Top 100 - The 100 most famous painted altarpieces
The 100 most famous painted altarpieces
From the Mystical Lamb to the Isenheim Altarpiece, from Giotto, Bellini and Dürer to Rubens and Friedrich: one hundred ensembles where painting becomes architecture
This classification brings together one hundred painted altarpieces by 47 artists and workshops, from the 13th to the 19th century.
One hundred sets to tell the altar image
When painting becomes architecture
The altarpiece is a structure placed behind or above the altar. It can bring together painting, sculpture, gilding and architecture, but this route focuses on the forms where the painted image controls the experience: single panel, pala, diptych, triptych or polyptych. The shape is never neutral; it distributes the figures, organizes the episodes and regulates the distance of the gaze.
An altarpiece is not just a religious painting: it is a visual machine designed for a place, a rite and a collective gaze.Switch to images
Classification in images
Ghent, Issenheim, Portinari, Mérode, Beaune, Siena, Venice and Dresden open the route with the most famous ensembles.
#1
The Altarpiece of Ghent (The Mystical Lamb)
"The Altarpiece of Ghent (The Mystical Lamb)" by Jan and Hubert van Eyck, dated 1432. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identifies the characters.
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#2
The Isenheim Altarpiece
"The Isenheim Altarpiece" by Matthias Grünewald, dated 1512 -1516. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#3
The Portinari Triptych
"The Portinari Triptych" by Hugo van der Goes, dated around 1475. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#4
Merod's Altarpiece
"The Altarpiece of Merod" by Robert Campin, dated around 1427 -1432. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#5
The Polyptych of the Last Judgment of Beaune
"The Polyptych of the Last Judgment of Beaune" by Rogier van der Weyden, dated 1443 -1451. Even when a museum retains only one panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to reveal the logic of the whole.
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#6
The Maestà of Siena
"La Maestà de Sienne" by Duccio di Buoninsegna, dated 1308 -1311. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#7
The Altarpiece of San Zaccaria
"The Altarpiece of San Zaccaria" by Giovanni Bellini, dated 1505. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#8
The Altarpiece of San Zeno
"The Altarpiece of San Zeno" by Andrea Mantegna, dated 1457 -1460. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#9
The Madonna of Ca' Pesaro
Titian's "The Madonna of Ca' Pesaro", dated 1519 -1526. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#10
The Polyptych of Mercy
"The Polyptych of Mercy" by Piero della Francesca, dated 1445 -1462. Even when a museum retains only one panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to reveal the logic of the whole.
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#11
The Altarpiece of San Giobbe
"The Altarpiece of San Giobbe" by Giovanni Bellini, dated around 1487. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#12
The Columba Triptych
"The Columba Triptych" by Rogier van der Weyden, dated around 1455. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#13
The Triptych of the Seven Sacraments
"The Triptych of the Seven Sacraments" by Rogier van der Weyden, dated around 1445 -1450. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#14
The Triptych of the Last Judgment
"The Triptych of the Last Judgment" by Hans Memling, dated around 1467 -1471. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#15
The Landauer Altarpiece (Adoration of the Holy Trinity)
"The Landauer Altarpiece (Adoration of the Holy Trinity)" by Albrecht Dürer, dated 1511. Even when a museum keeps only one panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to reveal the logic of the whole.
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#16
The Ansidei Altarpiece
"The Ansidei Altarpiece" by Raphael, dated 1505. Reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#17
The Oddi Altarpiece
"The Oddi Altarpiece" by Raphael, dated 1502 -1504. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#18
The Pesaro Altarpiece
"The Altarpiece of Pesaro" by Giovanni Bellini, dated around 1471 -1474. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#19
The Altarpiece of San Marco
"The Altarpiece of San Marco" by Sandro Botticelli, dated around 1490 -1492. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#20
The Tetschen Altarpiece
"The Tetschen Altarpiece" by Caspar David Friedrich, dated 1807 -1808. Even when a museum retains only one panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
View product →Rogier van der Weyden, Campin, Memling, Gérard David, Bouts, Metsys and Jean Hey deploy the story in detail, the portrait and the light.
