par Périer D'Ieteren, Catheline 
Référence Revue de l'art, 178, 4, page (19-32)
Publication Publié, 2012
Référence Revue de l'art, 178, 4, page (19-32)
Publication Publié, 2012
Article révisé par les pairs
| Résumé : | This study concerns two Flemish drawings from the last third of the 15th century, representing Anselme Adornes and his wife Marguerite Van der Banck. Anselme Adornes descended from a Genoese family that setded in Bruges at the end of the 13th century. He played an important political role tied to the history of the city and to that of the Burgundian court under Charles the Bold. These drawings were reproduced by photogravure in 1881, in a monographic article about the personage, but they had never been seen by art historians. Their function, dating and attribution are discussed in detail. The most convincing hypothesis would be that they were a project for sculptures to be placed in the family crypt, the Jerusalem Chapel, founded in 1427, to house the relics of the Calvary. This function would thus cancel the idea that they were copies or projects for the side panels of Saint François Recevant les Stigmates attributed to Van Eyck and his workshop. Anselme inherited these paintings and willed them, in 1470, to his daughters. It was from this unique point of view that these vidimius had been studied until the present time. The drawings evoke the style of the Brussels Maître de la Légende de Sainte-Barbe and his entourage. Their relationship with the eponymous work of the Master, Scenesfrom the Legend of Saint Barbe (Scenes de la Légende de Sainte Barbe) is obvious. Elsewhere, comparative research has brought to light a type of unpublished drawing of which very few examples have survived, that of a petit patron for a tapestry-altarpiece. Anselme, who would have commissioned it, appears with his sons. The drawings, in an unfortunate state of conservation, have been restored by the Ecole Nationale des Arts Visuels of La Cambre (ENSAV). |
