Our Lady of the Seven Sorrows (right wing of diptych)

Adriaen Isenbrandt painted this right wing of a devotional diptych with Our Lady of the Seven Sorrows around 1518, the outer face showing a grisaille image that would have been visible when the diptych was closed. The grisaille technique—painting in grey monochrome tones that simulated carved stone or metal relief—was a Flemish specialty for outer wing surfaces, the illusion of sculpture creating a visual transition between the painted interior and the material exterior of the closed altarpiece. Isenbrandt's grisaille work demonstrates his mastery of tonal control, the subtle modulation of grey tones creating convincing three-dimensional illusion. The combination of grisaille exterior and polychrome interior gave the diptych a theatrical quality of revelation when opened for devotional use.

The panel depicts the grieving Virgin with the symbolic seven swords of sorrow, rendered with Isenbrandt's characteristically refined and emotionally restrained technique. The smooth paint surface and delicate modeling continue the Bruges devotional tradition.