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"Margaret Laton"
Marcus Gheeraerts, el Joven - Óleo sobre tabla de roble - 81,5 x 62,5cm, 1620 - Victoria and Albert Museum, Londres
Esta pintura es un ejemplo intrigante de la pintura inglesa de principios del siglo XVII, cuando los retratos de hombres y mujeres nobles o ricos se hicieron cada vez más comunes. Por importante que fuera vestirse magníficamente, también era esencial ser retratado con sus mejores galas, para enfatizar su estatus. Aunque su autor y fecha no se conocen con certeza, el cuadro se ha atribuido a Marcus Gheeraerts el Joven (c.1561-1636), el retratista más de moda en las dos décadas alrededor de 1600 en la corte inglesa. Esta teoría está respaldada por las similitudes que se muestran con otros retratos femeninos atribuidos a Gheeraerts en el manejo de los detalles del traje.
Margaret Layton (1579-1641) era hija de un rico viticultor y tendero de Surrey, que fue nombrado caballero en 1603 y puede haber sido una dama de honor en la corte de Isabel I. Se casó con Francis Layton (1577-1661). ) de West Layton y Rawdon, West Yorkshire, quien se desempeñó como uno de los Maestros Yeomen de la Casa de las Joyas de los reyes James I, Carlos I, y brevemente después de la Restauración, Carlos II. Este retrato la muestra como una joven dama y, de hecho, era más común que una mujer se sentara para su retrato en el momento de su matrimonio. El tamaño y el entorno sencillo de la obra y la relativa informalidad de su traje hacen que sea poco probable que haya sido diseñado para conmemorar una gran ocasión pública. La modelo se muestra como un modelo de decoro, con sus ojos eludiendo ligeramente al espectador y un pequeño misal en su mano aludiendo a su virtud religiosa.
Adquirido con la chaqueta real representada en la pintura, es un caso extremadamente raro de un retrato que sobrevive durante más de 350 años junto con parte del traje usado por la modelo. La comparación con el corpiño muestra que el artista ha pintado sus rasgos distintivos con gran cuidado, reflejando el valor que tenía para la modelo. Lleva una falda con delantal, un vestido abierto con mangas colgantes y un complemento completo de accesorios: gorra con plumas, volantes de encaje que caen y puños a juego, y elaboradas joyas. Pero el componente más magnífico de su conjunto es la chaqueta, en un estilo de moda entre 1600 y 1620 hecha de línea, forrada con tafetán de seda rosa, bordada en sedas de colores, hilos plateados y abalorios formando un patrón curvilíneo. El artista prestó especial atención a la reproducción de plantas, frutas, flores, pájaros e insectos ricamente detallados.
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