DOCSLIB.ORG

The Place and Space of a Donator in Late Medieval Devotional Art the Reciprocal Nature of the Living and the Dead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Place and Space of a Donator in Late Medieval Devotional Art the Reciprocal Nature of the Living and the Dead The Place and Space of a Donator in Late Medieval Devotional Art The Reciprocal Nature of the Living and the Dead Maria Luiza Pietraszek Master Thesis in Art History at the Department of Linguistic, Literary and Aesthetic Studies, Humanistic Faculty Bergen University Supervisor: Associate Professor Henning Laugerud Autumn 2019 Abstract This thesis examines the place and space of the donator in late Medieval Art. The first part of this study investigates the supplicants’ relations and interactions based on their position within an artwork. I analyze the importance of being visible and its connection with the act of devotion, as the space that the donor is occupying and sharing with the other depicted figures. I try to find the patterns and the rules governing the ways in which the commissioners are portrayed. To illustrate this aspect, I will use the concept of memoria and care for the here and the hereafter as well as its connection to the donor’s appearance. It is a three-way relation, a kind of pattern of influence where there is a supplicant, a regular churchgoer who is a spectator, and God himself. In the second part of my thesis, I to focus on the commissioners’ place in the society and the significance of being seen not only as a pious but also as a noble, rich and powerful person. The way in which donators attempted to present themselves, both for the here and the hereafter, apparently played a significant role in the medieval devotional art. The third part approaches the question of donators’ visibility for the sake of their salvation. The issue examined is how being a part of sacred narratives influence the time spent in Purgatory and all the actions the donators took in order to be seen. They wanted to be visible, remembered and prayed for. Furthermore, I will present the discussion related to the terminology of patronage in Medieval Art studies. The analysis conducted shows that being visible is strictly connected with the desire of salvation. Depiction, position, place and space of the figures is deeply related to care for the here and the hereafter and the necessity of being close to God hereafter is stronger than vanity in here. ii Acknowledgments Working on this thesis was both a curse and a blessing. First of all, it was an eventful journey. The research took me to the places (and spaces) I have never thought I would visit. Firstly, I would like to thank my supervisor, Associate Professor Henning Laugerud for his amazing tutelage, sharing his experience and having enough patience. I would like to thank my sister Agnieszka Os for each and every of time she had to correct my English. It would not be possible without the support of Kasia, Knut Matias and Peter. And finally, I would like to thank all my friends and family who did not ask me about the submitting date and waited patiently until I finish. iii Contents Introduction ................................................................................................................................... 1 Background ............................................................................................................................. 1 Research Questions ................................................................................................................. 2 Theory and Method ................................................................................................................. 6 Spectator ................................................................................................................................. 7 Artwork ................................................................................................................................... 9 Setting ................................................................................................................................... 11 Material ................................................................................................................................. 11 Disposition ............................................................................................................................ 12 Understanding of Medieval Art ............................................................................................ 14 Understanding of patronage .................................................................................................. 16 Understanding of Devotion ................................................................................................... 18 Part I ............................................................................................................................................ 21 Donator’s Space and Place within the Artwork ....................................................................... 21 Chapter 1 ................................................................................................................................... 22 Space ......................................................................................................................................... 22 Church, Chapel, Painting ...................................................................................................... 25 Borders: Frames, Cracks, Rivers and Walls ......................................................................... 25 Separation and Unification: Virgin and Child with Chancellor Nicolas Rolin .................... 29 Visions .................................................................................................................................. 31 Chapter 2 ................................................................................................................................... 35 Placement .................................................................................................................................. 35 Panofsky’s Law and its Opponents ....................................................................................... 36 iii Gerard David’s Diptych of Bernardijn Salvati ..................................................................... 38 Original Placement of Virgin and Child with Chancellor Nicolas Rolin ............................. 39 Now I can see… The Eucharist in Iconography ................................................................... 41 Narratives .............................................................................................................................. 43 One Working Whole ............................................................................................................. 44 Part II ........................................................................................................................................... 47 Donators Place in Society ........................................................................................................... 47 Chapter 3 ................................................................................................................................... 