Triptych: The Crucifixion “with throng”, left wing: a lavishly clad bishop saint, right wing: Saint George and the Dragon, oil on panel, 102.4 x 130 cm, framed

Trade relations between Flanders and the kingdoms of the Iberian Peninsula flourished as early as the fifteenth century. As a result, the newest fashions of Flemish art made their way to Spain early on. Spanish artists were sent to Bruges to train, while Flemish artists headed to Spain and Portugal. One of the leading exponents of this Hispano-Flemish style is Bartolomé Bermejo (c. 1440 — after 1495). The present triptych may have been created by a member of his close circle of acquaintances. Bermejo was greatly inspired by the works of Jan van Eyck and his Flemish contemporaries. There is continual speculation as to whether he travelled to Flanders, but this cannot be proved. Bermejo’s style is characterised by great realism and the sculptural depiction of his figures. Some of his works appear to anticipate the naturalism of the Venetian school. Juan Rexach is another exponent of the Hispano-Flemish style, and he is proven to have been in Valencia between 1431 and 1482. He was a student of Jacomart, who also worked in Valencia as court painter in the service of King Alfonso V of Aragon. Rexach’s eye for picturesque details on the garments and armour worn by his figures, whom he often depicts in expressive poses, along with his urban landscapes, demonstrate his familiarity with Dutch painting of his time. However, this triptych bears a closer resemblance to the work of Miguel Ximénez (died before 1505) than to the work of either of these two artists. Ximénez worked as a painter in Saragossa. Based on the style of the piece, the anonymous master probably belongs to Ximénez’ circle, or is amongst his followers.

The central panel of the triptych depicts a crucifixion attended by numerous people; the left-hand panel shows a holy bishop in lavish regalia; the right-hand panel represents Saint George. A horse’s blanket directly to the right of the central axis of the cross bears the monogram ATEI. This may be a reference to the artist, or an abbreviation of a proverb.