DOI Page / Citation link:
https://doi.org/10.11588/diglit.42081#0093
and we will see the nose painted in the same way, with
a strongly - defined flat part, the same way of tracing the
highly arched eyebrows, the modeling of the chin, cheek and
forehead are also similar, the rather bony hands with clearly
defined nails are likewise very nearly related, t-1-■*——
38 In this work we have an excellent specimen of what tradi -
tional painting may have been, in Bruges, in the early years
of the 16th. century. It appears to be haunted by memories
and burdened with formulae which go back scarcely altered
to the first thirty years of the preceding century. The bench
below the window with the two cushions, the vase with the
lily, the half - opened door, does not all this come more or
less straight from the Master of Flemalle ? The bed recalls
the pictures of the Annunciation by Van der Weyden, the
most personal detail would perhaps be the still - life painting
of the utensils arranged on the chest, and which by their
form and material (earthenware) seem to differ from details
of the same kind as used in the 15th. century; doubtless,
they have been copied from nature, i-1-1---t-
35 We see thus by the two pictures we have been examining,
that besides the seeking of Gerard David and the innovations
which were soon to be introduced by Jean Provost, there
were, in Bruges, a number of artists who, having lost all
creative power, were content to ransack the past and live
on borrowed inspirations and on copies. By the excellence of
their craft they were still able, however, to create fine pages
such as those we are now studying, and this is not to be
— 89
a strongly - defined flat part, the same way of tracing the
highly arched eyebrows, the modeling of the chin, cheek and
forehead are also similar, the rather bony hands with clearly
defined nails are likewise very nearly related, t-1-■*——
38 In this work we have an excellent specimen of what tradi -
tional painting may have been, in Bruges, in the early years
of the 16th. century. It appears to be haunted by memories
and burdened with formulae which go back scarcely altered
to the first thirty years of the preceding century. The bench
below the window with the two cushions, the vase with the
lily, the half - opened door, does not all this come more or
less straight from the Master of Flemalle ? The bed recalls
the pictures of the Annunciation by Van der Weyden, the
most personal detail would perhaps be the still - life painting
of the utensils arranged on the chest, and which by their
form and material (earthenware) seem to differ from details
of the same kind as used in the 15th. century; doubtless,
they have been copied from nature, i-1-1---t-
35 We see thus by the two pictures we have been examining,
that besides the seeking of Gerard David and the innovations
which were soon to be introduced by Jean Provost, there
were, in Bruges, a number of artists who, having lost all
creative power, were content to ransack the past and live
on borrowed inspirations and on copies. By the excellence of
their craft they were still able, however, to create fine pages
such as those we are now studying, and this is not to be
— 89