48 The Significance of Being Visible - HERE .............................................................................. 48 Nobles ....................................................................................................................................... 48 Pious and Powerful ............................................................................................................... 48 Lay Popularization of Visions .............................................................................................. 50 Burghers .................................................................................................................................... 52 Boosting One’s Social Status ................................................................................................ 52 Omitted Purse........................................................................................................................ 54 Two Rolins ............................................................................................................................ 56 Materialization of Social Aspirations - Confirmation of the Social Status .......................... 57 Part III ......................................................................................................................................... 60 Donator’s Hopeful Place in Heaven .......................................................................................... 60 Chapter 4 ................................................................................................................................... 61 Significance of Being Visible - HEREAFTER ......................................................................... 61 Purgatory and Indulgences .................................................................................................... 61 Memoria ................................................................................................................................ 63 Location ................................................................................................................................ 66 Surrogate Self........................................................................................................................ 67 iv Likeness ................................................................................................................................ 69 Realism ................................................................................................................................. 70 Devotio
Load more

Recommended publications
  • Russian Christian Orthodox Icons of the Mother of God George Contis M.D
    University of Dayton eCommons Marian Library Art Exhibit Guides Spirituality through Art 2015 Russian Christian Orthodox Icons of the Mother of God George Contis M.D. Follow this and additional works at: https://ecommons.udayton.edu/ml_exhibitguides Recommended Citation Contis, George M.D., "Russian Christian Orthodox Icons of the Mother of God" (2015). Marian Library Art Exhibit Guides. 5. https://ecommons.udayton.edu/ml_exhibitguides/5 This Exhibit Guide is brought to you for free and open access by the Spirituality through Art at eCommons. It has been accepted for inclusion in Marian Library Art Exhibit Guides by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H . Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H. Booklet created for the exhibit: Icons from the George Contis Collection Revelation Cast in Bronze SEPTEMBER 15 – NOVEMBER 13, 2015 Marian Library Gallery University of Dayton 300 College Park Dayton, Ohio 45469-1390 937-229-4214 All artifacts displayed in this booklet are included in the exhibit. The Nativity of Christ Triptych. 1650 AD. The Mother of God is depicted lying on her side on the middle left of this icon. Behind her is the swaddled Christ infant over whom are the heads of two cows. Above the Mother of God are two angels and a radiant star. The side panels have six pairs of busts of saints and angels. Christianity came to Russia in 988 when the ruler of Kiev, Prince Vladimir, converted.
    [Show full text]
  • Sex, Lies, and Mosaics: the Zoe Panel As a Reflection of Change in Eleventh-Century Byzantium*
    SEX, LIES, AND MOSAICS: THE ZOE PANEL AS A REFLECTION OF CHANGE IN ELEVENTH-CENTURY BYZANTIUM* Brian A. Pollick, University of Victoria Abstract The stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a case study about such change and how a unique set of social forces in the early eleventh century induced cultural change that resulted in new visual forms. The subject of this case study is the mosaic known as The Zoe Panel, located in the South Gallery of the Hagia Sophia in Constantinople. The panel depicts the Emperor Constantine IX presenting a bag of money to the enthroned Christ, while the Empress Zoe presents an imperial scroll probably signifying an ongoing grant. Although there has been much written about this mosaic, the fact that the moneybag and imperial scroll represent two new iconographic elements in imperial portraits has gone largely unnoticed. This study argues that the appearance of these new iconographic features is a direct reflection of the specific dynastic, economic and social circumstances in the Byzantine Empire in the early eleventh century. he stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a Tcase study about such change and examines how a unique set of political, economic and social forces in the early eleventh century induced socio-cultural change that resulted in new visual forms.
    [Show full text]
  • Dositheos Notaras, the Patriarch of Jerusalem (1669-1707), Confronts the Challenges of Modernity
    IN SEARCH OF A CONFESSIONAL IDENTITY: DOSITHEOS NOTARAS, THE PATRIARCH OF JERUSALEM (1669-1707), CONFRONTS THE CHALLENGES OF MODERNITY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Christopher George Rene IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Adviser Theofanis G. Stavrou SEPTEMBER 2020 © Christopher G Rene, September 2020 i Acknowledgements Without the steadfast support of my teachers, family and friends this dissertation would not have been possible, and I am pleased to have the opportunity to express my deep debt of gratitude and thank them all. I would like to thank the members of my dissertation committee, who together guided me through to the completion of this dissertation. My adviser Professor Theofanis G. Stavrou provided a resourceful outlet by helping me navigate through administrative channels and stay on course academically. Moreover, he fostered an inviting space for parrhesia with vigorous dialogue and intellectual tenacity on the ideas of identity, modernity, and the role of Patriarch Dositheos. It was in fact Professor Stavrou who many years ago at a Slavic conference broached the idea of an Orthodox Commonwealth that inspired other academics and myself to pursue the topic. Professor Carla Phillips impressed upon me the significance of daily life among the people of Europe during the early modern period (1450-1800). As Professor Phillips’ teaching assistant for a number of years, I witnessed lectures that animated the historical narrative and inspired students to question their own unique sense of historical continuity and discontinuities. Thank you, Professor Phillips, for such a pedagogical example.
