A Flemish treasure reveals Sainte Dymphne in Brou

How to make a masterpiece of Flemish painting from the 16th century accessible? How to captivate the public of today with the legendary history of an Irishwoman with the impossible name – Dymphne – who, converted to the Catholic faith, was martyred by an incestuous father? It is the bet held with humor and pedagogy by the exhibition which opens the season of the Royal Monastery of Brou (Ain). In a large Gothic room are thus presented seven of the eight wooden panels making up the impressive altarpiece ordered around 1505 by the scholar Antoine Tsgrooten, just named Abbé of the powerful abbey of Tongerlo, today in Belgium.

It was produced by Goossen van der Weyden, from a large family of Flemish primitive painters whose work announces the Renaissance. In the center of the room are in majesty the panels that tell, like a comic strip, the tragic fate of Princess Dymphne and her saint Géréberne confessor, who became, after their martyrdom, the protectors of the Flemish city of Geel (Belgium).

We first admire the subtle palette of the artist who knows how to make the rich gold embroidery of the coats, the roses and tender greens of the Dymphne dresses and courtiers as well as the delicate traces of the faces. “Goossen van der Weyden gives depth to his first plans. In contrast, smaller characters, draw a perspective, ”explains Magali Briat-Philippe, chief curator of the Royal Monastery Museum of Brou.

Small low walls make it possible to compartmentalize several scenes on each panel where details of daily life – a pitcher of wine, a cart pulled by oxen – bring a touch of realism. On several occasions, a nice landscape fades in a bluish mist, evoking the “atmospheric perspectives” dear to Leonardo da Vinci, at the same time, in Italy.

Funny and informative

Very clear cartels explain the iconography, while, along the walls of the room, a multimedia device takes up each panel to reveal the repentants (modifications made to the painting). Videos supervise it: the painter and the abbot – interpreted by actors – discuss the composition of the work and the various patrons to include in certain scenes, sometimes inlaid in the panel their portrait performed apart. They also compete on permitted innovation and tradition to be respected … It is funny and informative as to the history of relationships between artists and sponsors of the time.

In a sumptuous setting

A more classic film allows you to follow the impressive restoration work undertaken by the Phoebus Foundation which has the altarpiece today. Small lack, however: if the historical and economic context of pilgrimages is mentioned, nothing is said of the momentum which brought multiple devotions in the 16th century to saints and their relics. We would have liked to know how the theological meaning of the altarpiece was part of Christianity, soon challenged by the Protestant reform.

The fact remains that, in the sumptuous setting of the Brou monastery, the reckless Dymphne seems absolutely in its place. In this royal setting, this magnificent work helps us to dive into the Flemish universe of the beginning of the Renaissance.