著者

今井 澄子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.128, 2017 (Released:2019-01-02)

著者

今井 澄子

出版者

西洋中世学会

雑誌

西洋中世研究

巻号頁・発行日

no.1, pp.123-140, 2009

著者

今井 澄子

出版者

大阪大谷大学歴史文化学科

雑誌

大阪大谷大学歴史文化研究 = Bulletin of the Research in History and Culture, Osaka Ohtani University

巻号頁・発行日

no.16, pp.104-85, 2016-03

著者

今井 澄子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.61, 2018 (Released:2019-06-01)

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In the fifteenth century, early Netherlandish paintings had a significant impact throughout Europe. Although its influence on each country has been an important topic of discussion so far, the impact on England has not been adequately examined. As only a few Netherlandish paintings of the fifteenth century exist in England, their importance can be revealed from the context of “self-admiration” of the collector. As one typical example, this article analyzes a triptych ordered to Hans Memling by an Englishman John Donne, now located in the National Gallery in London, along with the Flemish illuminated manuscripts collected by Donne. First, we examine the Donne Triptych in terms of “prayer portraits.” Although the significance of this motif has not been adequately recognized, Donne and his family emphasized their status through their clothing and position in the painting. Moreover, they modeled after the portrait of the Duke of Burgundy and his wife. Second, in terms of the social position of Donne and the taste of the English court, we can consider that Donne intended to use his collection of Netherlandish art as a means of selfadmiration in England. Accordingly, Donne and his collection played an important role in propagating Netherlandish arts in England.