Csornay Boldizsár - Hubai Péter szerk.: A Szépművészeti Múzeum közleményei 96. (Budapest, 2002)

KOVÁCS, ZOLTÁN: A New Representation of the Salvator Mundi from the workshop of Quentin Massys

formula in the first half of the 16

lh century. Raphael's portrait of Pope Julius II, painted circa 1511-2, repeats, in reverse, the composition of Justus' Sixtus IV.

81 Titian, who had made a replica of Raphael's painting,

82 adopted the scheme in his portrait of the Duchess of Urbino, Eleonóra Gonzaga.

83 Apart from the works of Titian, the likeness of Eleonóra da Toledo, Archduchess of Tuscany (dating from circa 1545), and that of an unidentified noble lady now in the Galleria Sabauda, Turin (dating from circa 1550) stand pre-eminent among the portraits employing this formula.

84 Although not particularly popular, knee-length depictions of figures are by no means unusual in the 16th century Netherlands, either.

85 The formula appeared first in images of the Madonna (as was the case in Italy, too) in the second half of the 15th century and became popular with a number of artists from the first half of the next century onwards. Quentin Massys was one of those who knew this compositional scheme and used it in his representations of the Virgin and Child.

86 Following the tradition, Jan Massys also painted a number of knee-length images of the Madonna.

87 This compositional formula was rarely used in the North in depictions of Christ, and no such representations exist from before around the middle of the 16th century. A Salvator identical in length to that in the Budapest panel can be found in Jan van Hemessen 's painting (present whereabouts unknown), however, the figure in it is shown at an angle instead of a frontal view. Hemessen 's Christ raises His right high in blessing, 81 K. Oberhuber, Raphael and the State Portrait I: The Portrait of Julius II, The Burlington Magazine 113 (1971), 124-31. Cf. Campbell, op. cit. (cfr. n. 79). 61, pis. 68-9. 82 For the replicas of the Raphael painting, see Oberhuber, op. cit. (cfr. n. 81 ), 124-31. 83 Campbell, op. cit. (cfr. n. 79), pi. 37. 84

/tó/., pis, 38,41. 85 See, for example, the portrait of Andries van Sonneveit and his wife by Marten van Heemskerck cf. Friedländer, op. cit. (cfr. n. 24), XIII. (Anthonis Mor and His Contemporaries), pl. 115, figs. 226-7, and that of Doge Andrea Doria by Jan Massys, dating from circa 1545-54. Cf. L. Buijnsters-Smets, Jan Massys. Een Antwerps Schilder uit de zestiende eeuw, Zwolle 1995, 183-4, no. 28. 86 See, for example, the Madonna in the Musées Royaux, Brussels (Silver, op. cit. (cfr. n. 44), 195, no. 3, pi. 39) and its repetitions (De Bosque, op. cit. (cfr. n. 43), 104ff, pis. 40-1, 43); the Madonna on the inside of the polyptych in the San Salvador, Valladolid (De Bosque, op. cit. (cfr. n. 43), 129-36, pi. 48); the Madonna in the panel showing the mystic marriage of Saint Catherine of Alexandria, now in the National Gallery, London (De Bosque, op. cit. (cfr. n. 43), 166-8, pi. 54.; Silver, op. cit. (cfr. n. 44), 217, no. 25, pi. 176); the Madonna with Cherries in the Edwards Collection, Cincinnati (De Bosque, op. cit. (cfr. n. 43), 21 Off, pi. 67) and its repetitions (De Bosque, op. cit. (cfr. n. 43), 68-71, pis. 258-60); the Rattier Madonna in Paris (Silver, op. cit. (cfr. n. 44), 229-30, no. 48, pi. 68); the Madonna in the Flight into Egypt, attributed to the workshop, in the Metropolitan Museum of Art, New York (De Bosque, op. cit. (cfr. n. 43), 225, pi. 277); or the Madonna lactans which is known only through a copy in the Alte Pinakothek, Munich (Silver, op. cit. (cfr. n. 44), 224, no. 36, pi. 67). 87 Some examples, selected at random: the Madonna of the Sint Jakorbskerk, Antwerp, dating from circa 1530-40; that sold at auction in Paris, Pardo, 18 April 1989, present whereabouts unknown; and a third one, recorded to have been in a Viennese private collection in 1971 (the latter two are copies after Quentin Massys' Rattier Madonna in the Louvre); and a fourth Madonna, dated 1552, in the Palazzo Bianco, Genova. Buijnsters-Smets, op. cit. (cfr. n. 85), nos. 4, 5, 5a, 24. Jan Massys employed the kneelength formula in other compositions, as well: Judith with the Head of Holofernes, dated 1543 (BuijnstersSmets, op. cit., no. 18); the Magdalene, dating from circa 1558-65 (Buijnsters-Smets, op. cit., no. 40); Holy Family, 1563 (Buijnsters-Smets, op. cit., no. 43); etc.