Jean Hey, 1490 - Margaret nke Austria - ọmarịcha nka

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a 15th narị afọ artwork "Margaret of Austria" was painted by the nwoke artist Jean Hey in 1490. Ụdị mbụ nke ọrụ nka tụrụ nha: 12 7/8 x 9 1/8 na (32,7 x 23 cm) na e mere ya na Usoro mmanụ na oak panel. Ihe osise a bụ nke nchịkọta nka dijitalụ nke Museumlọ ihe ngosi nka nke Obodo, nke bụ otu n'ime ụlọ ngosi ihe ngosi nka kachasị ukwuu na nke kachasị mma n'ụwa, nke gụnyere ihe karịrị nde abụọ ọrụ nka na-agbaso puku afọ ise nke omenala ụwa, site na prehistory ruo ugbu a na site n'akụkụ ọ bụla nke ụwa .. Site n'ikike nke: Ụlọ ihe ngosi nka nke Metropolitan, New York, mkpokọta Robert Lehman, 1975 (ngalaba ọha). : Nchịkọta Robert Lehman, 1975. Ọzọkwa, nhazi nke mmepụta dijitalụ dị n'ime Eserese format ma nwee oke onyonyo nke 1: 1.4, nke pụtara na ogologo bụ 29% mkpụmkpụ karịa obosara. 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 afọ - amuru n'ime 1475 ma nwụọ n’afọ 1499.

Nkọwapụta nka site na webụsaịtị ihe ngosi nka (© - nke Ụlọ ihe ngosi nka nke Obodo ukwu - 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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