Het gerestaureerde topstuk De kruisafneming (Ca. 1530)

A permanent spot

The triptych has a permanent place in the former Catholic clandestine church. It has hung there continuously for nearly a century and a half, until decades of use left their mark. Gaps are appearing between the panels and the original frame, as well as between the individual planks of the central panel. The painting is in dire need of a thorough restoration.

The treatment

To restore the triptych, it is first unframed, a delicate and tense process. Next, panel restorer Gert van Gerven and frame restorer Eric Bernhard take the work in hand. Painting restorer Caroline van der Elst repairs peeling paint and old, discolored retouches. She also removes and replaces the yellowed and cracked varnish.

Back in the museum

After the restoration, the triptych hangs back in its familiar spot in the museum. Curious about the restoration process? Until the end of October 2026, a mini-documentary about the restoration is being temporarily screened on a screen next to the artwork in the attic church.

Why supported

The Descent from the Cross is one of the earliest acquisitions of Museum Ons' Lieve Heer op Solder, and one of the museum's masterpieces. The Rembrandt Association recognizes both the importance of the restoration for the museum and the undeniable quality of the painting. The rich, contrasting colors and the detailed fabrics and ornaments are typical of the important Renaissance artist Coecke van Aelst. After the thorough treatment, the triptych can once again live up to its reputation as a public favorite.

Restored with support from the Rembrandt Association (thanks in part to its VriendenLoterij Restoration Fund)