Portrait of Anna de Bergh, Marquise de Veere
Maker and role
Artist: Jan Gossaert (called Mabuse), Flemish, 1478-1532 Year
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Anna’s prominence no doubt contributed to the existence of several known copies of this painting, notably at the Isabella Stewart Gardner Museum, Boston, and the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Most Renaissance portraits were made for the sitters’ family and friends. When exchanged among family and associates, they reinforced alliances. In many cases, collections of ancestral portraits validated the family’s antiquity. Another painting by Gossaert, Virgin and Child (Metropolitan Museum of Art, New York), depicts Anna and her son Hendric in a presentation representing the Virgin as the model of feminine virtue.
While Anna’s indirect gaze and pose are typical of women’s portraits, the three-quarter view of the figure is a clear departure from earlier profiles and is a direct influence of the scholarly endeavors promoted by Adolph’s great uncle, Philip of Burgundy, also an employer of Gossaert.
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