Portrait of Emperor Charles V. (1500-1558)

The painting shows a half-length portrait of Emperor Charles V (1500–58) in front of a plain, purplish grey wall. His hands are resting on a red parapet; in his right hand, enclosed in an elegant glove of open-work design, Charles is holding a book bound in purple, his index finger between the pages, as if he has stopped reading for a moment and is pondering the words he has just perceived. He has taken off the second glove and is holding it in his left hand, revealing a golden ring with a large diamond. The emperor’s clothes are plain yet sumptuous: over a finely pleated white shirt with a ruff collar, he is wearing a doublet made of a dark, shimmering material embellished with gold embroidery on the chest. The black cape over his shoulders highlights his silhouette against the light backround, forms an enthralling contrast to his pale complexion, lending the sitter presence and weight despite his pensive gaze. The simplicity of the likeness suggests a private portrait. Instead of a crown, the emperor is wearing a black beret, and his clothing is decorated with just a few gold embellishments. On Charles’ chest, however, lies the heavy chain of the Order of the Golden Fleece, the most exclusive order of knights at the time, of which the emperor was the sovereign. Above his head hangs the imperial coat of arms as well as Charles’ personal motto “plus oultre” (plus ultra) alongside the pillars of Hercules, which seem to be fixed to the wall like little reliefs casting shadows.
With its interplay of simplicity and vividness, the painting is a remarkable portrait. Various shades of grey and red harmonise with the black and white; the back wall is brought to life by the play of light. Although all portraits show Charles with an open mouth as well as an elongated chin, a consequence of a hereditary disease widespread among the Habsburgs, here the painter sets a subtle colour accent with his portrayal of the emperor’s pink lips. This brings the face to life and awakens the impression that the emperor is about to speak. The tense thumb of the hand resting on the book reveals that he is on his guard. Behind the face lost in thought, one suspects a lively spirit, conveyed to the viewer in this highly personal portrait.
Charles V became Duke of Burgundy at the age of six. Later he was King of Spain and from 1520 Holy Roman Emperor. The inscription “AETATIS XXXII” above his head gives away his age and allows the painting to be dated to 1532. Two 16th-century inscriptions on the back of the panel identify the Augsburg painter Christoph Amberger as the author of the work. Charles V spent some time in Augsburg on a journey to Italy in 1532, so it is conceivable that the portrait was done on that occasion. Christoph Amberger was one of the most important portrait painters of the post-Dürer generation and worked above all for wealthy Augsburg burghers. Svea Janzen | 200 Masterpieces of European Painting – Gemäldegalerie Berlin, 2019