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Rolin Madonna" and the Late-Medieval Devotional Portrait Author(S): Laura D

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Rolin Madonna 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. Indeed, Georg van der Paele, a canon tionhe hadacquired at court.4 ofSt Donationin Bruges,was depicted kneeling before This readingof the picture was advanced long ago by the Virginwith Sts Georgeand Donatianin Janvan JohanHuizinga, who asked rhetorically: "are we to sus- Eyck's paintingOf 1436(fig. 2). Addingto Rolin'ssup- pect the presenceof a hypocriticalnature behind the posed effronteryis his apparentlack of spirituality.A countenanceof the donor of La vierge,Chancellor contemporary,Jacques du Clerque,said of him that he Rolin?"5And later writers have occasionally voiced sim- was "reputedto be one of thewisest men in theking- ilaropinions. Craig Harbison, for example, has suggest- dom,to speak temporally; with respect to the spiritual, I ed thatRolin is shownin theact of confessinghis sins shall remain silent."' The Burgundianchronicler (whoseparticulars are symbolizedby variousdetails in GeorgesChastellain said thathe "alwaysharvested on the painting);however, although "other patrons were earthas thoughearth was to be hisabode for ever."2 For portrayedreceiving priestly forgiveness, Rolin feels modernviewers, the chancellor'sreputation has not powerfulenough to receiveabsolution directly from beenimproved by thediscovery that he originallyhad Christ."6The ChristChild indeed raises his right hand attachedto his belt a fatpurse trimmed with gold, which in benediction,a gesture, as CraigHarbison notes, ren- * Someof the material in thisstudy was presented by Walter Gibson Deutungund Datierungder Rolin-Madonnades Jan van Eyck," at theSixteenth Century Studies Conference in Cleveland,November Stddeljahrbuch,N.F. I (i967), pp. 73-95, esp. p. 74. 20oo, andin a seminarconducted by John Onians at theUniversity of 3 A goodillustration in Harbison,op. cit.(note 2), p. 109, fig.75. East Angliain April2001. We are indebtedto thestudents and col- For Dhanens,the purse perhaps recalls Rolin's function as moneylen- leaguespresent on theseoccasions for their valuable comments and derto the dukes of Burgundy, and she compares it with the large purse suggestionsand, not least, for their encouragement. We wouldalso like carriedby Dino Rapondiin his sculpted effigy in the Church of Notre- to thankCharity Cannon Willard, Corine Schleif, Gregory T. Clark Dame, Dijon; see E. Dhanens,Hubert and Jan van Eyck,New York andWilliam W. Clarkfor their thoughtful critiques of earlier versions n.d.,p. 279 andfig. 174. John Ward notes that Rolin carries his purse in ofthis article. otherportraits of him; see J.L. Ward,"Disguised symbolism as enac- I The originaltext quoted by H. Pirenne,"Nicolas Rolin," in Bio- tivesymbolism in Van Eyck's paintings," Artibus et Historiae 29 (1994), graphieNationale de Belgique, Brussels I907, p. i9, col. 838,an English pp. 9-53,esp. p. 37. However,he is withoutit in his portraiton the translationinB. Rothstein,"On devotionas socialornament in Jan van BeauneLast Judgment byRogier van der Weyden. Eyck'sVirgin and Child with Chancellor Nicolas Ro/in," Dutch Crossing 4 For recentliterature on thispainting see H. Mundand C. Stroo, 24 (2000), pp. 96-132, esp.p. 107. The mostrecent biography of Rolin EarlyNetherlandish painting (1400-1500): a bibliography(i984-i998), is F. Pridat,Nicolas Rolin, Chancelier de Bourgogne, Dijon i996. Brussels i998, pp. 244-46. 2 Quotedin C. Harbison,Jan van Eyck: the play of realism, London 5 J.Huizinga, The autumn of the middle ages, trans. R.J. Payton and i99i, p. ii8. Chastellainseems to havedisliked Rolin not only for his U. Mammitzsch,Chicago i996, p. 357. worldlygreed but also forhis lowly social origins; see E. Kieser,"Zur 6 Harbison, op. cit. (note 2), pp. ioo-i8. 