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Early Flemish Portraits 1425-1525: The Metropolitan Museum of Art ...

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2. According to legend, Saint<br />

Luke was a painter and depicted<br />

the Virgin Mary at least once. In<br />

this work <strong>of</strong> about 1435-40 by<br />

Rogier van der Weyden, Luke<br />

draws her portrait in silverpoint.<br />

<strong>The</strong> composition <strong>of</strong> the painting is<br />

freely adapted from one by Jan van<br />

Eyck in the Louvre thatfeatures a<br />

portrait <strong>of</strong> the donor Nicholas<br />

Rolin praying to the Virgin and<br />

Child. It has been suggested that<br />

this work, and two other versions,<br />

in the Alte Pinakothek, Munich,<br />

and the State Hermitage <strong>Museum</strong>,<br />

Leningrad, are contemporary exact<br />

copies <strong>of</strong> a lost original by van der<br />

Weyden. <strong>Museum</strong> <strong>of</strong> Fine <strong>Art</strong>s,<br />

Boston, Gift <strong>of</strong> Mr. and Mrs.<br />

Henry Lee Higginson, 93.153<br />

venerated. <strong>The</strong> image owes its appeal to an especially<br />

tender treatment <strong>of</strong> the subject, with<br />

mother and child embracing cheek to cheek,<br />

but the source <strong>of</strong> its subsequent fame was its<br />

reputation for effecting miracles. In 1454 a<br />

member <strong>of</strong> the cathedral chapter commis-<br />

sioned Petrus Christus to make three copies <strong>of</strong><br />

the picture, and in the next year he ordered<br />

from Hayne de Bruxelles twelve more, one <strong>of</strong><br />

which is generally considered to be a picture in<br />

Kansas City (fig. 4). <strong>The</strong> <strong>Museum</strong>'s exceptionally<br />

fine Virgin and Child by Dieric Bouts<br />

(fig. 5) is obviously derived from the same<br />

model, although slightly removed. This work<br />

is remarkable for its natural detail-the com-<br />

monness <strong>of</strong> the Virgin's hands, for instance-<br />

yet its dependence upon what the artist quite<br />

possibly believed to be an authentic portrait <strong>of</strong><br />

the Virgin cannot be denied.<br />

Can we question whether Bouts considered<br />

this work to be a portrait It is not, <strong>of</strong> course.<br />

<strong>The</strong> difference between Bouts's Virgin and<br />

Child and a true portrait lies not so much in<br />

the religious theme <strong>of</strong> the subject as in the<br />

relationship between the artist and the subject.<br />

<strong>The</strong> difference in the relationship can be<br />

demonstrated by comparing the Bouts to the<br />

<strong>Museum</strong>'s Portrait <strong>of</strong> a Carthusian by Petrus<br />

Christus (figs. 6, 28), dated 1446. Because <strong>of</strong><br />

the incised gold halo, it has been suggested

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