PICRYL
PICRYL

The World's Largest Public Domain Source

  • homeHome
  • searchSearch
  • photo_albumStories
  • collectionsCollections
  • infoAbout
  • star_rateUpgrade
  • account_boxLogin
Margaret of Austria

Margaret of Austria

  • save_altThumbnail200x200
  • save_altSmall454x640
  • save_altMedium726x1024
  • save_altLarge1134x1600
  • save_altOriginal1134x1600
description

Summary

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.
Jean Hey (called Master of Moulins) (Netherlandish, active fourth quarter 15th century)

The Dutch School painters can be dated as Early Netherlandish (1400–1500), Dutch Renaissance (1500–1584), and, later, Dutch Golden Age painting in the United Provinces. The detailed realism of Early Netherlandish painting, led by Robert Campin and Jan van Eyck in the 1420s and 1430s, is today generally considered to be the beginning of the early Northern Renaissance in painting. This style was greatly respected in Italy, but there was little reciprocal influence on the North until nearly the end of the 15th century. Despite frequent cultural and artistic exchange, the Antwerp Mannerists (1500–1530) were unrelated to Italian Mannerism. Among notable northern painters were highly individualistic artists such as Hieronymus Bosch and Pieter Bruegel the Elder who developed styles that were imitated by many subsequent generations. In the 16th century northern painters increasingly traveled to Italy, so the art of Michelangelo and Raphael and the late Renaissance Mannerism had a great impact on their work. Hieronymus Bosch and Geertgen tot Sint Jans are well-known examples of fifteenth- and sixteenth-century Dutch painters. In the northern Netherlands, the Reformation brought religious painting almost completely to an end. Portrait painting was slow to spread from the elite to new riches. By the end of the 16th century, artists such as Karel van Mander and Hendrik Goltzius collected in Haarlem in a brief but intense phase of Northern Mannerism that also spread to Flanders. Between 1605 and 1635 over 100,000 paintings were produced in Haarlem. Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, and Jan Steen are just a few names form the seventeenth century.

date_range

Date

1490
create

Source

The Metropolitan Museum of Art
copyright

Copyright info

Exploremargaret

Exploreoil paintings

Explorepanels