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Pope Pius XII, in his Apostolic constitution, Munificentissimus Deus (1950), which dogmatically defined the Assumption, left open the question of whether or not Mary actually underwent death in connection with her departure, but alludes to the fact of her death at least five times. This account greatly added to the painting's value in the eyes of late-19th-century painters. Upon completion, it was deemed unfit for the parish, who rejected the depiction of the dead body of Mary. 124. The unfinished appearance of the pilasters in the upper part of the picture suggests that it was once larger than it appears today. Its composition is monumental and complex, while the facial type is derived from the Venetian school (namely Paolo di Venezia). The work is a highly advanced example of the Gothic style, combining elements of Northern European Gothic and the strong influence of Italian, more specifically Sienese painting. Death of the Virgin, Hugo van der Goes, c. 1480 The Death of the Virgin Mary is a common subject in Western Christian art, the equivalent of the Dormition of the Theotokos in Eastern Orthodox art. The panel was probably originally the wing of a diptych, the second part of which was the Wrocław Holy Trinity.[3]. [4], The Death marks a break in van der Goes style; line has become more important, setting is eliminated and the image lacks depth and is tightly contracted with only the bed, door and the body of the Virgin giving spatial indicators. Los Angeles: Getty Publishing, 2005. A peculiar aspect of the work is the figure of Christ (holding the soul of Mary), who doesn’t ascend in a mandorla above the group but stands among the apostles. The work was commissioned by a Vatican law official for his family chapel in the church of Santa Maria della Scala in Rome, but was refused by the clergy who considered it unworthy of the site. See Campbell, 250, The Legenda aurea were translated to Dutch around that time as "Passionael" or "die gulden Legende", In some earlier depictions her soul is represented as a small child. In Bohemia, the oldest depiction of this kind (the Koímēsis) is a miniature on parchment inserted into the relic panels of a St George reliquary dating from 1306. The Death of the Virgin Mary of Košátky is a Bohemian panel painting from the period around 1340-1350. This depiction became less common as the doctrine of the Assumption gained support in the Roman Catholic Church from the Late Middle Ages onward. Unlike any other version of this subject, it shows the deceased Virgin Mary laid out just This painting was completed at a time when the dogma of the Assumption of Mary was not yet formally enunciated ex cathedra by the pope, but had been gaining ground for some centuries. The painting has been the subject of intense debate as to its date and meaning. [4] The construction of space reveals that the artist was acquainted with the central Italian painting of Siena (namely that of Simone Martini). She is surrounded by the twelve apostles who crowd around her bed. Peter is dressed in the white robes of a priest and holds a candle which in the then contemporary ritual will be handed to the dying woman. In this picture Mantegna depicts the last moment of Mary's life within a space defined by classical architectures, with a squared pavement which leads the observer's eyes towards the bed on which the Virgin lies. It is likely one of his last paintings finished before he died. [8], The work is the best known and famous of one of a number of paintings after the death of Mary attributed to van der Goes or followers. Completed c 1472–80, it shows the Virgin Mary on her deathbed surrounded by the Twelve Apostles. The Death of the Virgin is an oil on oak panel by the Flemish painter Hugo van der Goes. [2] On the third day Jesus appeared above her bed in a halo of light surrounded by angels to accept her soul at the point when his name was finally mentioned. The picture was discovered in 1922 in the Chapel of the Black Madonna at Košátky Castle near Mladá Boleslav and loaned to the Gallery of the Society of Patriotic Friends of Art. [10], Other art historians, including Dirk de Vos and Susan Koslow, reject this thesis and argue that a wholly individualised conception of the scene would not have been acceptable to the painting's commissioners.

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