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Rolin Madonna, the Flock of Cal Representative of Jewish Wisdom Old Testament Book Most Fi:E-­ P

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Rolin Madonna, the Flock of Cal Representative of Jewish Wisdom Old Testament Book Most Fi:E-­ P body consisting of layers of fixed pigment to the spatial Every being in the universe enjoys a illusion created by the portrayal on a two/dimensional unique quality, which it shares with no other being. surface--must be perceived as a living whole. NICHOLAS OF CUSA The greater the number of layers used to build up a painting, the more the painting loses in color repro/ duction. Van Eyck's illusionism is incapable of being III i 1contest!1 reproduced photomechanically. Responding to the View from Paradise which embarrassment of this situation by resorting to enlar edge an! ·. ment is the latest triumph of the "imaginary museum." o matter what process is used, The the eye,J Intimate portraits are blown up to life size in massive Madonna of Chancellor Rolin is not photo,, new bri illustrated books; landscapes and interiors are dismem/ worldq genie. In print, it seems to differ little from bered and monumentally swollen to the limits of what the their g1 any of the other great paintings of the detail.s screen process will bear--,as if sheer quantity could com/ period. The impression on seeing the orig,, 1 pensate for the lack of quality. But this does not bring us a way of inal in the Louvre is thus all the more overwhelming. Fae/ 1 An1 single millimeter closer to the open secret of a density that .ing the incomparable vividness of the "true appearance," lution / surpasses the capacity of human sight. you have to rub your eyes. The reverse of the Magritte title fiftee1: n'est pas un tableau springs to mind-because this .focus9 painting is a cosmos.I Europ1 In a space of less than 65 X 62.3 cm, the artist has cap,, As a\ tured the fullness of an entire world. The scene is the cool, Pano airy hall of a Romanesque,-looking palace, set on a hill other!! .. overlooking a town, countryside, and a river. The princi,, she s.k! palfigures: the work's patron, Nicolas Rolin, chancellor vivid J to>Philip the Good, is kneeling with his hands clasped techd a book of hours before the Virgin, who is presenting assu111 son to him. Above her head, with its parted hair, differ ing ill the Virgin's imposing crown, decorated with jewels . !b and held by an angel whose rainbow,,colored VlSl are studded with peacock,,feather eyes. The many,, Eyckj angel is perhaps gazing at the artist's repentance" at a techn level in the painting-the purse, later deleted, third: the g tions of underpainted layers in the and i painting; these can be revealed bum using· X,ray processes or infrared bokc photography. in lit ish fi " I2 / ,, I3 / which at first hung from the belt of the powerful and to the very end-dying sword in hand, in triumph unscrupulous upstart Rolin. over fortune.3 j According to Chastellain, Chancellor Rolin was a I J! man who tried There is no guardian angel to mediate between this embodiment of absolute earthly power and the incarna.... to govern everything entirely by himself, to have tion of divine wisdom. The viewer of the painting clearly everything passing through his own hands and at sees things that escape the person being portrayed; the his own discretion, whether it concerned war, Chancellor does not perceive what surrounds him. He is peace, or financial matters. The Duke counted on as large as the Virgin, and the chamber is too small in thei him in every respect, depending on him entirely as relation to him to be a real hall. His refined hands are suit., ne his principal advisor, and there was no office and no ably clasped, and he is posing with Stoic seriousness in a I w sinecure, either in the city or the co·untry, through,, heavy gold brocade coat trimmed with mink, which gives the out his whole realm, not one gift or loan, that was his figure a massive quality. In his features, with his dej not effected by him and executed by him and deeply furrowed brow and directionless, quite unreveren., W2 I dependent on him as the one person who had tial gaze, one suspects a touch of impatience over the charge of every matter. The confidence with which length of the sitting required of him for the portrait. lul the whole world honored him brought him profits Clearly he was a man of action, not of contemplation. A fij so inestimably great that none could name the fig., minor pentimento at the back of his neck reveals a late f ure, guess at it, or so much as believe it, so astound,, correction of a certain thickheadedness. History records a Ej 11 ing was its size ... This man was very wise in man