Díptic de Crucifixió i Judici Final: diferència entre les revisions

The paintings have often been compared to the seven pages of the ''[[Turin-Milan Hours]]'' [[illuminated manuscript]] attributed to the unidentified artist "Hand G", generally thought to have been Jan van Eyck.<ref>"The identification of Hand G with Jan van Eyck is considered very likely nowadays." See Ridderbos et al., 244</ref> The closeness is seen to lie both in the miniaturist technique and the particular painterly style. The similarity of a Turin drawing of the crucified Christ to the figure in the New York diptych has led some art historians to conclude they were, at least, painted near the same time, during the 1420s and early 1430s. Most believe both the drawing and diptych panel at least originated from a prototype designed by Jan van Eyck.{{sfn|Borchert|2008|p=86}} Panofsky attributed the New York panels to "Hand G".{{sfn|Ainsworth|1998|p=89}} When the ''Turin-Milan Hours'' miniatures were discovered they were at first believed to have been painted before the [[John, Duke of Berry|Duke of Berry]]'s death in 1416, an idea that was quickly rejected with the date extended to sometime in the early 1430s.{{sfn|Pächt|Dengler|Britt|1999|p=190}}