Hulin de Loo, Georges: Early Flemish paintings in the Renders Collection at Bruges: exhibited at the Belgian Exhibition, Burlington House, January 1927 (London, 1927)

Metsys, and which are pecuhar to him and to his own group.
First there is the very distinctive manner in which the
model is posed : the body full face to the spectator, the
head three - quarters turned, and the eyes again full face,
with moreover, the very peculiar movement of the head bent
a little forward as if endeavouring to look behind a tree
or round a corner. Then there is a technical detail : in this
three - quarter pose the mouth is not set in the same direction
as the nose : it is drawn more to the middle of the face.
These would appear to be, as it were, the trade marks of
the Master; they constantly recur in his most typical and
most representative works, such as the Family of Saint Ann
in the Brussels Museum and in the famous Entombment in
it On the other hand, the eyes are not those of Quinten :
they are rounder, with thicker eyelids, they are drawn with
a heavier hand, and are less well incorporated in the ensemble
of the face; besides, those very special shades that are to be
seen on the neutral backgrounds of nearly all the portraits
by Metsys, are missing, t—■—t-t—■—t---i—■—i-:—~
it In short, we have here a work that is full of life,
stamped with a certain charm : it shows us the continuation
of the tradition and of the influence of the Master in Antwerp,
long after he himself had disappeared. * -* -r~-—r j
SUMMARY BIBLIOGRAPHY : r—-j-*-*-t-r-
if Friedldnder (Max /.): Von Eyck bis Bruegel. Berlin, 1921, p. 89-98.
if Hulin de Loo (G.): An unknown portrait by Quinten Metsys, (Burlington


130 —