十字架；最后的审判 - 美国大都会艺术博物馆展品查阅

品名（中）	十字架；最后的审判
品名（英）	The Crucifixion; The Last Judgment
入馆年号	1933年，33.92ab
策展部门	欧洲绘画（European Paintings）
创作者	Jan van Eyck【1390 至 1441】【荷兰人】
创作年份	公元 1440 - 公元 1441
创作地区
分类	绘画（Paintings）
尺寸	Each 22 1/4 x 7 2/3 英寸 (56.5 x 19.7 厘米)
介绍（中）	勃艮第公爵菲利普·古德认为范艾克（他的宫廷画家）在"艺术和科学"方面无与伦比。事实上，范艾克广阔而微观的画作似乎是通过显微镜和望远镜观察到的。在《十字架》中，他在人群中唤起了一系列非凡的情绪，背景是想象中的耶路撒冷。1426年，Van Eyck在意大利和圣地执行外交任务期间穿越阿尔卑斯山，这为他的自然主义景观描绘提供了素材。他给《最后的审判》的恐怖提供了同样明显的形式技术研究表明，这两幅画并不总是被配置为三联画，而是最初用作三联画的翅膀或通往帐幕或圣祠的门。最近保存的框架是原始的，有拉丁语的圣经文本，以及重新发现的，现在是零碎的，这些文本的中古荷兰语翻译。
介绍（英）	Philip the Good, Duke of Burgundy, considered Van Eyck (his court painter) unequalled in his “art and science.” In fact, Van Eyck's expansive yet microcosmic paintings seem observed through both a microscope and a telescope. In The Crucifixion, he evokes a remarkable range of emotions among the crowds, set against an imagined Jerusalem. Van Eyck’s 1426 trip across the Alps during a diplomatic mission to Italy and the Holy Lands informed his naturalistic landscape depiction. He gives an equally palpable form to the horrors of the Last Judgment. Technical research has revealed that the two paintings were not always configured as a diptych, but originally served as the wings of a triptych or the doors to a tabernacle or reliquary shrine. The recently conserved frames are original, with biblical texts in Latin and rediscovered, now fragmentary, translations of those texts in Middle Dutch.