#21
The Miraflores Altarpiece
"The Altarpiece of Miraflores" by Rogier van der Weyden, dated around 1442 -1445. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The reading begins with the structure: central axis, wings, registers and possible predelle adjusts the order of the episodes before we even identify the characters.
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#22
The Braque family Triptych
"The Braque Family Triptych" by Rogier van der Weyden, dated around 1452. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The image must be imagined at its original height, often above an altar and at distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#23
The Bladelin Altarpiece
"The Bladelin Altarpiece" by Rogier van der Weyden, dated around 1445 -1450. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#24
The Altarpiece of Saint John the Baptist
"The Altarpiece of Saint John the Baptist" by Rogier van der Weyden, dated around 1455. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. Donors, patron saints, coats of arms and inscriptions connect the representation to one precise community; they prevent the work from being reduced to an abstract religious illustration.
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#25
The Dresden Triptych
"The Dresden Triptych" by Jan van Eyck, dated 1437. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape gives the story a new intensity. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#26
Werl's Triptych
"The Triptych of Werl" by Robert Campin, dated 1438. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of episodes before we even identify the characters.
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#27
Seilern's Triptych
"The Triptych of Seilern" by Robert Campin, dated around 1410 -1420. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#28
The Altarpiece of Saint John (Mystical Marriage of Saint Catherine)
"The Altarpiece of Saint John (Mystical Marriage of Saint Catherine)" by Hans Memling, dated 1474 -1479. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a painted composition.
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#29
The Triptych of Worship of the Magi
"The Triptych of the Adoration of the Magi" by Hans Memling, dated 1479. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision materials and the continuity of the landscape give the story a new intensity. Donors, patron saints, coats of arms and inscriptions connect the representation to a community precise; they prevent the work from being reduced to an abstract religious illustration.
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#30
The Triptych by Benedetto Portinari
"The Triptych of Benedetto Portinari" by Hans Memling, dated 1487. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape gives the story a new intensity. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#31
The Pagagnotti Triptych
"The Pagagnotti Triptych" by Hans Memling, dated around 1480. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes before we even identify the characters.
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#32
The Triptych of the Baptism of Christ
"The Triptych of the Baptism of Christ" by Gérard David, dated around 1502 -1508. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The image must be imagined at its original height, often above an altar and at distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#33
The Cervara Polyptych
"The Polyptych of the Cervara" by Gérard David, dated 1506 -1509. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility does from the altarpiece a temporal object as much as a painted composition.
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#34
The Sedano Family Triptych
"The Triptych of the Sedano Family" by Gérard David, dated around 1490 -1498. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. Donors, patron saints, coats of arms and inscriptions connect the representation to one precise community; they prevent the work from being reduced to an abstract religious illustration.
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#35
The Altarpiece of the Martyrdom of Saint Erasmus
"The Altarpiece of the Martyrdom of Saint Erasmus" by Dirk Bouts, dated 1458. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#36
The Polyptych of the Blessed Sacrament
"The Polyptych of the Blessed Sacrament" by Dirk Bouts, dated 1464 -1468. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The reading begins with the structure: central axis, wings, registers and possible predella adjust the order of episodes before the characters are even identified.
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#37
The Triptych of the Brotherhood of Sainte-Anne
"The Triptych of the Brotherhood of Saint Anne" by Quentin Metsys, dated 1507 -1509. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#38
The Altarpiece of the Carpenters' Guild
"The Altarpiece of the Carpenters' Guild" by Quentin Metsys, dated 1511. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. The transition from a closed state to an open state transforms the hierarchy of scenes; This mobility makes the altarpiece a temporal object as much as a painted composition.
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#39
The Triptych of the Martyrdom of Saint Hippolytus
"The Triptych of the Martyrdom of Saint Hippolytus" by Hugo van der Goes, dated around 1470 -1475. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape give the story a new intensity. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#40
The Moulins Triptych
"The Triptych of Moulins" by Jean Hey, dated around 1500. The second chapter follows the workshops of the ancient Netherlands and Northern Europe, where the opening of the shutters, the portrait of the donors, the precision of the materials and the continuity of the landscape gives the story a new intensity. Even when a museum only keeps a panel or exhibits the elements separately, the looks, the ground lines and color matches continue to reveal the logic of the whole.
