Copyright This work is in the public domain. Jan Baegert died in 1535; copyright lasts 70 years after the artist’s death, so it ended in 1605.
In context
Pentecote — Jan Baegert
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 70 at death.
Painted when the artist was 40. The artist lived to 70. 2 of the 24 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Jan Baegert (1465–1535) ▲ this work, 1505 every dated painting, decade by decade
First works: up to 1505 Main working years: 1505–1510 Late works: from 1510
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/pentecote-by-jan-baegert/
Measured from the image
Main colour
Rosy Brown #d9a56d
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 24 works by this artist, of which 1 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Wesel, Germany
Jan Baegert emerged from the established artistic traditions of Wesel, Germany, where he was born in 1465. His technical foundation was not self-taught through wandering, but rather built within the structured environment of a family workshop. He received his formal training under his father, Derick Baegert, a painter who provided the essential technical groundwork for Jan's later career. This lineage ensured that the specific methods of the Westphalian and Lower Rhine regions were ingrained in his practice from the beginning.
His professional trajectory shows a steady rise through the regional guild structures. By 1492, Jan Baegert was recognized as a master in Kalkar, a significant milestone that confirmed his ability to manage large-scale commissions independently. This period of activity suggests a painter who had moved beyond the shadow of his father to establish his own reputation in the local market. His presence in Kalkar during this time marks a period of professional consolidation before he returned to his roots.
The continuity of the family workshop became a central part of his professional identity. Following the death of his father in 1502, Jan Baegert took over the family business in Wesel. He managed the workshop for several decades, maintaining the production of religious and secular works that defined the region's visual output. This transition from apprentice to successor allowed him to maintain a consistent presence in the Wesel art scene for much of his life.
Baegert operated during the critical transition from the Middle Ages to the Modern Age, a period defined by shifting regional dynamics. His career was centered in the Westphalian and Lower Rhenish regions, where his presence is marked by a series of significant commissions. Between 1482 and 1484, he likely traveled through the Netherlands, a movement that suggests an engagement with the evolving visual language of that era. This period of mobility helped establish the technical foundation for his later, more settled professional life.
By 1492, he was established as a master in Kalkar. Following the death of his father, he took over the family workshop in Wesel, maintaining its operations from 1502 onwards. His activity in Wesel remained consistent through the early sixteenth century, anchoring his reputation in the local landscape. While his later works show the creeping influence of Renaissance motifs, his output remained fundamentally tied to the Late Gothic tradition.
Baegert’s output is defined by its position at a historical crossroads. His work remains fundamentally rooted in the Late Gothic tradition, characterized by the formal structures and religious gravity of that era. However, his later output reveals a clear shift. He began incorporating new motifs and the evolving painting styles of the Renaissance, marking a transition in the visual language of the Westphalian and Lower Rhine regions. This hybridity shows an artist reacting to the changing aesthetic currents of the early sixteenth century.
Technically, he worked primarily with oil tempera on oak wood. This choice of medium allowed for the precision required by the German Old Master tradition. His execution demonstrates the specific handling of light and form typical of the period's religious commissions. The materiality of the oak panels provides a rigid, durable foundation for the layered application of pigments, a standard practice for the high-quality altarpieces of his time.
His technical range covers various genres of German Old Master painting. He moved between the rigid requirements of sacred iconography and the more fluid, naturalistic tendencies emerging from the Renaissance. This versatility allowed him to maintain a significant presence in the regional art market, securing numerous commissions across the Westphalian and Lower Rhine territories.
Baegert’s professional footprint is most visible in the religious commissions that defined the Westphalian and Lower Rhine regions. His work in Münster is particularly significant, where he is associated with several altarpieces that represent some of the oldest municipal art collections in the city. These large-scale projects demonstrate the high level of demand for his services among the regional clergy and civic authorities.
