Despite the clear derivation of the present work from northern prototypes, there is something unusual, particularly in the physiognomy of Christ, that has led some Northern scholars to speculate a possible Spanish origin for this painting or, at least, possible Spanish influence. The painting is on an oak panel and, therefore, probably of Northern origin, while the embellished gold rays around Christ’s head are more characteristic of works painted for the Spanish market. The refined painting style and distinctly Flemish landscape within the orb indicate that this Salvator Mundi was probably painted by a Northern artist working in Spain and, therefore, painted more for the tastes of a Spanish clientele.
1. In, respectively, the collection of the Koninklijk Museum voor Schone Kunsten, Antwerp, and St. Bavo’s Cathedral, Ghent.
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