    [Show full text]
  • Full Program & Logistics Hna 2018
    Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Curriculum Vitae of Maryan Wynn Ainsworth
    Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research
    [Show full text]
  • The Circumcision
    1969 Washington: no. 20. by 1669.2 Probably Isaak van den Blooken, the Netherlands, 1974 Hasselgren: in, 127, 131, 195, 198, no. G 53, by 1707; (sale, Amsterdam, 11 May 1707, no. 1). Duke of repro. Ancaster, by 1724;3 (sale, London, March 1724, no. 18); 1975 NGA: 284, 285, no. 77, repro. Andrew Hay; (sale, Cock, London, 14 February 1745, no. 1978 Bolten and Bolten-Rempt: 202, no. 549, repro. 47); John Spencer, 1st Earl of Spencer [1734-1783], Althorp 1984/1985 Schwartz: 339, no. 396, repro. (also 1985 House; inherited through family members to John Poyntz, English ed.). 5th Earl of Spencer [1835-1910]; (Arthur J. Sulley & Co., 1985 NGA: 330, repro. London); Peter A. B. Widener, Lynnewood Hall, Elkins 1986 Sutton: 314. Park, Pennsylvania, by 1912; inheritance from Estate of 1986 Tumpel: 413, no. 217, repro. Peter A. B. Widener by gift through power of appointment 1986 Guillaud and Guillaud: 362, no. 416, repro. of Joseph E. Widener, Elkins Park. 1990 The Hague: no. 53. Exhibited: Exhibition of Paintings, Leeds Art Gallery, Leeds, 1868, no. 735. Rembrandt: Schilderijen Bijeengebracht ter Ge- lengenheid van de Inhuidiging van Hare Majesteit Koningin Wil- 1942.9.60 (656) helmina, Stedelijk Museum, Amsterdam, 1898, no. 115. Winter Exhibition of Works by Rembrandt, Royal Academy, Lon­ don, 1899, no. 5. Washington 1969, no. 22. Rembrandt and the Rembrandt van Rijn Bible, Fukuoka Art Museum, Fukuoka; National Museum of Modern Art, Kyoto, 1987, no. 11. The Circumcision 1661 THE ONLY MENTION of the Circumcision of Christ Oil on canvas, 56.5 x 75 (22/4 x 29/2) occurs in the Gospel of Luke, 2:15-22: "...the Widener Collection shepherds said one to another, Let us now go even Inscriptions unto Bethlehem And they came with haste, and At lower right: Rembrandt, f 1661 found Mary and Joseph, and the babe lying in a manger— And when eight days were accomplished Technical Notes: The original support, a medium-weight, for the circumcising of the child, his name was called loosely woven, plain-weave fabric, has been lined with the tacking margins unevenly trimmed.
    [Show full text]
  • MEDIEVAL and EARLY RENAISSANCE Anonymous
    MEDIEVAL AND EARLY RENAISSANCE Anonymous (French) Illuminated page from a Psalter in Latin, ca. 1200-1210 Ink, Pigments and gold on parchment 2002.15 Gilbreath-McLorn Fund This page comes from a Psalter, a bound collection of the 150 Psalms, which provided medieval readers with tools for private and communal devotions. Stylistically, this leaf resembles other manuscripts produced in Northeastern France, Paris and England during the reign of the French monarch Philip Augustus (1179-1223). The script is written in a Gothic liturgical hand, and the large illuminated initials and painted line-endings were created at the same time as the text. The Verso linear penwork in-fills and flourishes were probably added after 1250. The high quality of the decoration, together with the lavish use of gold and lapis blue, indicates that this page comes from a book made for a member of the royal court or a high- ranking cleric. (MAA 11/05) Recto MAA 6/2012 Docent Manual Volume 2 Medieval and Early Renaissance 1 MEDIEVAL AND EARLY RENAISSANCE Anonymous (Netherlandish) Adoration of the Magi from a Book of Hours, ca. 1480 Ink, pigments and gold on parchment 2003.1 Gilbreath-McLorn Museum Fund In the fifteenth and sixteenth centuries, a fashion developed among wealthy Europeans for lavishly illustrated Books of Hours. These manuscripts contained psalms and prayers for recitation and devotions throughout the eight canonical hours of the day. In Books of Hours devoted to the Virgin Mary, an image of The Adoration of the Magi traditionally accompanies the text for sext, to be read during the mid-afternoon.
