요스 반 와센호베 Joos van Wassenhove[사도들의 영성체]The Institution of the Eucharist

[나루터]

요스 반 와센호베 Joos van Wassenhove
[Netherlandish Northern Renaissance Painter, active ca.1460-1480]

Also known as: Joos van Ghent, Joos van Gent

[사도들의 영성체]The Institution of the Eucharist
1473-75, Oil on wood, 331 x 335 cm
Galleria Nazionale delle Marche, Urbino

요스 반 헨트[Joos van Gent]

(영)Justus of Ghent (이)Giusto da Guanto. Joos van Wassenhove라고도 함. 본명은 Jodocus. 1435/40경~1480경 우르비노 공국 우르비노(?).
플랑드르 화풍을 우르비노에 소개한 화가.

1460년 안트웨르펜과 1464년 헨트에서 화가 길드에 등록되어 있는 요스 반 와센호베와 동일인물이다. 교육과정에 대해서는 알려진 바가 없지만 디르크 보우츠의 작품에 대해 잘 알고 있었던 것이 분명하다. 현재 알려진 최초의 작품인 〈십자가에 못박힌 예수 Crucifixion Triptych〉(1465경, 헨트 신트바본 대성당)에서 가늘고 각진 형태의 인물상과 짧고 팽팽한 곡선을 이어 그린 황량한 풍경은 보우츠의 영향을 보여준다. 그러나 원경의 특징을 단색조로 표현한 것은 그가 창안해낸 기법인 듯하다. 〈동방박사들의 경배 Adoration of the Magi〉(1466경, 뉴욕 메트로폴리탄 미술관)에는 인물상에서 보우츠의 영향이 계속 나타나며 특히 이탈리아 미술의 영향을 암시해주는 공간감의 표현이 주목할 만하다. 1473~74년 이탈리아에 머물면서 〈사도들의 영성체 Communion of the Apostles〉(우르비노 팔라초 두칼레)를 그렸다.

이 작품은 화가 자신의 진본으로 입증된 유일한 그림이며 그림에 등장하는 우르비노의 공작 페데리코 다 몬테펠트로의 주문으로 성체수도회를 위해 그린 것이다. 이것은 플랑드르의 화풍을 뚜렷이 반영하고 있지만 그가 이탈리아 초기 르네상스의 특징인 단순한 구성과 이상화된 형태에 영향을 받기 시작했음을 보여준다. 공작의 서재를 장식한 유명인사들의 초상화 28점 가운데 몇 점은 분명히 그의 것으로 꼽히며 그밖에 페드로 베루게테 같은 화가들이 그린 초상화의 일부도 그가 도안했을 가능성이 있다. 그는 북방의 미술전통을 이탈리아로 옮겨와 이탈리아파의 전통과 결합시켰다. 후기에 이르러서는 이탈리아 거장들의 작품과 거의 비슷할 정도로 발전했다.

The most important and most perfect work of Joos van Wassenhove (Justus of Ghent) by far is The Institution of the Eucharist (The Communion of the Apostles), painted for the high altar of the Brotherhood of Corpus Domini. The picture was based on a painting by Fra Angelico that Justus may have seen at St Mark's convent in Florence, in which the disciples leave the table to kneel at Christ's feet. Yet, despite this influence, the finished work shows just how far Justus's style remained purely Flemish, virtually untouched by all he had seen during his time in Italy.

The scene is set in the chancel of a church built on the Latin plan, its apse supported by a row of composite columns. On each side of the painting is an opening through which distant houses and towers are visible. These panoramic views are reminiscent of Ghent or of Bruges. Christ is seen standing three-quarters on to the viewer, in front of the table. He holds the paten in his left hand, as he offers the consecrated bread to St James the Less. Around him, those disciples who have received the host appear happy and at peace, while the faces of the others express their eagerness to partake of it too. The unfortunate figure of Judas stands to one side in the shadow, as if trying to avoid Christ's gaze. In the foreground stand a plate and pitcher that will later be used to wash the disciples' feet.

In the background, to the right, is a lively group made up of Duke Federico, two of his courtiers and Caterino Zeno, the ambassador of the Shah of Persia. The presence of this latter figure seems designed to indicate that the Holy Eucharist is a universal sacrament and that Christ has become incarnate in order to save all men, whatever their origins. Just behind this group a young woman can be made out, carrying the young Guidobaldo in her arms. Two angels hover above the protagonists, held in perfect balance by their tensile wings. One of them is praying, while the other simply expresses his emotion as a witness to the sacred event below.

There is a remarkable contrast between the group of the apostles, on the one hand, and that of the Duke and his followers, on the other. Justus demonstrates his great talent as a portraitist in the means he finds to express both the ardent faith of the former and the noisy activity of the latter, highlighting their facial expression‎!!s by the movement of their hands. He also plays on the contrasts between the simple, even poor clothes of the apostles, and the rich and luxurious apparel of the Duke and his companions. As for Christ, he is shown wearing a grey-blue robe. His disciples are in tunics of various colours - green, light red, yellow and brown. They have fair hair, save for one who is dark, and Judas, who has red hair. This admirable counterpoint of colours is complemented by the greeny blue of the wings of the two angels, that stands out against the dark brown of the apse. It is rare to find a painting from that period that so felicitously combines the demands of both spiritual feeling and realism펌