View product →Cimabue, Giotto, Duccio, les Lorenzetti, Simone Martini, Masaccio, Fra Angelico and Bellini transform the panel into a coherent space.
#41
The Maestà de Santa Trinita
"La Maestà de Santa Trinita" by Cimabue, dated around 1280 -1290. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of episodes before we even identify the characters.
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#42
The Madonna of Ognissanti
Giotto's "The Madonna of Ognissanti", dated around 1310. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#43
The Stefaneschi Triptych
Giotto's "The Stefaneschi Triptych", dated around 1320. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece an object temporal as much as a painted composition.
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#44
The Polyptych Baroncelli
Giotto's "The Baroncelli Polyptych", dated around 1334. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent to reduce the work to an abstract religious illustration.
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#45
The Polyptych of Badia
Giotto's "The Polyptych of Badia", dated around 1300. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Even when a museum only keeps one panel or exhibits the elements separately, the manholes, ground lines and color matches continue to reveal the logic of the whole.
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#46
The Bologna Polyptych
Giotto's "The Polyptych of Bologna", dated around 1330 -1334. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of episodes before we even identify the characters.
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#47
The Arezzo Polyptych
"The Polyptych of Arezzo" by Pietro Lorenzetti, dated 1320. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#48
The Carmelite Polyptych
"The Polyptych of the Carmelites" by Pietro Lorenzetti, dated 1329. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece one temporal object as much as a painted composition.
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#49
The Polyptych of Saint Catherine of Alexandria
"The Polyptych of Saint Catherine of Alexandria" by Simone Martini, dated 1320. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the architectures painted from the sacra conversazione. Donors, patron saints, coats of arms and inscriptions connect the representation to a community precise; they prevent the work from being reduced to an abstract religious illustration.
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#50
The Polyptych of San Domenico
"The Polyptych of San Domenico" by Simone Martini, dated around 1320. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Even when a museum only keeps one panel or exhibits the elements separately, the looks, lines of soil and color matches continue to reveal the logic of the whole.
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#51
The Triptych of San Giovenale
Masaccio's "The Triptych of San Giovenale", dated 1422. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of episodes before we even identify the characters.
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#52
The Altarpiece of Fiesole
"The Altarpiece of Fiesole" by Fra Angelico, dated 1424 -1425. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#53
The Bosco ai Frati Altarpiece
"The Altarpiece of the Bosco ai Frati" by Fra Angelico, dated around 1450. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes altarpiece a temporal object as much as a painted composition.
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#54
The Triptych of Saint Peter the Martyr
"The Triptych of Saint Peter the Martyr" by Fra Angelico, dated around 1428 -1429. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Donors, patron saints, coats of arms and inscriptions connect the representation to a community precise; they prevent the work from being reduced to an abstract religious illustration.
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#55
The Barbadori Altarpiece
"The Barbadori Altarpiece" by Fra Filippo Lippi, dated 1437 -1438. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Even when a museum keeps only one panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#56
The Altarpiece of Santa Lucia dei Magnoli
"The Altarpiece of Santa Lucia dei Magnoli" by Domenico Veneziano, dated around 1445 -1447. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The reading begins with the structure: central axis, wings, registers and possible predelle adjusts the order of the episodes before we even identify the characters.
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#57
The Altarpiece of San Cassiano
"The Altarpiece of San Cassiano" by Antonello of Messina, dated 1475 -1476. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#58
The Polyptych of Saint Gregory
"The Polyptych of Saint Gregory" by Antonello of Messina, dated 1473. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes altarpiece a temporal object as much as a painted composition.
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#59
The Frari Triptych
"The Triptych of the Frari" by Giovanni Bellini, dated 1488. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to an abstract religious illustration.
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#60
The Polyptych of Saint Vincent Ferrier
"The Polyptych of Saint Vincent Ferrier" by Giovanni Bellini, dated around 1464 -1468. The third chapter observes the Italian transformation of the altar panel, from the golden frontality of the Maestà to the unified space of the first Renaissance and the painted architectures of the sacra conversazione. Even when a museum keeps only one panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
View product →Titian, Dürer, Grünewald, Cranach, El Greco, Pontormo and Rosso move the altar towards color, body and dramatic tension.
