7 - PIETER COECKE VAN AELST (Aalst, 1502 – Brussels, 1550). Attributed. Flemish School, 16th century.

PIETER COECKE VAN AELST (Aalst, 1502 – Brussels, 1550). Attributed. Flemish School, 16th century. “Triptych.” Oil on panel. Work examined and appraised by specialist Didier Martens, Ph.D. and full professor at the Université libre de Bruxelles (ULB). It shows signs of restoration on the painted surface. Measurements: 107.5 x 48 cm (central panel); 107 x 174 cm (side panels). This triptych is part of the tradition of religious painting that developed in Antwerp during the first half of the 16th century, when Flemish workshops gradually incorporated the innovations of the Italian Renaissance into their long-established pictorial tradition. Linked to Pieter Coecke van Aelst, one of the most prominent figures in this process of artistic renewal, the triptych brings together three fundamental episodes from the life of Christ: the Resurrection, the Ascension, and his appearance before Pontius Pilate. The left panel depicts the risen Christ, bearing the banner of victory over death, while the soldiers guarding the tomb react with surprise at his appearance. In the central panel, dedicated to the Ascension, the Virgin Mary and the apostles gaze upon Christ’s ascent into heaven, whose presence is suggested by the lower part of his figure, which disappears into the clouds. The right panel depicts Christ before Pontius Pilate, in a scene with an elaborate architectural setting that contrasts the solemnity of the Roman governor with the vulnerability of the Savior crowned with thorns. The work stands out for the vibrancy of its color palette, its narrative richness, and the treatment of the figures, whose expressive poses lend dynamism to the various scenes. The landscapes with sweeping horizons, the classically inspired architecture, and the richly draped garments reflect the synthesis between the Flemish tradition and the new Italianate styles. The meticulous execution of the details—particularly evident in the faces, armor, and ornamental elements—contributes to the painting’s overall visual appeal. The composition is situated within the context of the religious triptychs produced by Pieter Coecke van Aelst and his workshop, which was particularly active during the 1520s and 1530s. In this regard, an important reference is the Triptych of the Crucifixion housed at the National Gallery in London, attributed to the artist’s workshop, which documents both the creation of multi-panel religious compositions and the dissemination of models within his artistic circle. Pieter Coecke van Aelst was one of the most versatile figures of the Flemish Renaissance. A painter, draftsman, and designer of tapestries, stained-glass windows, and engravings, he was highly active in Antwerp, where he joined the Guild of Saint Luke in 1527. He is traditionally considered a pupil of Bernard van Orley, whose influence contributed to his early assimilation of the Renaissance style. His work gained particular recognition thanks to his religious compositions and his designs for large tapestry series. His historical significance also extends to the field of art theory. Through the translation and publication of treatises by Vitruvius and Sebastiano Serlio, he made a decisive contribution to the dissemination of Italian Renaissance architecture in the Low Countries. His prestige allowed him to work for the court of Charles V and Mary of Hungary, governor of the Low Countries. His workshop played a fundamental role in the dissemination of Italianate styles, making him a key figure for understanding the evolution of Flemish art during the first half of the 16th century. This work was reviewed and evaluated by Didier Martens, a specialist, Ph.D., and full professor at the Université libre de Bruxelles (ULB).