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 120 LAURA D. GELFAND AND WALTER S. GIBSON iJanvan Eyck, Madonna of Chancellor Rolin. Paris, Mus&e du Louvre 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 Surrogateselves: the Rolin Madonna and the late-medieval devotional portrait I2I 2 Ja va Eyc,Mdonn ofanonGeoge vn drPale,1436 BrgesGroningrnueur 2 Janvan Eyck, Madonna of Canon George van der Paele, 1436. Bruges,Groeningemuseum deredmore prominently in the final painting; originally piety,"one that"allows Rolin more or less publiclyto thehand had beenin a lowerposition.7 Elizabeth Dha- verifyan intangible-andfor his contemporaries, ques- nenssuggests that while the inscriptions on theVirgin's tionablepiety."9 robe(of which more later) contain honorific words and Noneof these proposals is implausible,and Chancel- phrasesusually applied to her,"it is possiblethat here lor Rolinmay indeed have been a proudand worldly thepower and elevationof Chancellor Rolin is intend- man.Nevertheless, any attempt to discernthe motives ed...,here is a strongimplication that the man kneeling thatled to his commissionof theRolin Madonna must beforethe Virgin has just read these texts and is awareof takeinto account more fully than hitherto the tradition his own importancein the schemeof things."8In a ofdevotional portraiture that developed in thelate mid- wide-ranginganalysis of the painting,Bret Rothstein dle ages.From the fourteenth century on, peoplewho considersit to be "a carefullyorchestrated display of commissionedreligious images increasingly had them- 7 Ibid., pp. I i6, 117, fig.76. 9 Rothstein,op. cit.(note i), quotedon pp. 105and 96 (in theab- 8 Dhanens, op. cit. (note 3), pp. 266-8i, quotationon p. 274. stractpreceding the article), respectively. 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 122 LAURA D. GELFAND AND WALTER S. GIBSON 3 Rogiervan der Weyden, Crucifixion altarpiece.Vienna, KunsthistorischesMuseum selvesdepicted in close proximityto holypersonages waysin which these "surrogate selves" functioned with- andsacred narratives. The prominenceof their portraits in late medievalsystems established to negotiatethe variedfrom what has been called "minimallyintru- perilousroad in the hereafter.We hope to showthat sive,''1?to somethingcloser to Rolin'spanel, in which ratherthan seeing Rolin's portrait exclusively as a mani- thedevotional figure occupied equal pictorial space with festationof his hypocrisyor his vainglory,we might thesacred personages. Such devotionalportraits occur morecorrectly understand it as an activeand engaged in severalforms," I of which two basic types are immedi- surrogateworking efficaciously toward his soul's salva- atelyrelevant to our understanding ofthe Rolin Madon- tion. na. These arethe donor portraits that occur in so many In thecase of altarpiecesand otherworks intended altarpieces,and theowner portraits that were included forpublic view (figs. 3, 4), donorportraits served vari- in booksof hours.'2This essayconsiders some of the ous purposessimultaneously. Several of these functions io See J. Naughton,"A minimally-intrusivepresence: portraits in I2 Anotherimportant group of devotional portraits occurs in the so- illustrationsfor prayers of the Virgin," in M.M. Manionand Bj. Muir calleddevotional diptychs, treated comprehensively byL.D. Gelfand, (eds.), Medieval textsand images:studies of manuscriptsfrom the middle Fifteenth-centuryNetherlandish devotional portrait diptychs: origins and ages,Chur etc. I999, pp. I I I-26. function(diss.), Case WesternReserve University 1994. The present i i For thedevotional portrait in generalsee B.G. Lane, Thedevel- articlewill, we hope,cast light on theirfunction, but this is a complex opmentof the
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