Jean Hey, 1490 - Margareta iz Avstrije - grafika

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Ta 15th stoletja artwork "Margaret of Austria" was painted by the moški umetnik Jean Hej in 1490. Prvotna različica umetniškega dela meri velikost: 12 (7 x 8 cm) 9/1 x 8 32,7/23 in in je bil narejen z tehnika olje na hrastovi plošči. Umetniško delo sodi v digitalno umetniško zbirko Metropolitanski muzej umetnosti, ki je eden največjih in najboljših umetniških muzejev na svetu, ki vključuje več kot dva milijona umetniških del, ki obsegajo pet tisoč let svetovne kulture, od prazgodovine do danes in z vseh koncev sveta .. Z dovoljenjem: Muzej umetnosti Metropolitan, New York, Zbirka Roberta Lehmana, 1975 (javna domena). : Zbirka Roberta Lehmana, 1975. Nadalje je poravnava digitalne reprodukcije v Ljubljani portret format in ima razmerje slike 1: 1.4, kar pomeni, da dolžina je 29% krajša od širine. 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 let - rojen v 1475 in umrl leta 1499.

Specifikacije umetniških del na spletni strani muzeja (© - Metropolitanski muzej umetnosti - 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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