obsessed with power, indomitable, filled with greed; worldly matters, but his path did not seem to yet the painting shows a human being in all his contradic,- I encompass both maxims of wise conduct. For the tory and enigmati uniqueness. No other painter could ·O s more he devoted himself to things that pass away have made him more Rolin,,like. Van Eyck's contempo,, and are fallible, the further he departed from that raries and successors might vie with the artist in repro., which is certain and worthy of consideration. He ducing costly materials-fabrics or furs that look as if the was forever reaping his harvest on this earth as if brush must have reconstructed them thread by thread and earthly life were eternal for him, and in this his hair by hair. But depicting human skin so that it gives a mind strayed from the path and his wisdom led him living, breathing effect was a different matter. In this, van into foolishness, since he could never keep himself Eyck was unrivaled. within measure and could not set for himself the Compared with the child's delicate skin and the limit in that next stage of existence that. his advanc,, . Madonna's girlish bloom, Rolin's complexion is coarse. ing years might have suggested to him. His nature was such that he would let no one rule in his place ' Georges Chastellain, Grande vol. 3, pp. 330-33I, cited after des Dues de Burgoyne, in Heinz Roosen,Runge, Die Rolin, so that he might pass into retirement peacefully, but ed. M. le baron Kervyn de Madonna des Jan van Eyck (Wies, strove to climb ever higher and multiply his wealth J.,cLJ,t:llll:ove (Brussels, r836--I866), baden,1972),p. r7- / 14 ., ., 15 ., The painter has studied the various textures of the epider., The panorama between the columns of the open mis with the eye of a geologist exploring the history of the arcade, extending from the little Garden of Paradise in earth's crust. "To him, what is smooth and straight is front of the palace as fur as the firmament, occupies all of emptiness and desolation."4 The living quality derives 32 X 28 cm. All over the nearby town, on the shining from small irregularities. Each special characteristic, no banks of the river, the rampart with its battlements, the matter how ephemeral, is recorded. There is a vein arching bridge with its tower, on the stairways, squares, 1co:. bulging under Rolin's shaven temple, his cheek is marked streets, and roads, there are tiny people busily going by a small wart, there is one curl resisting his circular about; some are on foot, others are on horseback or row., :ig hairstyle. ing in small barques across the river's gleaming mirror. It the! The peak of Rolins glittering career was the Treaty of seems to be a Sunday; houses, gardens, fields, and vine., ne Arras. The cross on the bridge in the distance is a refer., yards have all been tidied and arranged, all the work of woj ence to a clause in this peace treaty, which was intended to man is done. Now one can wander along the riverbank thei bring Burgundy's torments to a close. The cross was alone or in company, admiring the boats, peeping det! walk, mill wa1 erected on the bridge of Montereau to symbolize atone., down through the battlements to the colorful 5 I ment for the killing of John the Feacless, who had him., ·. bustle below or gazing into the bluish distance, where far., lut self turned murderer. The date of the peace treaty is off towns are shimmering like mirages below a range of fifi recorded on the tile at the very front of the painting: snow,covered mountains. Or one can stroll with one's twenty.,one light and dark squares correspond to the day, / partner along the winding path between the vineyards up fo4 fa and the nine at the center is the month. The painting must tothe wood on the hill, or chat to a neighbor under the Al therefore date from after 21 September 1435.6 lime...tree in a suburban square and visit friends and rela, pJ dons on the opposite bank, who are looking out of win, oJ dows or standing in doorways ready to receive their sh 4 Max J. Friedlander, Die Alt,, is the breach through which the nieder!Jindische Malerei (Berlin, I924), English penetrated France.' " (Jean guests. The many churches beckon to silent prayer-it is viJ p. I36. Markale, lsabeau de Baviere [Munich, not the hour for sermons. On the bend of the river te; 5 John the Fearless (137r-r4r9), 1994], p. 350.) /behind the island's enchanted castle, there are children o as the father of Philip the Good, was • C£ Emil Kieser, "Zur di involved in the murder of his cousin Datierung und Deutung der Rolin, the shore skimming flat stones across the smooth surface Madonna des Jan van Eyck," in u Louis of Orleans in Paris in r407.
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