In Wesel, his output remained consistent through the early sixteenth century. He produced an altarpiece depicting the Resurrection, dated between 1517 and 1522, which remains a primary example of his late-period output. This work, along with other altarpieces from the same period, highlights his ability to navigate the transition from Late Gothic traditions toward the emerging influences of the Renaissance.
Beyond purely liturgical objects, his work includes secular portraiture and specific depictions of social status. One notable example is a painting of a patron dressed in hunting attire, a work that emphasizes the material details of the subject's clothing. This focus on specific, worldly details characterizes much of his surviving oeuvre.
Altarpiece of the Resurrection, 1517/22
Altarpiece in Wesel, 1517/22
Baegert’s output focuses heavily on the sacred, utilizing the rigid structures of Late Gothic devotion to anchor his compositions. His religious subjects are not mere decorations; they are functional tools of worship. In Hamburg, the Kunsthalle holds two significant examples of his ability to handle specific hagiographic figures: Saint Catherine with a patron and John the Baptist. These works demonstrate his capacity to balance the presence of a holy figure with the earthly reality of a donor, a common requirement for high-status commissions in the Westphalian and Lower Rhine regions.
The artist also engaged with more complex liturgical and narrative themes. His works Gregorsmesse and Marientod point to a preoccupation with the ritualistic and the dramatic moments of Christian history. These subjects required a precise handling of space and character to convey the weight of the theological events depicted. His ability to navigate these narratives suggests a painter who understood the visual language required by his patrons to communicate complex spiritual truths through wood and pigment.
Tracing the physical remains of Jan Baegert’s output requires looking toward the Westphalian and Lower Rhine regions. Much of his surviving legacy is concentrated in Münster. The City Museum in Münster holds fourteen panels from the altarpieces originally created for the city, representing some of the oldest municipal art possessions in the area. These oak panels, once part of a larger winged altarpiece, were separated in the 18th century. Two additional panels from these same Münster altarpieces remain in private collections, making them inaccessible to the general public.
Beyond Münster, significant examples of his hand are held in Hamburg. The Kunsthalle in Hamburg maintains works depicting Saint Catherine and John the Baptist. These pieces provide a direct way to observe his technical execution outside of the Westphalian context. While many of his works were commissioned for specific religious sites, the current distribution of his paintings is split between these institutional collections and private hands.
On show in Münster, Germany
The City Museum of Münster was founded in 1979. It functions as a repository for the long-standing narrative of the region, tracing the development of the city from its earliest recorded beginnings. The collection follows a chronological order, starting from approximately 793. This timeline allows for a steady observation of how the urban landscape and its inhabitants have shifted through the centuries.
The museum presents over 1,200 years of city history. This span of time reaches from the early medieval period through to the present day. By organizing its holdings according to this progression, the institution provides a sense of continuity. The exhibition covers the evolution of Münster from its foundational era to the contemporary age, documenting the transformations that have shaped the city's identity.
Located at Salzstraße 28 in Münster, Germany, the museum occupies a space where historical layers meet modern structural design. The presence of the institution is defined by a historic facade dating from 1910/1911, which provides a sense of continuity to the streetscape. This original exterior belongs to the former Althoff / Karstadt-Haus, a structure that once anchored the local commercial life of the city.
Behind this 1910/1911 facade, a new building was opened on August 31, 1989. This expansion provided the necessary space for a professionalized collection, offering dedicated rooms for restoration and storage. The architecture allows for a dialogue between the old city fabric and the contemporary requirements of a modern institution. The layout is organized into 33 thematic cabinets that guide the progression through the history of the region.
The physical environment accommodates various scales of objects, from large architectural models to delicate glass goblets. The interior arrangement supports the chronological presentation of the city's development from approximately 793 to the present day. Within these walls, the following elements are preserved:
The historic facade from 1910/1911
The modern building structure opened in 1989
The thematic cabinet system
The museum organizes its narrative through 33 thematic cabinets, which offer a chronological progression from the city's origins around 793 to the present day. Within these spaces, city and architectural models provide a physical sense of the urban evolution and the changing landscape of Münster. These models allow for a quiet observation of how the city's shape has shifted through different eras, such as the period of the Anabaptist rule, the Prussian era, and the local traditions surrounding the Send market.
