Groeningemuseum presents new acquisition: the Wijts Triptych, a copy after the last, lost painting of Jan van Eyck

The Groeninge Museum has recently introduced its new acquisition, the Triptych of Petrus Wijts, to the public. This copy of the last painting by Jan van Eyck was obtained last summer at a London auction and is an important addition to the collection of Flemish Primitives at the Groeninge Museum. For the last few months the triptych has been subjected to scientific research, and now it is being presented to the public for the first time.

Being a copy of a painting by Jan van Eyck the work has a tremendous art-historical value. In 1439 Van Eyck was commissioned by Nicolaas van Maelbeke, provost of the St. Martin’s Church in Ypres. The original triptych by Van Eyck is therefore also known as the ‘Maelbeke-Madonna’. Upon his death in 1441 Van Eyck left the painting unfinished. The triptych – although it had not been completed – enjoyed great fame. It is considered to be the last and therefore the most important work from the hand of Jan van Eyck, who epitomizes the movement of the Flemish Primitives. Several copies in the format of drawings and paintings were made. These copies are the only testimonies left, because unfortunately the original was lost at the end of the 18th century.

The new acquisition is the most faithful and – together with the Exeter Madonna by Petrus Christus (Gemäldegalerie, Berlin) – the most important painted copy from this lost original by Van Eyck. A still unknown artist painted the triptych by order of Petrus Wijts in the first half of the 17th century and it was put by his grave. The triptych, whose primary function is to be a pro memoria item, is entirely dedicated to Maria’s role as a mediator. In this function the work displays a large number of similarities with Van Eyck’s ‘Madonna with Canon Joris Van der Paele’ (also housed at the Groeninge Museum).

The glory of the so-called ‘Maelbeke Madonna’ by Van Eyck was probably the most important motive for Wijts to order a copy. Being the canon and cantor of the St. Martin’s Church, Wijts was very familiar with Van Eyck’s original work and – as is obvious from the copy – he also appreciated it a lot. Compared to the original work the artist has made some modifications. The portrait of Van Maelbeke for instance has been replaced by Wijts’s image and the provost scepter has been replaced by a cantor’s sceptre, supporting the function of Wijts.