https://en.wikipedia.org/wiki/Jan_van_Eyck
他的一些畫 (前年有大展)，如
AI Overview
"Sucker of detail" isn't a standard English phrase, but it likely means someone who is easily deceived by details (a fool) or, more commonly, someone who is excessively fond of something specific (a "sucker for" details), getting caught up in them despite potential downsides, often humorously. It plays on the slang meaning of "sucker" as someone gullible or overly enthusiastic, not necessarily a detail-oriented person.
Marian iconography
Except the 'Ghent Altarpiece,' Van Eyck's religious works feature the Virgin Mary as the central figure. She is typically seated, wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the hem of her dress in a manner that recalls the 13th-century Byzantine tradition of the Eleusa icon (Virgin of Tenderness).[33] She is sometimes shown reading a Book of Hours. She usually wears red. In the 1432 Ghent Altarpiece Mary wears a crown adorned with flowers and stars. She is dressed as a bride, and reads from a girdle book draped with green cloth,[34] perhaps an element borrowed from Robert Campin's Virgin Annunciate.[35] The panel contains a number of motifs that later reappear in later works; she is already Queen of Heaven, wearing a crown adorned with flowers and stars. Van Eyck usually presents Mary as an apparition before a donor kneeling in prayer to the side.[36][37] The idea of a saint appearing before a layperson was common in Northern donor portraits of the period.[36] In Virgin and Child with Canon van der Paele (1434–1436), the Canon seems to have just paused momentarily to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.[38]
.webp)
Mary's role in his works should be viewed in the context of the contemporary cult and veneration surrounding her. In the early 15th century Mary grew in importance as an intercessor between the divine and members of the Christian faith. The concept of purgatory as an intermediary state that each soul had to pass through before admission to heaven was at its height.[39] Prayer was the most obvious means of decreasing time in limbo, while the wealthy could commission new churches, extensions to existing ones, or devotional portraits. At the same time, there was a trend towards the sponsorship of requiem masses, often as part of the terms of a will, a practice that Joris van der Paele actively sponsored. With this income he endowed the churches with embroidered cloths and metal accessories such as chalices, plates and candlesticks.[40]
Eyck usually gives Mary three roles: Mother of Christ; the personification of the "Ecclesia Triumphans"; or Queen of Heaven.[41]
The idea of Mary as a metaphor for the Church itself is especially strong in his later paintings. In Madonna in the Church she dominates the cathedral; her head is almost level with the approximately sixty feet high gallery.[41] Art historian Otto Pächt describes the interior of the panel as a "throne room" which envelops her as if a "carrying case".[42] This distortion of scale is found in a number of other of his Madonna paintings, including Annunciation. Her monumental stature borrows from the works of 12th- and 13th-century Italian artists such as Cimabue and Giotto, who in turn reflect a tradition reaching back to an Italo-Byzantine type and emphasises her identification with the cathedral itself. Art historians in the 19th century thought the work was executed early in van Eyck's career and attributed her scale as the mistake of a relatively immature painter. The idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941.[43] Till-Holger Borchert says that van Eyck did not paint "the Madonna in a church", but as "the Church".[44]
Van Eyck's later works contain very precise and detailed architectural details, but are not modeled on actual historical buildings. He probably sought to create an ideal and perfect space for Mary's apparition,[45] and was more concerned with their visual impact rather than physical possibility.[46]
沒有留言:
張貼留言