Aragon – Triptych with Scenes from the Life of St. George * Los Angeles County Museum of Art (LACMA)

The triptych presents a complex narrative structure organized around a central, elevated panel and flanked by two symmetrical wings. The overall composition is characterized by a hierarchical arrangement, with the central scene commanding immediate attention due to its placement and scale.
Here we see a depiction of a crucifixion at the apex of the central panel. Christ’s body hangs suspended against a backdrop of dense foliage, rendered in a manner that emphasizes his suffering. Two figures are positioned below him; one appears to be the Virgin Mary, draped in pink robes, while the other is likely Mary Magdalene, identifiable by her traditional attributes. The scene conveys a sense of solemnity and piety, typical of devotional art intended for private contemplation.
The wings extend outwards from this central focus, each divided into two registers. On the left wing, the upper register shows what appears to be a gathering or procession beneath an architectural structure, possibly a church or palace. Below it, a figure on horseback confronts a serpentine creature emerging from a landscape of undulating hills and vegetation. The rider is clad in armor and carries a banner displaying a cross-like emblem. This central confrontation dominates the lower register, suggesting a narrative of triumph over adversity.
The right wing mirrors the left in its structure. The upper register depicts another gathering or procession beneath an architectural structure similar to that on the left wing. Below it, a scene portrays a figure being led away by armed guards, seemingly towards a form of execution or punishment. This image is balanced by a parallel scene showing what appears to be a lamentation or mourning group gathered around a body laid out on a cloth.
The color palette is dominated by earth tones – ochres, browns, and greens – with accents of red and pink used for clothing and symbolic elements. The gold leaf background contributes to the overall sense of richness and sacredness.
Subtexts within this work suggest a layered meaning beyond the immediate narrative. The juxtaposition of scenes from Christ’s Passion with episodes involving the figure on horseback implies a parallel between sacrifice, suffering, and heroic action. The repeated architectural settings may represent earthly power structures or institutions that both witness and are implicated in these events. The presence of numerous figures within each register suggests a broader community involved in the unfolding narratives – witnesses, participants, and mourners all contributing to the overall emotional impact. The composition’s symmetry reinforces the idea of divine order and balance amidst human drama.