Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)

TERÉZ GERSZI: Pieter Coecke Van Aelst and Andrea Mantegna

3 PIETER COECKE VAN AFI ST. THE SACRIFICE OF ABRAHAM. BUDAPEST, MUSEUM OF FINE ARTS the vigorously sculptural, harmonious representation of the human figure, suggesting movement, for which the results of the Italian Renaissance masters served as a model. In Pieter Coecke van Aelst's art, it can also be observed that he made serious efforts to overcome the late Gothic formulas and develop a more refined, elegant figure type. In most of his paintings and drawings, including the Budapest one, he formed his muscled, well-proportioned figures with slightly more elongated proportions than natural. Quite conspicuously, the servants in the two mentioned contemporaneous paintings are shown in the simple attire appropriate to their rank, whereas the youth in the Budapest drawing is surprisingly dressed in an elegant, antique tunic and a billowing cloak. The seated, elderly servant appears in a less decorative, but similarly classical costume. The alter egos of the harmonious figure of the energetically moving, stepping youth can be found in a number of Pieter Coecke van Aelst's early tapestry designs from the mid-1530s, like the Saint Paul Preaching to the Women in Philippi (Munich, Staatliche Graphische Sammlung,