Beauty and Rigor
Posted in general on February 2nd, 2006Note 1:
I teach over at Weston Hall from 10-11, and then near the Quadrangle at noon. Monday in that hour between classes, I wandered about in the Krannert Art Museum, which is a favorite of mine. Just the right size for a bit of quiet and restorative contemplation. I happened to have my camera with me, and snapped a few pictures, including this one from perhaps Belgium around 1534. Fashionably straightedge, this Protestant-looking fellow seems to have been a prosperous and sober Burgher. But you have to love the little flower (and what kind of flower is it?) that he holds delicately in his pursed and almost folded hands. What, you have to wonder, is the story here? It that a smile on his face? Was he chided into holding the flower by the artist or a wife or a favored ladyfriend? Or did he himself insist on it, despite the polite surprise of the portrait artist and the flowerless paintings other solid citizens of his class?
And art historian might be able to help with this (Are many other such portraits posed this way?), but I do not know about this person or this painting. This charming, prosperous, and pleasantly unknown Mona Lisa.
Note 2:
But of course if you were to ask the wrong art historian, you might just end up more confused. The Krannert center has one of its very own limewood devotional images. (The stone-like statues that Michael Baxandall wrote about in his Limewood Sculptors, that were hunted down by the Reformation iconoclasts who sprung up in the same natural range as these Germanic religious images.)
Anyhow, the Krannert Limewood sculpture is a pretty typical Madonna and Child. However when we look at the statue (disturbingly happy Jesus, btw) and the museum tag that describes it, we are perhaps reminded that not all art historians are created equal.
