Una mirada atenta a la pintura de Juan de Flandes, del que sólo se conoce su actividad en España,
revela la pervivencia de muchos recursos expresivos de su procedencia flamenca, aunque no
transcritos de forma literal, sino pasados por el tamiz de su sensibilidad. En sus figuraciones de
paisajes, arquitecturas, ambientes y personajes añadió su propia interpretación sobre la condición moral de todos ellos. Lo patético, lo bello, lo grotesco y lo poético tuvieron su lugar en una
narración religiosa teatralizada, que se presentaba transcendida y a un tiempo cercana a los ojos
del espectador.
An attentive look at the painting of Juan de Flandes, who is only known to have worked in
Spain, reveals the survival of many expressive resources of his Flemish origin, although not
transcribed literally, but passed through the nuance of his sensitivity. In his figurations of
landscapes, architectures, environments and characters, he added his own interpretation of the
moral condition of all of them. The pathetic, the beautiful, the grotesque and the poetic had their
place in a dramatized religious narrative, which was transcended and at a time close to the eyes
of the viewer.
