From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples.

中文翻译：

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正反面：两幅佛兰芒面板画的图案正面和大理石反面

从 15 世纪上半叶开始，带有大理石背面的面板画越来越多地出现在佛兰芒艺术中。这些面板的正面主要描绘了宗教叙事场景或肖像。背面装饰有抽象图案，称为大理石花纹。这些彩绘大理石仿品在设计方面通常与其他仿石示例不同，例如用于其他面板框架装饰的仿石示例。与这些暗示更大幻觉意图的框架不同，大理石反面似乎起到抽象装饰的作用。然而，本文提出，彩绘背面与正面的图画叙述在主题上联系在一起。Rogier van der Weyden 的《被钉十字架》和 Margareta van Eyck 的肖像的大理石背板将在亵渎神学图像的背景下进行考虑。两个面板的背面都可以识别为红色斑岩的模仿和液体涂料的代表。形而上学、材料语义学和神学参考资料将在图片示例中显示。