DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0128
102
OLD WORLD MASTERS
suddenness; and the ivory of the flesh contrasts sharply with the
delicate softness of tone.
“The highest pictorial and decorative value in the art of Pisanello
as a colorist is reached in this Mackay portrait, which represents,
moreover, one of the most acute character-readings of the penetrating
eye of the medallist. The proud carriage accentuated by the rigid
cut of the high velvet collar; the clear-cut outlines of the profile; the
ram’s horn head-dress; the splendid cap; the well-defined lips, from
which one expects to hear the sibilant breath issue; above all, the keen
glance directed downwards under the heavy-veiled eyelids render
this a picture of frigid haughtiness. The fine lines of the mouth and
the narrow opening of the eyes are executed with an extraordinary
penetrating observation and the contour of the face is drawn with a
delicacy that does all honor to this great master of the silhouette.
“The lines of the face are in complete harmony with the contours
of the whole figure. The curves repeat themselves in the fantastic
coiffure, in the fur border of the collar, in the lines of the arm and in
the chains hanging from the shoulders. And, contrarily, these general
sweeping curves of coiffure and costume lead up to the finely con-
centrated line of the profile which stands out sharply against a black
background, as in Pisanello’s painting of Saint Eustace, in London
(National Gallery). The artist has understood perfectly the value
of contrast between the plastic and the decorative elements. The
flat planes of the delicate ivory-like face are emphasized by the sculp-
turesque coiffure with its gold ornaments; and just where we would
naturally look for an accentuation of the physical attributes—on the
bust and arms—the artist has, through the broad curves of the chains
and the spacing of the patterns of the dress, emphasized the decorative
design. Finally, the color of this most decorative masterpiece is of
the greatest charm. There are tiny lines recalling the delicate tech-
nique of a piece of Satsuma-ware on the surface of the ivory-tinted
face that rises from a white collar resting on grey fur while a delightful
blue predominates in the coiffure and the costume, which is enhanced
with yellow and gold ornaments.
“The dress itself is of no little charm and belongs to a period when
OLD WORLD MASTERS
suddenness; and the ivory of the flesh contrasts sharply with the
delicate softness of tone.
“The highest pictorial and decorative value in the art of Pisanello
as a colorist is reached in this Mackay portrait, which represents,
moreover, one of the most acute character-readings of the penetrating
eye of the medallist. The proud carriage accentuated by the rigid
cut of the high velvet collar; the clear-cut outlines of the profile; the
ram’s horn head-dress; the splendid cap; the well-defined lips, from
which one expects to hear the sibilant breath issue; above all, the keen
glance directed downwards under the heavy-veiled eyelids render
this a picture of frigid haughtiness. The fine lines of the mouth and
the narrow opening of the eyes are executed with an extraordinary
penetrating observation and the contour of the face is drawn with a
delicacy that does all honor to this great master of the silhouette.
“The lines of the face are in complete harmony with the contours
of the whole figure. The curves repeat themselves in the fantastic
coiffure, in the fur border of the collar, in the lines of the arm and in
the chains hanging from the shoulders. And, contrarily, these general
sweeping curves of coiffure and costume lead up to the finely con-
centrated line of the profile which stands out sharply against a black
background, as in Pisanello’s painting of Saint Eustace, in London
(National Gallery). The artist has understood perfectly the value
of contrast between the plastic and the decorative elements. The
flat planes of the delicate ivory-like face are emphasized by the sculp-
turesque coiffure with its gold ornaments; and just where we would
naturally look for an accentuation of the physical attributes—on the
bust and arms—the artist has, through the broad curves of the chains
and the spacing of the patterns of the dress, emphasized the decorative
design. Finally, the color of this most decorative masterpiece is of
the greatest charm. There are tiny lines recalling the delicate tech-
nique of a piece of Satsuma-ware on the surface of the ivory-tinted
face that rises from a white collar resting on grey fur while a delightful
blue predominates in the coiffure and the costume, which is enhanced
with yellow and gold ornaments.
“The dress itself is of no little charm and belongs to a period when