DOI Page / Citation link:
https://doi.org/10.11588/diglit.42081#0104
here, we are very close to the « Virgin giving the Child a
glass to drink from », formerly in the Rodolphe Kann collection
in Paris, and to the « Virgin with the sleeping Child » in
the Fits William Museum at Cambridge. The hands, on the
contrary, would suffice alone to stamp the picture as being
done by Provost : the long, tapering fingers with the significant
detail of the forefinger bent towards the thumb while the two
upperjoints remain quite straight, the left hand with the fingers
almost parallel like the prongs of a fork, the space between
the first fingers alone being curvilinear, the separation between
the other fingers being marked by a simple line. It should
be noted that the painter seems to have reproduced nearly
line for line the flowers held between the thumb and fore -
finger, from his own Madonna in the National Gallery
(n° 713), a work done in his youth, in which reminiscences
of Memling are to be traced, r-—r--—*-——j—.— -j-——--
38 Our Virgin ought to be placed among the works of
Provost which were painted about the year 1520; it was
probably executed shortly after the appearance 1515 - 1520
of the two Madonnas by the Master of the Death of the
Virgin, of which we were speaking just now and which will
have made an impression on our artist. Our picture will have
been painted after the Virgin in the National Gallery and
from four to five years before the standard picture of the
last period, the Last Judgment in the Bruges Museum, dated
1525 in accordance to accurate documents. We know that
the artist died as early as 1529. t——.*-j-x-1 j-—
38 Although the dominant qualities of Provost are not those
glass to drink from », formerly in the Rodolphe Kann collection
in Paris, and to the « Virgin with the sleeping Child » in
the Fits William Museum at Cambridge. The hands, on the
contrary, would suffice alone to stamp the picture as being
done by Provost : the long, tapering fingers with the significant
detail of the forefinger bent towards the thumb while the two
upperjoints remain quite straight, the left hand with the fingers
almost parallel like the prongs of a fork, the space between
the first fingers alone being curvilinear, the separation between
the other fingers being marked by a simple line. It should
be noted that the painter seems to have reproduced nearly
line for line the flowers held between the thumb and fore -
finger, from his own Madonna in the National Gallery
(n° 713), a work done in his youth, in which reminiscences
of Memling are to be traced, r-—r--—*-——j—.— -j-——--
38 Our Virgin ought to be placed among the works of
Provost which were painted about the year 1520; it was
probably executed shortly after the appearance 1515 - 1520
of the two Madonnas by the Master of the Death of the
Virgin, of which we were speaking just now and which will
have made an impression on our artist. Our picture will have
been painted after the Virgin in the National Gallery and
from four to five years before the standard picture of the
last period, the Last Judgment in the Bruges Museum, dated
1525 in accordance to accurate documents. We know that
the artist died as early as 1529. t——.*-j-x-1 j-—
38 Although the dominant qualities of Provost are not those