Jean Hey, 1490 - Avstriyalı Marqaret - təsviri sənət çapı

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bu 15th əsr artwork "Margaret of Austria" was painted by the kişi rəssam Jean Hey in 1490. Bədii əsərin orijinal versiyası ölçüsünü ölçür: 12 7/8 x 9 1/8 düym (32,7 x 23 sm) və ilə hazırlanmışdır texnika palıd panelində yağ. Əsər rəqəmsal incəsənət kolleksiyasına aiddir Böyükşəhər İncəsənət Muzeyi, dünyanın ən böyük və ən gözəl sənət muzeylərindən biri olan, tarixdən əvvəlki dövrdən bu günə qədər və dünyanın hər yerindən beş min illik dünya mədəniyyətini əhatə edən iki milyondan çox sənət əsərini özündə əks etdirən.. Nəzakətlə: Metropolitan İncəsənət Muzeyi, Nyu-York, Robert Lehman Kolleksiyası, 1975 (ictimai domen). : Robert Lehman kolleksiyası, 1975. Bundan əlavə, rəqəmsal reproduksiyanın uyğunlaşdırılması var portret format və 1 : 1.4 təsvir nisbətinə malikdir, yəni uzunluğu enindən 29% qısadır. 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 24 il - anadan olub 1475 və 1499-cı ildə vəfat etmişdir.

Muzeyin veb saytında sənət əsərlərinin spesifikasiyası (© - Metropolitan İncəsənət Muzeyi tərəfindən - 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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