Saxe, Andres Marsal de (French, late 1300s - early 1400s)
Altarpiece of Saint George, detail of central panel, 1400, Victoria and Albert Museum at London.
Victoria & Albert Museum
Oil painting
St George killing the dragon
ca. 1420 (painted)
Tempera and gilt on pine panel
Artist/designer - Marcal de Sas, Andres (probably)
Place - Valencia (city), Spain (painted)
Dimensions
Height 6.6 m (altarpiece)
Width 5.5 m (altarpiece)
Museum number - 1217-1864
This image is the central panel of a large altarpiece, painted by a German artist for a chapel in Valencia, Spain belonging to a civic militia. That particular Confraternity, or brotherhood, was dedicated to the military hero, St George, who, according to legend, had served in the Roman army. Sixteen other panels also show various bloodthirsty scenes from the life and death of St George, but the image of the Slaying of the Dragon is naturally the biggest and most prominent.
This version of the legend was set in Silene in Libya, where a dragon threatening the city had to be pacified by the frequent sacrifice of a man and a sheep. When the King's daughter, the Princess Sabra, [here pictured in the background with the sheep] drew the fatal lot, and was led to be eaten by the dragon, St George intervened and pierced the monster with his lance.
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Altarpiece of St George
Oil painting
Valencia (painted)
First quarter of the 15th century (painted)
Artist/Maker:
Master of the Centenar
Marcal de Sas, Andres
Materials and Techniques: tempera and gilt on pine panel
Museum number: 1217-1864
Gallery location: Raphael, Room 48a, The Raphael Cartoons
This large altarpiece is a fine example of the Valencian school during the International Gothic Style in the first quarter of the 15th century. It was traditionally attributed to the German painter established in Valencia, Andres Marcal de Sas (ca.1393-1410) although this attribution is still subject to debate and leads to more cautiously call the artist responsible for this work 'Master of the Centenar' according to the provenance of the retable most likely executed for the chapel of the Confraternity of the Centenar de la Ploma.
The altarpiece illustrates the legend of the St George, a Christian warrior saint, said to have lived at the end of the 3rd century. It is composed of 3 superimposed central panels surmounted by the Holy Spirit and Christ enthroned flanked by two prophets. On each side are depicted 10 scenes of the life of the saint, combining two different narrative cycles: the victory of St George against the dragon and the martyrdom of the saint while the predella panel illustrates 10 scenes of the passion of Christ.
La catedral de Valencia (basilica metropolitana) es seu de l'arquebisbat de Valencia i esta dedicada a Santa Maria per desig de Jaume I, fidel a la tradicional devocio mariana del segle XIII. Fou consagrada l'any 1238 per l'arquebisbe de Tarragona Pere d'Albalat. Es troba sobre l'antiga mesquita, que al seu torn s'havia alcat sobre l'antiga seu visigotica.
apelleta de Sant Jordi
Sant Jordi en la Batalla del Puig
Si caminem des de l'Almoina deixant la catedral a la nostra esquerra trobarem tot just davant de les ruines de l'Almoina una petita capella, la de Sant Jordi. Segons les croniques, el 9 d'octubre de 1238, conquistada la ciutat de Valencia, Jaume I es va dirigir a la Mesquita Major, i va fer la primera missa en el lloc on hui hi ha la capelleta de Sant Jordi, adossada a la part exterior de l'absis.
En l'interior de la capella, sobre un altar, hi ha una taula gotica, amb una pintura de Sant Jordi i un retol que diu: Sant Jordi en la batalla del Puig de Santa Maria. Any 1237. Aquesta pintura es molt pareguda -a petita escala- al quadre que es conserva al Victoria and Albert Museum de Londres i que alla es diu Saint George in the Battle of Puig.
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50721 AD INGLATERRA LONDRES VICTORIA AND ALBERT MUSEUM PANEL CENTRAL DEL RETABLO DE SAN JORGE ORIGINALMENTE UBICADO EN LA CAPILLA DEL CENTENAR DE LA PLOMA, DETALLE DE SAN JORGE Y EL DRAGON- 1420/23 Obra de SAX MARCAL DE
Detall del gran retaule dedicat integrament al Sant, procedeix de Valencia Si troba el retaule actualment al Victoria and Albert Museum. Londres
Sant Jordi | 1393
Autor: Marcal de Sax
Espanol: Reproduccion del cuadro atribuido a Andres Marcal de Sax de la Batalla del Puig, retablo del Centenar de la Ploma, presente en la Capilla de Valencia donde tradicionalmente se realizo la primera Misa cristina.
Fecha entre 1400 y 1420
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Centenar de la Ploma
El Centenar de la Ploma fue una compania de cien ballesteros encargada de escoltar y proteger la Senera de la ciudad y reino de Valencia.
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Miquel Alcanyiç, Marçal de Sas et
alii: Retablo del Centenar de la Ploma,
Batalla del Puig, ca. 1400-1405,
Victoria and Albert Museum, Londres.
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История алтаря Сан-Хорхе восходит к началу пятнадцатого века, когда Centenar de la Ploma, хранители La Senyera, были заказаны одними из лучших художников того времени. Работа была выставлена ??в часовне Сан-Хорхе, которая находилась на площади Родриго Ботета, где сейчас находится гостиница Астория, до тех пор, пока, возможно, в результате конфискации алтарь не покинул церковь, кто-то продал ее и Французский антиквар купил его и отвез в Париж. Контрерас объяснил, что несколько музеев предлагали его купить. В конце концов, принц Альберт заплатил 800 фунтов, что в то время было много денег, и он остался с алтарем, и с тех пор он находится в Викторе и Альберте в Лондоне.
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Andres Marzal de Sas, or Andreu Marcal de Sax (fl. 1390-1410) was a painter of Dutch origin who worked in Valencia. Based on his name, he was from Sas van Gent, although some sources indicate he may have been from Saxony. Between 1393 and 1399, he collaborated with Pere Nicolau [es][1]. His only documented work is a "Doubting Thomas", now in the museum of Valencia Cathedral.
Some art historians have tentatively credited him with the "Altarpiece of Saint George" also known as the "Centenar de la Ploma", after a guard of crossbowmen, organized in 1365 by King Peter IV of Aragon, as an escort for the official banners of Valencia. The altarpiece also depicted the Battle of the Puig. That panel, dated c.1400, is now preserved at the Victoria and Albert Museum. It has also been suggested that he was merely a collaborator and that the central panels were largely the work of Miguel Alcaniz
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разброс датировок достаточно большой 1393-1423, чаще более ранние в этом диапазоне, поэтому будет принята датировка 1410, как наиболее компромиссная и правдоподобная
