Jean Hey, 1490 - Margaret wa Austria - chapa nzuri ya sanaa

Je, tunawasilisha hapa bidhaa ya sanaa ya aina gani?

hii 15th karne artwork "Margaret of Austria" was painted by the kiume msanii Jean Hey in 1490. Toleo la asili la kazi ya sanaa hupima saizi: 12 7/8 x 9 1/8 in (sentimita 32,7 x 23) na ilitengenezwa na mbinu mafuta kwenye paneli ya mwaloni. Mchoro huo ni wa mkusanyo wa sanaa dijitali wa Makumbusho ya Metropolitan ya Sanaa, ambayo ni mojawapo ya makumbusho makubwa na bora zaidi ya sanaa duniani, ambayo yanajumuisha zaidi ya kazi milioni mbili za sanaa zilizochukua miaka elfu tano ya utamaduni wa dunia, kutoka historia ya awali hadi sasa na kutoka kila sehemu ya dunia.. Kwa hisani ya: Makumbusho ya Metropolitan ya Sanaa, New York, Mkusanyiko wa Robert Lehman, 1975 (kikoa cha umma). : Mkusanyiko wa Robert Lehman, 1975. Zaidi ya hayo, upatanishi wa uzazi wa kidijitali uko ndani picha ya format na ina uwiano wa picha wa 1 : 1.4, ikimaanisha hivyo urefu ni 29% mfupi kuliko upana. Jean Hey was a male illuminator, painter of French nationality, whose art style was mainly Northern Renaissance. The French artist lived for a total of miaka 24 - aliyezaliwa ndani 1475 na alikufa mnamo 1499.

Maelezo ya kazi ya sanaa na tovuti ya makumbusho (© - na The Metropolitan Museum of Art - www.metmuseum.org)

The daughter of Emperor Maximilian I, Margaret of Austria was betrothed at the age of three to the infant dauphin Charles, the future Charles VIII, and served briefly as "queen of France" from 1483 to 1491. She is shown here around the age of ten, one year before she was repudiated by her intended husband. The initials C and M within the border of Margaret's collar (backwards C in the left border) probably signify their union. The chain of gold shells on her headdress may be part of the armorial insignia of the Bourbon dynasty with which she was then associated. The elaborate pendant of a pelican piercing its breast to draw blood with which to feed its young (the blood represented by the large hanging ruby), a symbol of Christian charity, alludes to the sitter's piety. These elements are mounted on a gold fleur-de-lis. Demonstrably showing her faith, Margaret holds a large gold filagree Paternoster bead of her rosary and looks to the right, presumably toward (what was originally) the object of her devotion. This panel likely formed the left of a diptych, whose right wing, now lost, may have represented a subject from Christ's Passion.

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