更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 24 件 贝尔纳特·马托雷尔 作品收录于我们的目录中
简而言之
The Lamentation (1330) 是 贝尔纳特·马托雷尔 最受瞩目的画作；原作收藏于 纽约 的 大都会艺术博物馆。 随后，目光会移向 The Crucifixion (1330) 和 Saint John the Evangelist poisoned (1430)。 在 贝尔纳特·马托雷尔 的 24 件作品中，这 24 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
To stand before The Lamentation is to be enveloped in an atmosphere of profound, sacred sorrow. This masterpiece, attributed to the enigmatic Master Of The Codex Of Saint George, does not merely depict a biblical event; it captures the very essence of human grief rendered eternal through pigment and panel. Dating back to 1330, this work stands as a breathtaking testament to the emotional zenith of Gothic art. One is…
In The Crucifixion by Bernat Martorell, the central figure of Jesus Christ dominates the scene, nailed to a wooden cross with arms outstretched in a gesture of profound sacrifice. He bears long hair and a beard, his body draped only in a simple loincloth. Around him, a circle of mourners gathers to witness the event. The Virgin Mary and Mary Magdalene move through the crowd, their faces etched with grief.…
This late medieval religious painting, dating to 1430, captures the dramatic scene of Saint John the Evangelist being poisoned. The composition is densely packed with figures, creating a sense of crowded, dramatic tension within a shallow, stage-like space. The subject matter focuses on the miraculous survival of Saint John, who is shown drinking from a chalice while other figures react with various expressions of concern or observation.
In the Table of Saints John. Central pannel by Bernat Martorell, two male figures stand side-by-side within a sacred, vertical arrangement. The figure on the left is draped in a heavy, dark cloak lined with deep red, his garment detailed with intricate gold embroidery. He holds a golden chalice, which is topped by a single, luminous star. Beside him, the second figure wears a simple brown robe cinched by a…
The Altarpiece of the Saints John is a work by the artist Bernat Martorell. This polyptych was commissioned in 1432 from Vinaixa. Although the commission was originally intended for the painter Ramon de Mur, the execution of the altarpiece was completed by Bernat Martorell instead.
The work titled Saint John the Baptist preaching to the Levites table is a painting by the artist Bernat Martorell. This specific piece functions as a detail from a larger, multi-part composition known as the Altarpiece of the Saints John. The larger altarpiece was originally ordered in 1432.
The Triptych of the Descent from the Cross is a religious painting from 1445, characterized by its intense emotional gravity and intricate Gothic detail. The composition is organized into three vertical panels: a large central panel depicting the Descent from the Cross, flanked by two narrower side panels containing individual saintly figures. In the central scene, Christ is being lowered from the cross, surrounded by figures including Joseph of Arimathea,…
The painting titled Saint Stephen by Bernat Martorell is a vertical, narrow panel. The composition is highly elongated and centered, focusing the viewer's attention on the bust and upper torso of the subject. The figure is positioned in a frontal manner, occupying the central axis of the narrow wooden support. This arrangement creates a sense of stillness and directness in the presentation of the saint.
The International Gothic triptych Saint Michael, Martyrdom of Saint Eulalia and Saint Catherine by Bernat Martorell, created about 1442, is organized into three vertical panels. These sections are separated by gilded, twisted columns that frame the narrative. The composition relies on a color palette dominated by gold, deep reds, royal blues, and stark whites. A flat, shimmering gold leaf forms the background across the panels, creating a shallow space for…
The scene unfolds within the Martyrdom of Saint Eulalia, a work that places the viewer directly before a profound moment of religious sacrifice. Painted by Bernat Martorell, this piece captures the intense struggle of a young saint facing her end. The composition functions as an altarpiece to Saint Eulalia, designed to command attention within a sacred space. Every figure in the crowded assembly contributes to the weight of this historical…
Saint George dragged through the city of Diospolis1435
12
The Decapitation of Saint George1435
13
The Judgement of Saint George1435
14
Altarpiece of Saint Vincent1438 · 加泰罗尼亚国家艺术博物馆
15
Martyrdom of Saint Lucy1435 · 加泰罗尼亚国家艺术博物馆
16
Christ and the Samaritan Woman1440
17
Enthroned Virgin and Child, with the Cardinal Virtues and Two Figures Holding Scrolls费城艺术博物馆
18
Missal (Folio 55)1320 · 皮埃龐特·摩根圖書館與博物館
19
Diptych1315
20
Codex of St George (Folio 17r)1325 · 梵蒂冈宗图书馆
21
Codex of St George (Folio 85r)1325 · 梵蒂冈宗图书馆
22
Untitled (979)
23
Saint George and the Dragon1434 · 芝加哥艺术学院
24
Altarpiece of the Saints John1430 · 加泰罗尼亚国家艺术博物馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 贝尔纳特·马托雷尔 的作品 | 此列表中的画作 |
|---|---|---|---|
 加泰罗尼亚国家艺术博物馆 |
巴塞罗那 | 7 | Altarpiece of the Saints John, Saint Stephen, Saint Michael, Martyrdom of Saint Eulalia and Saint Catherine |
 大都会艺术博物馆 |
纽约 | 2 | The Lamentation, The Crucifixion |
 Musée Rolin |
Autun | 2 | Saint John the Evangelist poisoned, Saint John the Baptist preaching to the Levites table |
 梵蒂冈宗图书馆 |
梵蒂冈城 | 2 | Codex of St George (Folio 17r), Codex of St George (Folio 85r) |
 国立古美术馆 |
里斯本 | 1 | Triptych of the Descent from the Cross |
 费城艺术博物馆 |
费城 | 1 | Enthroned Virgin and Child, with the Cardinal Virtues and Two Figures Holding Scrolls |
 皮埃龐特·摩根圖書館與博物館 |
纽约市 | 1 | Missal (Folio 55) |
 芝加哥艺术学院 |
芝加哥 | 1 | Saint George and the Dragon |
选择一个年代，探索定义该时代的原创杰作。
This late medieval religious painting, dating to 1430, captures the dramatic scene of Saint John the Evangelist being poisoned. The composition is densely packed with figures, creating a sense of crowded, dramatic tension within a shallow, stage-like space. The subject matter focuses on the miraculous survival of Saint John, who is shown drinking from a chalice while other figures react with various expressions of concern or observation.
