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Léal Souvenir
''Léal Souvenir''〔The painting is usually titled ''Léal Souvenir'', although the inscription after which it is named does not contain a diacritic〕 (or ''Timotheus'' or ''Portrait of a Man'') is a small 1432 oil-on-oak panel portrait by the Early Netherlandish painter Jan van Eyck. The sitter has not been identified, but his individualistic features suggest a historical person rather than the hypothetical ideal usual in contemporary northern Renaissance portraiture;〔Smith, 42〕 there is a contradiction between his unassuming appearance and deceptively sophisticated expression. The portrait is set within an imitation parapet which contains three layers of painted inscriptions, each rendered look as if chiseled onto stone.〔Panofsky, 80〕 Van Eyck did not have full command of either classical Greek or Latin, and made errors, so readings by modern scholars are divided. The first inscription is in a form of Greek and seems to spell "TYΜ.ωΘΕΟC", which has not been satisfactorily interpreted but has inspired some to title the work ''Timotheus''. The middle lettering is in French, reads "Leal Souvenir" (''Loyal Memory'') and indicates that the portrait is commemorative, completed after the man's death. The third records van Eyck's signature and the date of execution in somewhat legalese wording, prompting some to think the man was involved in that profession.〔Bauman, 37〕
The sitter's features have been described as "plain and rustic", yet he is presented as thoughtful and inward-looking. A number of art historians have detected mournfulness in his expression, perhaps as art historian Erwin Panofsky suggests, he suffers from "loneliness". The panel was acquired in 1857 by the National Gallery, London, where it is on permanent display.〔"(Portrait of a Man ('Léal Souvenir') )". National Gallery. Retrieved 20 April 2013〕 He was apparently significant enough a member of the Burgundian prince Philip the Good's circle that his court painter would have portrayed him and aligned him with a figure from antiquity. The 19th-century art historian Hippolyte Fierens Gevaert identified the lettering "TYΜ.ωΘΕΟC"〔Pavio, 212〕 with the Greek musician Timotheus of Miletus. Panofsky drew the same conclusion, eliminating other Greeks bearing the name Timothy; they were of religious or military background, professions that do not match the dress of the sitter. Panofsky believed the man was probably a highly placed musician in Philip's court. More recent research focuses on the apparent legalese of the inscriptions, and favours the idea that the man was a legal adviser to the crown,〔Wood, 650〕 perhaps even reporting to van Eyck himself.〔
==Description==
''Léal Souvenir'' is one of the earliest surviving examples of secular portraiture in medieval European art and one of the earliest extant unidealised representations. This is apparent in its realism and acute observation of the details of the man's everyday appearance. Van Eyck worked in the early Renaissance tradition, and pioneered the manipulation of oil paint. Oil allows smooth translucent surfaces, and could be applied across a range of thicknesses. It could be manipulated while wet, allowing far more subtle detail than available to previous generations of painters.〔Smith, 61〕〔Jones, 10–11〕〔Borchert, 22〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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