#61
The Averoldi Polyptych
Titian's "The Averoldi Polyptych", dated 1520 -1522. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes before even if we identify the characters.
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#62
Gozzi's Altarpiece
Titian's "Gozzi's Altarpiece", dated 1520. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors were calculated to remain readable in architecture.
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#63
The Assumption of the Virgin of Frari
Titian's "The Assumption of the Virgin of the Frari", dated 1516 -1518. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece one temporal object as much as a painted composition.
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#64
The Heller Altarpiece
"The Heller Altarpiece" by Albrecht Dürer, dated 1507 -1509. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent reduce the work to an abstract religious illustration.
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#65
The Dresden Altarpiece
"The Altarpiece of Dresden" by Albrecht Dürer, dated 1496. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#66
The Altarpiece of the Ten Thousand Martyrs
"The Altarpiece of the Ten Thousand Martyrs" by Albrecht Dürer, dated 1508. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of episodes before we even identify the characters.
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#67
The Feast of the Rosary
"The Feast of the Rosary" by Albrecht Dürer, dated 1506. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors were calculated to remain readable in architecture.
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#68
The Tauberbischofsheim Altarpiece
"The Altarpiece of Tauberbischofsheim" by Matthias Grünewald, dated around 1523 -1525. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility does from the altarpiece a temporal object as much as a painted composition.
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#69
The Torgau Altarpiece
"The Torgau Altarpiece" by Lucas Cranach the Elder, dated 1509. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent to reduce the work to an abstract religious illustration.
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#70
The Altarpiece of Saint John
"The Altarpiece of Saint John" by Hans Baldung Grien, dated 1511. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color matches continue to reveal the logic of the whole.
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#71
The Polyptych of Job and Lazarus
"The Polyptych of Job and Lazarus" by Bernard van Orley, dated around 1520. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the spectator. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes before we even identify the characters.
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#72
The Passion Altarpiece
"The Altarpiece of the Passion" by Bernard van Orley, dated around 1520 -1530. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in the architecture.
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#73
The Haneton Triptych
"The Haneton Triptych" by Bernard van Orley, dated around 1520. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece one temporal object as much as a painted composition.
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#74
The Assumption of the Virgin
"The Assumption of the Virgin" by El Greco, dated 1577 -1579. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent reduce the work to an abstract religious illustration.
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#75
The Trinity
"The Trinity" by El Greco, dated 1577 -1579. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and correspondences of color continue to reveal the logic of the whole.
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#76
Pentecost
"Pentecost" by El Greco, dated 1596 -1600. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#77
The Deposition of Christ
Pontormo's "The Deposition of Christ", dated 1525 -1528. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, body movement, spiritual tension and a more direct relationship with the viewer. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#78
The Deposition of Volterra
"The Deposition of Volterra" by Rosso Fiorentino, dated 1521. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece one temporal object as much as a painted composition.
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#79
The Villamagna Altarpiece
"The Altarpiece of Villamagna" by Rosso Fiorentino, dated 1522. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the viewer. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent to reduce the work to an abstract religious illustration.
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#80
The Altarpiece of Santa Maria in Porto
"The Altarpiece of Santa Maria in Porto" by Ercole de' Roberti, dated 1481. The fourth chapter shows how Renaissance, Reformation and Mannerism move the altarpiece towards monumental color, the movement of bodies, spiritual tension and a more direct relationship with the spectator. Even when a museum only keeps a panel or exhibits the elements separately, the looks, the ground lines and color matches continue to reveal the logic of the whole.
View product →Rubens, Poussin, Reni, Tiepolo, Lotto, Crivelli, Bermejo and Friedrich extend or reinvent the great altar image.
#81
The Elevation of the Cross
"The Elevation of the Cross" by Peter Paul Rubens, dated 1610 -1611. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#82
The Descent from the Cross
"The Descent from the Cross" by Peter Paul Rubens, dated 1612 -1614. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to stay readable in architecture.
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#83
The Altarpiece of Saint Ildefonse
"The Altarpiece of Saint Ildefonso" by Peter Paul Rubens, dated 1630 -1632. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as one painted composition.
