In a stylistically related picture, St Luke Drawing a Portrait of the Virgin (Boston, MA, Mus. F.A.; versions at Bruges, Groeningemus.; St Petersburg, Hermitage; and Munich, Alte Pin.), he offered homage to Jan van Eyck by adapting his composition from that of Jan’s Virgin and Child with Chancellor Rolin (Paris, Louvre). The resemblance was even more marked before Rogier painted out the underdrawn angel hovering above the Virgin’s head (Faries). A comparison between the two pictures shows how different were Jan’s and Rogier’s interests, for Rogier has closed the composition at the top and related its forms more closely to the shape of the panel by introducing more marked diagonal emphases, which once again echo the principal diagonals of the support. Less concerned than van Eyck with complex symbolism and with creating an illusion of spatial depth, he was more anxious to achieve a decorative perfection of abstract pattern and to convey the emotional reactions of his figures. Here this is especially evident in the awkward curling movements of the fingers and toes of the Child, who wriggles in delight as he looks at his mother.
Posted on: Fri, 21 Mar 2014 04:46:54 +0000
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