Work
In his early work David followed Haarlem artists such as Dirk Bouts, Albert van Oudewater and Geertgen tot Sint Jans, though he had already given evidence of superior power as a colourist. To this early period belong the St John of the Kaufmann collection in Berlin and the Saltings St Jerome. In Bruges he studied and copied masterpieces by the Van Eycks, Rogier van der Weyden and Hugo van der Goes. Here he came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures.
Another master was to influence him later in life, when in 1515 he visited Antwerp and was impressed with the work of Quentin Matsys, who had introduced a greater vitality and intimacy in the conception of sacred themes. David's Pietà in the National Gallery, London, and the Descent from the Cross in the Cavallo collection Paris (Guildhall, 1906), were painted under this influence and are remarkable for their sense of dramatic movement. But the works on which David's fame has rested most securely are the great altarpieces he painted before his visit to Antwerp: the Marriage of St Catherine, at the National Gallery, London; the triptych of the Madonna Enthroned and Saints of the Brignole-Sale collection in Genoa; the Annunciation of the Sigmaringen collection; and above all, the Madonna with Angels and Saints, which he painted without asking a fee from the Carmelite Nuns of Sion at Bruges, and which is now in the Rouen museum.
Only a few of his works have remained in Bruges: The Judgment of Cambyses, The Flaying of Sisamnes and the Baptism of Christ in the Groeningemuseum, and the Transfiguration in the Church of Our Lady. The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art. Even in his best work he had only given newer variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a considerable number of his paintings were assembled at Bruges for a 1902 exhibition of the early Flemish painters.
He also worked closely with the leading manuscript illuminators of the day, and seems to have been brought in to paint specific important miniatures himself, among them a Virgin among virgins in the Morgan Library, and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death.
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