The collections held here include significant material culture that reflects the status and daily life of the region. Glass goblets bearing the coats of arms of Münster princes are held among the objects, alongside porcelain by Clemens August von Bayern. A rooster goblet also remains part of the permanent holdings. These items exist as tangible remnants of the social and political structures that once governed the area.
Portrait of Johann Adolf von Plettenberg (ca. 1656-1697), Herr zu Lenhausen, 1696 - Arnold Boonen
Allegory of Hugo Grotius and the Peace of Westphalia, 1648 - Gerard ter Borch
The mass of St. Martin, 1654 - Jan Boeckhorst
Young woman in silk dress, 1657 - Jan Boeckhorst
Equestrian portrait of Henri II d'Orléans, duc de Longueville (1595-1663), 1647 - Gerard ter Borch
The museum’s thematic structure allows for a focused encounter with figures central to the region's intellectual and creative history. Dedicated cabinets are reserved for the painter Bernhard Pankok, the poet Annette von Droste-Hülshoff, and the photography pioneer Friedrich Hundt. These spaces provide a quiet environment to observe the specific contributions of these individuals to the local cultural landscape.
Beyond individual biographies, the collection preserves the atmosphere of a bygone era through immersive installations. The Henke colonial goods shop, dating from 1911, remains a significant presence within the museum. This reconstruction offers a tangible connection to the commercial life of the city at the turn of the twentieth century. Nearby, the Café Müller from the 1950s provides a different window into the social history of the post-war period.
The museum also holds specific objects that reflect the political and religious complexities of Münster's past. These include glass goblets bearing the coats of arms of Münster princes and various porcelain pieces by Clemens August von Bayern. A rooster goblet, whose origins remain a subject of inquiry, is also part of the permanent holdings.
Portrait of Annette von Droste-Hülshoff, 1847 - Erich Correns
Portrait of Bernhard Overberg (1754 - 1826), 1810 - Johann Christoph Rincklake
Vice Admiral William Young (1761–1847) - Andrew Morton
The museum's recent programming has explored various layers of local history and visual culture. The exhibition Vor 50 Jahren - Münster 1973 offered a perspective on the city as it appeared in 1973, concluding in November 2023. Other recent focuses included the graphic and drawing work of Tons Vormann, which was presented until August 2023, and the exhibition Die magische Welt des Herrn Alexander, which remained on view until September 2023. During the summer of 2023, the photography of Hannah Gnegel was also part of the exhibition schedule.
The current exhibition, Sammeln aus Leidenschaft: Trinkgefäße, which runs from November 9, 2024, to March 20, 2025, examines the enigmatic origins of a specific drinking vessel. This presentation investigates a goblet that bears a striking resemblance to the Golden Drinking Cup from the Peace Hall, which was created around 1600. The exhibition explores whether the object is a historical piece or a later composition, potentially designed specifically for a private collector with deep ties to the city. This inquiry into the nature of collecting and the history of material objects provides a focused look at the complexities of provenance and craftsmanship.
Study it on your own wall: Pentecote by Jan Baegert as a hand-painted oil edition, made to your size
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For art students and researchers
Pentecote — Jan Baegert
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"Pentecote" by Jan Baegert can be downloaded from the artwork's Download page, as a high-resolution digital image download.
The diaporama of "Pentecote" can be watched on the artwork's Diaporama page.
The palette of "Pentecote" by Jan Baegert is described as dark. It is a compact description of the work's colors.
"Pentecote" by Jan Baegert shows a vivid color intensity.
The copyright answer for "Pentecote" by Jan Baegert: the work is in the public domain - its copyright has expired. This determines whether reproductions of the image may be freely made.