De graflegging (links), Maria, Johannes de Evangelist, Jozef van Arimatea, Nicodemus en de drie Maria's verlaten het graf (rechts)

The Master of Affligem takes his name from an altarpiece at Affligem Abbey in Brabant, and this double panel depicting the Entombment and the Women at the Tomb (c. 1493) was likely a diptych or altarpiece wing for a Belgian or Dutch religious house. The pairing of the Entombment with the post-Resurrection scene of the Women leaving the empty tomb is theologically coherent: death and the first intimation of Resurrection, the hinge of Christian salvation. Brabantine painting in the 1490s was increasingly influenced by the innovations flowing from Antwerp workshops, particularly the more dynamic compositional organization of Quentin Massys's generation.

The Master of Affligem handles the two-panel structure by treating each as an independent composition that also reads as a temporal sequence. The Entombment is organized around the horizontal body of Christ, with mourning figures pressing inward from both sides. The Women at the Tomb scene shifts to vertical energy — the risen angel gestures upward while the women recoil. Oil glazes are built up with characteristic Flemish precision; individual faces are differentiated with care.