Koen G > 15-03-2018, 01:37 PM
davidjackson > 15-11-2018, 09:34 PM
MarcoP > 16-11-2018, 02:50 PM
Searcher > 05-01-2021, 09:55 PM
Quote:It is said that on a journey back from mass on the feast day of St John the Evangelist, King Edward was stopped by a beggar asking for Alms, or money for the poor. The King who had no money on him, took a ring from his finger and gave it to the man.Some time later, two pilgrims in Jerusalem met an old man who asked them to return the ring that he had been given by the king. He told them that in six months, the King would come to live with him. When the pilgrims asked who he was, the man replied ‘St John the Evangelist.’ Supposedly, this happened six months before King Edward died.
Koen G > 05-01-2021, 10:43 PM
Aga Tentakulus > 06-01-2021, 06:00 AM
Aga Tentakulus > 06-01-2021, 06:05 AM
Searcher > 06-01-2021, 02:12 PM
(05-01-2021, 10:43 PM)Koen G Wrote: You are not allowed to view links. Register or Login to view.So am I correct understanding that rings go with marriage and betrothal, but can also be seen as independent symbols of love? Or must they always accompany an official union?
Quote:Another ring, though not a lady, is found in Van Eyck's famous You are not allowed to view links. Register or Login to view.. I had always learned that ring indicated the anonymous man's occupation as a jeweler, though apparently this view has recently changed in favor of a betrothal. It was finished in 1430. Similarly, a ring is held by Jan de Leeuw in another portrait by Van Eyck; in this case, the ring supposedly does symbolize his occupation as a goldsmith. However, given the sitter's seductive gaze towards the viewer, I think here too a portrait for his betrothed is more likely.
Quote:Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family.This latter theory is supported by the panel's near miniature dimensions; such a small size would have been easily packed and transported to the intended's family.
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Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability