otherwise the oblivious masses on his left are about to get a nasty surprise. Yomangani talk 15:29, 28 May 2012 (UTC)
Why is the article title straight but italicised in the lede? — Crisco 1492 ( talk) 06:55, 10 November 2012 (UTC)
The Metropolitan Museum's given provenance has been garbled, perhaps by a misreading of Passavant. General Prince Dmitri Pavlovitch Tatistcheff was appointed minister at Madrid by Tsar Alexander in 1814; the panels were purchased during his residence in Spain.-- Wetman ( talk) 00:49, 29 March 2013 (UTC)
The caption for this image seems a bit odd. It's not a explanation of the artistic qualities of that part of the diptych, or what the image represented to the artist and his contemporaries, but (apparently) a distillation of a modern writer's not-very-NPOV take on the historical event being depicted. This seems out of place. Or am I missing something? -- Yaush ( talk) 17:50, 29 March 2013 (UTC)
The following Wikimedia Commons file used on this page has been nominated for deletion:
Participate in the deletion discussion at the nomination page. — Community Tech bot ( talk) 04:07, 23 August 2019 (UTC)
Hello! This is to let editors know that File:Jan van Eyck - Diptych - WGA07587, left panel.jpg and File:Jan van Eyck - Diptych - WGA07587, left panel.jpg, featured pictures used in this article, have been selected as the English Wikipedia's picture of the day (POTD) for September 14, 2023. A preview of the POTD is displayed below and can be edited at Template:POTD/2023-09-14. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! — Amakuru ( talk) 17:05, 4 September 2023 (UTC)
The Crucifixion and Last Judgement Diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. The diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion. The left wing depicts the Crucifixion, while the right wing portrays scenes associated with the Last Judgement: a hellscape at its base, the resurrected awaiting judgement in the centre-ground, and a representation of Christ in Majesty flanked by a Great Deësis. The diptych is now in the Metropolitan Museum of Art in New York City, United States. Painting credit: Jan van Eyck (attributed)
Recently featured:
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