The Marketplace of the Heart: Penance and Redemption in the Wings of the Mérode Triptych
- Patricia Padgett Lea Independent Researcher in Art History
Resumen
La exégesis visual del juego de palabras figurativo del Tríptico de la Anunciación exige una reevaluación de la importancia fundamental de Robert Campin para el arte neerlandés temprano. Durante el primer cuarto del siglo XV, cuando los tratados sobre el arte de la memoria comenzaron a proliferar en el sur y centro de Europa, manuales similares eran relativamente escasos en los Países Bajos, donde las localizaciones (loci) y las vívidas imágenes (imagines agentes) de la retórica mendicante se habían convertido en los estímulos de la memoria en las pinturas devocionales que guiaban a los penitentes en su camino hacia Dios. Seguir a un guía espiritual a través de una puerta es una experiencia sensorial inmersiva muy diferente a contemplar el mundo a través de un ventanal. Lo primero es medieval, lo segundo, de principios de la Edad Moderna. Cuando Campin decidió sustituir el oro de la eternidad por cielo azul y nubes blancas en el salón burgués de María, ubicó el solar de la Virgen en lo alto de la escalera, muy por encima del patio de la conciencia y el taller de la redención en las respectivas alas del tríptico. Estas ubicaciones e imágenes, que siguen las reglas retóricas de similitud, disimilitud y contigüidad, motivaban al devoto masculino a recordar, confesar y expiar sus pecados mientras avanzaba por las etapas clásicas del ascenso espiritual: purificación en el ala izquierda, iluminación en el ala derecha y unión en el panel central.
Citas
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