Hans Memling

1470年

Tommaso di Folco Portinari (1428–1501); Maria Portinari (Maria Maddalena Baroncelli, born 1456)

メトロポリタンのサイトにデータと超細密画像あり。

The clever balance of verisimilitude and idealization in the features of this pair made Hans Memling the most sought-after portraitist of his day. The Florentine Tommaso Portinari was the branch manager of the Medici bank in Bruges, and probably commissioned these portraits from Memling upon the couple’s marriage in 1470. They originally formed a triptych with a central devotional image of the Virgin and Child. Beyond demonstrating the couple’s piety, Maria’s elaborate necklace and gown display their wealth and social status. Memling places the sitters before illusionistic frames, an innovation suggesting that the figures project into our space.

とてもうまくできた作品です。鮮明で素晴らしいです。緻密で丁寧です。グラデーションも素晴らしい出来栄えです。輪郭は明瞭。二人は見つめ合っているようでもあり、二人は神の方を見つめているようでもあります。静謐な印象があります。二人は手を合わせています。それは敬虔さを表します。合わせた左右の手は、鏡像のように見えます。

超細密画像で拡大して見たい作品です。

1475年

Portrait of an Old Man

とても緻密で、メムリンクが肖像画としても極めて優れていることがわかります。シワヒゲまでも細かく描いています。（若干、修復の仕方にもよるでしょうが）

This sympathetic portrayal of an elderly man once formed a diptych with a portrait of an old woman (Museum of Fine Arts, Houston). Unlike the portraits of Tommaso and Maria Portinari displayed nearby, the two pictures were not parts of a devotional painting but were created with the idea of preserving the appearances of the sitters as they neared the end of their lives, a function of portraiture that became increasingly popular in the sixteenth and seventeenth centuries.