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#84
The Altarpiece of Saint Roch
"The Altarpiece of Saint Roch" by Peter Paul Rubens, dated 1623 -1626. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to one abstract religious illustration.
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#85
The Martyrdom of Saint Erasmus
"The Martyrdom of Saint Erasmus" by Nicolas Poussin, dated 1628 -1629. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to revealing the logic of the whole.
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#86
The Pala della Peste
"La Pala della Peste" by Guido Reni, dated 1630. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#87
The Assumption of the Virgin
"The Assumption of the Virgin" by Giovanni Battista Tiepolo, dated around 1735. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#88
The Altarpiece of San Bernardino in Pignolo
"The Altarpiece of San Bernardino in Pignolo" by Lorenzo Lotto, dated 1521. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as one painted composition.
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#89
The Recanati Polyptych
"The Polyptych of Recanati" by Lorenzo Lotto, dated 1506 -1508. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to one abstract religious illustration.
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#90
The Martinengo Altarpiece
"The Martinengo Altarpiece" by Lorenzo Lotto, dated 1513 -1516. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to reveal the logic of the whole.
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#91
The Ponteranica Polyptych
"The Polyptych of Ponteranica" by Lorenzo Lotto, dated 1521 -1522. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#92
The Polyptych of Sant'Emidio
"The Polyptych of Sant'Emidio" by Carlo Crivelli, dated 1473. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to stay readable in architecture.
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#93
The Polyptych of Massa Fermana
"The Polyptych of Massa Fermana" by Carlo Crivelli, dated 1468. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as one painted composition.
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#94
The Polyptych of the Duomo of Camerino
"The Polyptych of the Duomo of Camerino" by Carlo Crivelli, dated around 1490. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to one abstract religious illustration.
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#95
The Altarpiece of the Cardinal of Portugal
"The Altarpiece of the Cardinal of Portugal" by Cosimo Tura, dated around 1470 -1475. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Even when a museum only keeps a panel or exhibits the elements separately, looks, ground lines and color correspondences continue to reveal the logic of the whole.
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#96
The Altarpiece of Saint Engrâce (Calvary)
"The Altarpiece of Saint Engrâce (Calvary)" by Bartolomé Bermejo, dated 1474 -1477. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The reading begins with the structure: central axis, wings, registers and possible predella regulate the order of the episodes even before we identify the characters.
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#97
The Triptych of the Virgin of Montserrat
"The Triptych of the Virgin of Montserrat" by Bartolomé Bermejo, dated around 1475 -1480. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. The image must be imagined at its original height, often above an altar and at a distance: contrasts, gestures and colors have been calculated to remain readable in architecture.
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#98
The Altarpiece of the Pérussis
"Le Altarpiece des Pérussis" by Nicolas Froment, dated 1480. The last chapter extends this story with baroque theater, large regional altarpieces and modern survivals of an image designed to structure a collective place. The transition from a closed state to an open state transforms the hierarchy of scenes; this mobility makes the altarpiece a temporal object as much as a composition painted.
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#99
The Boulbon Altarpiece
"Le Altarpiece de Boulbon" by anonymous Provençal artist, dated around 1450. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Donors, patron saints, coats of arms and inscriptions connect the representation to a specific community; they prevent the work from being reduced to one abstract religious illustration.
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#100
The Altarpiece of Saint-Denis
"The Altarpiece of Saint-Denis" by Henri Bellechose, dated 1416. The last chapter extends this story with the baroque theater, the large regional altarpieces and the modern survivals of an image designed to structure a collective place. Even when a museum only keeps a panel or exhibits the elements separately, the looks, ground lines and color correspondences continue to revealing the logic of the whole.
View product →What the ranking reveals
One hundred altarpieces, three intertwined stories
Each set tells both a holy story, the story of an order and that of its own material transformation. The classification therefore favors works whose power remains legible even after movement or dismemberment.
The whole thing takes precedence over the panel
The ranking only counts once Ghent, Issenheim or Portinari, even when several sections have independent files and images.
The location is part of the work
Scale, distance, light, altar height and liturgical calendar determine the composition as much as the figures represented.
