ヴァン・ダイク作《ペンブルック伯爵の家族肖像》再考 : 初期ステュアート朝宮廷仮面劇との関連を中心に

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タイトル別名
  • A Reconsideration of Van Dyck's Pembroke Family Portrait : With a focus on the early Stuart court masque
  • ヴァン ・ ダイクサク 《 ペンブルック ハクシャク ノ カゾク ショウゾウ 》 サイコウ : ショキ ステュアート チョウ キュウテイ カメンゲキ ト ノ カンレン オ チュウシン ニ

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This paper attempts to reveal the relevance between the composition of Pembroke Family Portrait (which has been emphasized on the influence of the Venetian paintings, especially the history paintings of Titian) and its subject of marriage in the context of the court masques. Beholder's eyes are led from cupids to Charles and Mary, and then, to the huge coat of Arms of the Earl of Pembroke. This is a visualization of prosperity of the family through their marriage, and it corresponds to the typical subjects of masques: prosperity of Britain through the love of King and Queen. Therefore, this work can be seen as the response of the Pembroke (he was "Lord Chamberlain" who takes charge of playing the court masques) to the norms which masques advocated as "the mirrors of man's life". In addition, the temple-like building in this work resembles the stage design of masques which frequently used in the scene of "order" gained through the overcoming of "chaos". This synopsis tallies with the circumstances of this marriage: its main purpose was to resolve the confrontation between William, 3^<rd> Earl of Pembroke and the Duke of Buckingham. From the above, this work recalls not only the Venetian paintings, but narrative or stage effects of the court masques.

収録刊行物

  • 美学

    美学 64 (1), 107-118, 2013

    美学会

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