    [Show full text]
  • Buildings in Their Patrons' Hands? the Multiform Function of Small Size
    Transkulturelle Perspektiven 3/2014 - 1 - و Maria Cristina Carile Buildings in their patrons’ hands? The multiform function of small size models between Byzantium and Transcaucasia The representation of the church model in the hands order to understand the value of these models after of the church's patron or founder finds its roots in the the twelfth century – following the chronological frame arts of Late Antiquity. Since the sixth century, this mo- of this volume – it is important to determine their im- tif adorned church apses, as an image of offering to portance in Caucasian visual culture, first tracing the Christ or the Virgin. 1 Later, it became a strong iconic evolution of the donation image. This will help us to image conveying the role of the patron/founder in the evaluate the meaning of architectural models in the construction and his devotion, which was embodied changed historical context of the Transcaucasian in the model as well as in the building itself. As such, principalities between the late twelfth and the thir- the theme had particular fortune in medieval Rome teenth centuries, when architectural models on and spread to the East as far as the Caucasus. After church walls were enriched with new meanings. the Latin conquest of Constantinople during the fourth crusade (1204 AD), the motif was widely adopted in The first appearance of the motif in the Transcaucasi- the Balkans and in the territories in close contact with an area probably dates back to the sixth century. This Byzantium. 2 This paper will focus on church models is testified by a now-lost sculpted relief with the im- as a motif, reflecting on their spread and role in the age of a woman holding a church model, which may decoration of the external façades of the churches in have decorated the outer walls of the cathedral com- the Caucasus and, specifically, in the area of Trans- plex at Agarak (region of Ayrarat), formed by a fifth- or caucasia.
    [Show full text]
  • Early Modern Burgundian Hospitals As Catalysts of Independent Political Activity Among Women: Lay Nurses and Electoral Empowerment, 1630- 1750
    Early Modern Burgundian Hospitals as Catalysts of Independent Political Activity Among Women: Lay Nurses and Electoral Empowerment, 1630- 1750 Kevin C. Robbins Indiana University – Purdue University Indianapolis This essay investigates the largest secular healthcare network in early modern Europe in which lay women took vital roles as professional nurses, pharmacists of renown, and powerful, highly conscientious administrators. By 1750, this organization encompassed at least fifty-five municipal and charity hospitals of varying size located in towns throughout eastern France and western Switzerland. These hospitals were all direct outgrowths of the remarkable Hôtel-Dieu (les hospices civils) in the Burgundian town of Beaune and its institutional satellites. At each site, patient care, nurse training, pharmacology, and many aspects of internal governance became the responsibility of an extensive, closely bound consorority of lay women trained under and showing enduring fidelity for centuries to the secular governing rules of the mother-house in Beaune. My study is a comparative one. It relates notable confrontations between lay female nurses and potent external antagonists at the highest echelons of the French clergy. The hospitals involved are the civil hospital of Chalon-sur-Saône (also known as the Hôpital de St. Laurent) and the Hôtel-Dieu of Dole in the adjoining province of Franche-Comté. At both sites, the nurses and their internal, secular protocols of politics and governance drawn from Beaune became the targets of senior Catholic prelates intent on remaking and controlling the nurses' vocation. These churchmen both misunderstood the lay status of the nurses and entirely underestimated their resolute, resourceful defense of their ancient electoral and administrative liberties.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Rolin Madonna" and the Late-Medieval Devotional Portrait Author(S): Laura D
    Surrogate Selves: The "Rolin Madonna" and the Late-Medieval Devotional Portrait Author(s): Laura D. Gelfand and Walter S. Gibson Source: Simiolus: Netherlands Quarterly for the History of Art, Vol. 29, No. 3/4 (2002), pp. 119-138 Published by: Stichting voor Nederlandse Kunsthistorische Publicaties Stable URL: http://www.jstor.org/stable/3780931 . Accessed: 17/09/2014 15:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art. http://www.jstor.org This content downloaded from 146.201.208.22 on Wed, 17 Sep 2014 15:52:43 PM All use subject to JSTOR Terms and Conditions I 19 Surrogateselves: the Rolin Madonna and the late-medieval devotionalportrait* LauraD. Gel/andand Walter S. Gibson TheMadonna of Chancellor Rolin (fig. i), paintedby Jan vanEyck omitted in thefinal painting, for what reason van Eyckabout I435, has longattracted great interest, we can onlyspeculate.3 Hence, it has been generally notonly for its spellbinding realism and glowingcolor, supposedthat Rolin's pious demeanor, his prayer book, butalso for the chancellor's apparent temerity in having and his audiencewith the Queen of Heaven and her himselfdepicted as prominentlyas the Virginand Child representlittle more than an elaborateeffort at Child,kneeling in their presence unaccompanied by the self-promotiondesigned to counter the negative reputa- usualpatron saint.
    [Show full text]