The altarpiece invents the montage
Juxtaposition, alternation of faces and change of state herald modern forms of sequential narration and installation.
A History of the Altar Image
Five benchmarks to follow your transformation
The great Tuscan Maestà combine Byzantine frontality, the luxury of gold and the new presence of bodies.
Van Eyck unites portrait, landscape, matter and theology in a polyptych whose each opening changes experience.
The Portinari Triptych arrives in Florence and strikes painters with its light, its materials and its devotional realism.
Grünewald organizes crucifixion, resurrection and figures of saints for a hospital where the image accompanies illness and hope.
The Tetschen Altarpiece places a modern landscape in a spiritual function and triggers a debate on the limits of religious painting.
The altarpiece in depth
What's painted altarpiece?
The altarpiece is a structure placed behind or above the altar. It can bring together painting, sculpture, gilding and architecture, but this route focuses on the forms where the painted image controls the experience: single panel, pala, diptych, triptych or polyptych. The shape is never neutral; it distributes the figures, organizes the episodes and regulates the distance of the gaze.
The movable shutters introduce a time of the image. Closed, an altarpiece often shows a more sober scene; open for a party, it reveals colors, gold, saints and more complex stories. This alternation is essential in Ghent or Issenheim: a single photograph cannot entirely restore an object designed to change state.
The commission places the work in a society. Brotherhoods, religious orders, princes, merchants, corporations and families choose patron saints, inscriptions and portraits. Donors are therefore not intruders into the story: their presence indicates who finances, who prays and to which community the image is addressed.
The Italian Renaissance gradually transformed the Gothic compartments into a coherent space. Bellini, Mantegna, Piero della Francesca and Titian maintain the function of altar while circulating a common light between painted architecture, figures and landscape. In the North, Van Eyck, Campin, Rogier, Memling and their successors, for their part, delve deeper into the material detail, the portrait and correspondence between shutters.
Museums often separated what churches brought together. Wars, sales, liturgical changes and restorations have scattered panels and frames; some works only remain in fragments or copies. Looking at an altarpiece today therefore requires a little mental reconstruction: finding the center, the wings, the predella, the state of opening and the place of origin.
Four reading keys
How to look at a painted altarpiece
Structure, state of openness, sponsor and place of origin make it possible to find the coherence of an object often presented today as a simple series of paintings.
Reconstruct architecture
Locate center panel, wings, registers, pinnacles and predella before reading each scene separately.
Compare states
The visible sides on ordinary days are not always those of the holidays; change produces a real visual rhythm.
Identify presences
Donors, patron saints, coats of arms and inscriptions connect the image to a brotherhood, an order, a family or a city.
Find the distance
A work seen at eye level at the museum was sometimes designed to be seen from afar, lit by candles and framed by architecture.
Altarpieces, products and references
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In Alpha Reproduction
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01Alpha Reproduction Collection - Famous paintingsMuseum & referenceFrequently asked questions
The altarpiece painted without confusion
The essential benchmarks for understanding classification, dismembered sets and the choice of images.
Why do some altarpieces appear through their main panel?
Several sets are dismembered or do not have a fairly reliable complete image in the catalog. They only count once and are represented by their reconstructed view or their most significant central panel.
Are carved altarpieces included?
No. Painting must structure most of the work selected. Ensembles where sculpture dominates have been excluded, even when they are famous.
How was the ranking established?
The top twenty places combine international fame, historical importance, influence and power of the whole. The following four chapters favor geographical and chronological progression.
Why do Ghent or Issenheim only count once?
Because an altarpiece is a whole. Its opening states, panels and reverse can have many images, but counting them separately would distort the classification.
Are all the images different?
Yes. The media were downloaded and then brought together into a control board to keep broken files and off-topic visuals away.
Do the buttons open the correct reproductions?
Yes.
Can a single altar painting be an altarpiece?
Yes. In Italian tradition in particular, the pala can be a large, unique panel designed for the altar without movable shutters. Its function and its relationship to architecture justify its inclusion.
Why is the Tetschen Altarpiece included?
Friedrich actually designed this landscape painting for an altar function. The work marks a famous break by transferring to the modern landscape a spiritual power hitherto reserved for figured religious subjects.
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