Artist: Jan Cornelisz Vermeyen (Jan Mayo)
날짜: 1530
크기: 16 x 14 cm
기술: Oil On Panel
Emperor Charles V is portrayed here in a three-quarter pose, turned slightly to the right against a dark green background. He wears a black bonnet, a white shirt ruffled at the neck, a black doublet, and a fur-lined gown with puffed sleeves, which came into fashion around 1530. The insignia of the Order of the Golden Fleece hang around his neck on a simple silk ribbon. The shift to wearing the Golden Fleece pendant on a ribbon rather than on the more traditional gold collar of interlocking links was sanctioned by Charles V himself in 1517, as an acknowledgement of what seems already to have been existing practice.3 The emperor is shown with a moustache and short beard, which he first began to sport in his mid-20s. His hair, which he began wearing short in 1529, provides a date post quem for the portrait.4 Born in Ghent on 24 February 1500, Charles was nearing the height of his power around 1530, in which year he became the last emperor to be officially crowned by the pope. As Holy Roman Emperor, he ruled the Spanish and the Habsburg empires, as well as the Netherlands.5 Several surviving images of Charles bear a marked resemblance to this portrait. The most comparable version is a painting that recently surfaced on the London art market, which portrays the emperor in similar attire but also includes his hands and torso (fig. a).6 It seems likely that this version and the Rijksmuseum portrait are both based on a common model. Other examples also show the emperor in a three-quarter pose with a short beard, but vary significantly in costume and physiognomy, suggesting that they may not all follow the same prototype.7 The model for the present image is most probably a portrait painted by Jan Vermeyen between 1525 and 1530 while he was court painter to Charles’s aunt, Margaret of Austria. Vermeyen may have produced multiple portraits of Charles while in Margaret’s service, but he certainly made at least one sometime between 25 May and 22 October 1530, when he was in Augsburg at Margaret’s request in order to paint Charles and several other members of the royal family.8 Although neither the Augsburg portrait of Charles nor any other portrait of the emperor by Vermeyen is known to survive today, the extant copies are comparable to other portraits attributed to the artist. The simple background, three-quarter pose, strong contrast of light and dark, and dramatic gesturing of the sitter (evident in the copies related to the Amsterdam version) recur throughout Vermeyen’s oeuvre. (M. Bass)
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