The Triptych of the Descent from the Cross is a religious painting from 1445, characterized by its intense emotional gravity and intricate Gothic detail. The composition is organized into three vertical panels: a large central panel depicting the Descent from the Cross, flanked by two narrower side panels containing individual saintly figures. In the central scene, Christ is being lowered from the cross, surrounded by figures including Joseph of Arimathea,…
The painting titled Saint Stephen by Bernat Martorell is a vertical, narrow panel. The composition is highly elongated and centered, focusing the viewer's attention on the bust and upper torso of the subject. The figure is positioned in a frontal manner, occupying the central axis of the narrow wooden support. This arrangement creates a sense of stillness and directness in the presentation of the saint.
The Lamentation (1330)，大都会艺术博物馆, 纽约。紧随其后的是 The Crucifixion (1330) 和 Saint John the Evangelist poisoned (1430)。
The Lamentation, The Crucifixion, Saint John the Evangelist poisoned, Table of Saints John. Central pannel, Altarpiece of the Saints John, Saint John the Baptist preaching to the Levites table, Triptych of the Descent from the Cross, Saint Stephen, Saint Michael, Martyrdom of Saint Eulalia and Saint Catherine 及 Martyrdom of Saint Eulalia。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 24 件 贝尔纳特·马托雷尔 的作品，创作年代从 1430 年至 1450 年。
多见于 加泰罗尼亚国家艺术博物馆 (巴塞罗那), 大都会艺术博物馆 (纽约) 及 Musée Rolin (Autun)。上方的博物馆列表列出了所有相关机构。
在 1430s 期间：本页 24 件作品中有 11 件创作于该时期，其中包含 Saint John the Evangelist poisoned 件作品。
在本页面中，最早的作品创作于 Saint John the Evangelist poisoned (1430)，最晚的创作于 Saint Stephen (1450)。
People (8), Gold background (6) 及 Figures (5)，共计 24 件作品。
Tempera On Panel，共计 17 件（本页共有 24 件作品）。
根据本页面的原作，International gothic
Altarpiece of the Saints John, Saint Stephen 及 Saint Michael, Martyrdom of Saint Eulalia and Saint Catherine：加泰罗尼亚国家艺术博物馆, 巴塞罗那收藏了本页中 7 件作品。
大师的身份与一部宏伟的照明手抄本密不可分，这部卷轴不仅包含了礼拜仪式文本，还记载了圣乔治的传记。这部作为艺术家代名词的杰作，暗示了其创作者拥有卓越的技术造诣与深厚的宗教虔诚。虽然其姓名已然消逝，但其存在感却在每一抹金箔的笔触与每一层精心堆叠的颜料中跃然纸上，标志着其作为晚期哥特式传统向更具情感色彩和细节叙事风格转变过程中的关键人物。
大师的艺术轨迹暗示其一生生活在教会权力的核心地带。学者们认为，这位画家是罗马画派的代表人物，可能先是在充满活力的罗马氛围中进行创作，随后在阿维尼翁获得了赞助。自1309年起作为教廷所在地，阿维尼翁这座城市无疑为如此高水准的照明画家提供了一个精致的舞台。教廷的影响力以及如雅各布·斯特法内斯基枢机主教等高级神职人员的存在，很可能塑造了大师委托作品的规模与宏伟程度。
在这些环境中工作，意味着需要应对多元化的艺术影响。大师的风格反映了传统的高度融合，将罗马照明画的结构化优雅与后来定义了国际哥特式艺术的蓬勃表现力结合在一起。其作品中蕴含着一种显而易见的律动感与情感深度，这表明他不仅是一位经文装饰者，更是一位能够将复杂的宗教神学概念转化为视觉诗篇的叙事大师。
审视那些归于圣乔治手抄本大师名下的作品，无异于见证一场中世纪技艺的巅峰演练。他们对光影与色彩的驾驭能力，营造出一种既庄严又亲切的氛围。艺术家的作品展示了对那个时代珍贵材料的非凡掌控：
除了技艺上的卓越，这位艺术家的历史意义更在于他对宗教图像学演进的贡献。通过对福音书和诗篇的装饰，大师帮助弥合了早期世纪僵硬的象征形式与早期文艺复兴时期更具自然主义、以人为本风格之间的鸿沟。即便缺乏生平传记，大师的声音依然清晰——那是来自十四世纪的一声静默而金色的低语，持续在每一位凝视其照明奇迹的人心中激起敬畏。
