汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels华盛顿国家美术馆

作品介绍

In the tradition of his Flemish predecessors, Memling'spainting contains a wealth of religious meaning; it is filled withsymbols which explain the importance of Christ's mission on earth.Jesus reaches out for an apple, emblem of Original Sin; hisattitude of acceptance foreshadows his future sacrifice on thecross. The angel who offers the fruit of redemption is in factdressed in a dalmatic, the liturgical vestment worn by a deaconduring the solemn High Mass. Around the arch is a carved vine ofgrapes referring to the wine of the eucharistic rite. On thecrystal and porphyry columns stand David, as an ancestor of Christ,and Isaiah, one of the prophets who foretold the VirginBirth.

Memling adhered closely to the northern tradition in art; theformat and details of the enthroned Madonna theme recall Jan vanEyck. It is believed that Memling worked in the studio of Rogiervan der Weyden at Brussels before settling in Bruges; here, headopted Rogier's angular figural types clothed in heavy, crispdrapery, but transformed the older artist's dramatic intensity intoa calm and graceful elegance. The framing archway was a device usedby a number of Flemish painters including Rogier. While combiningvarious influences, Hans Memling's own tender and pious sentimentmade him the most popular artist of his day in Bruges.

The panel is composed of two boards aligned vertically with ajoin 34.2 cm from the left edge. It is mounted on a thin secondarypanel of the same wood as the cradle. There are numerous very smalllosses, especially at the top left and top right corners and thebottom of the right angel's robe. Losses along the splits and thejoin have been filled and inpainted. The Madonna's features andsome of the outlines of her robe have been strengthened. In generalthe numerous tiny strokes of inpainting make the picture appear tobe in more pristine condition than is actually the case. Thefigural group and the landscape are underdrawn in what seems to beblack chalk.

汉斯·梅姆林 圣母子和天使 Madonna and Child withAngels 局部细节

参考译文

在他的佛兰芒前辈的传统中，梅姆林的绘画包含了丰富的宗教意义;它充满了解释基督在地上使命的重要性的符号。耶稣伸手去拿苹果，原罪的象征;他的接受态度预示着他未来在十字架上的牺牲。提供救赎果实的天使实际上是穿着一件法衣，一位执事在庄严的高质量时穿的礼服。拱门周围是浮雕的葡萄藤，指的是圣体圣事的酒。在水晶和斑岩柱上，大卫作为基督的祖先，以及以赛亚，预言圣母诞生的先知之一。

梅姆林在艺术中密切关注北方传统; 麦当娜登基主题的格式和细节让人联想起扬·凡·艾克（Jan VanEyck，1385-1441)。人们相信，在布鲁日定居之前，梅姆林在布鲁塞尔的罗吉尔·范德威登工作室工作;在这里，他采用了罗吉尔的角形图案，饰以沉重、清脆的帷幔，但他将前辈艺术家的戏剧性强度转化为平静的优雅。框架拱门是许多弗拉芒画家使用的元素，包括罗吉尔。在结合各种影响的同时，汉斯·梅姆林自己的柔和与虔诚的情感使他成为布鲁日当时最受欢迎的艺术家。

面板由两块垂直排列的板组成，连接点距离左边缘34.2厘米。它安装在与支架相同的木材的薄二级面板上。有很多非常小的损失，特别是在左上角和右上角以及右天使长袍的底部。分裂和连接的损失已经填补和修复。麦当娜的特征和她的长袍的一些轮廓得到了加强。一般来说，许多微小的修补笔画使得图像看起来比实际情况更加原始。图形组和景观在黑色粉笔似乎被抽出。

作品细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Childwith Angels 局部细节

汉斯·梅姆林 圣母子和天使 Madonna and Child withAngels 局部细节

画家简介

汉斯·梅姆林(HansMemling，1430-1494)，文艺复兴早期德国画家。出生在德国的塞利根施塔特，1465年移居荷兰布鲁日，师从罗吉尔·范德韦登（Rogiervan derWeyden，1399-1464）学习传统荷兰早期绘画，后来形成了自己的绘画风格，成为布鲁日主要艺术家之一，主要创作肖像画、双折画（Diptych）和大的宗教作品。他非常成功，在1480年被列入城市纳税名单中最富有的公民之列，成为了当时的标志性画家之一。他的肖像画在意大利很受欢迎。他的顾客中有格里马尼红衣主教、本博红衣主教和美第奇家族的首脑弗洛伦斯。

汉斯·梅姆林是15世纪佛兰德斯绘画的集大成者，也是佛兰德斯画家中最接近意大利画风的画家。他继承了扬·凡艾克(Jan VanEyck，约1390-1441)、罗吉尔·范德韦登、老迪里克·鲍茨(Dieric Bouts theElder，约1410-1475)等前辈画家的天才技艺，融会贯通，自成一家。

汉斯·梅姆林的艺术具有纯粹的佛兰德斯风格，静谧、虔诚而优美，充满中世纪后期宽和、热诚的情致。梅姆林技巧纯熟，人物造型是理想化而非个性化的，构图严谨，节奏分明，结构精妙，色彩纯净光滑，富丽堂皇。与意大利那些激情澎湃的画家相比，梅姆林更像一位冷静的设计者，无论是宗教画还是肖像画，都是如此。那织金的锦绣使我们想起凡艾克的一些画面，但是当梅姆林把这种奢华本身当成赞美的对象时，我们看到的就既不是凡艾克那种精确的自然主义，更不是范德韦登那种情感的力量，而是梅姆林对自己正在享有的富贵生活的赞美和自得。

汉斯·梅姆林宗教题材的作品源于晚期哥特式风格，采用文艺复兴特征的和谐构图及鲜明、欢愉的色彩，人物姿态风雅优美，具有纯朴的牧歌情调。他的肖像画在整个文艺复兴时期具有突出的地位，保拉·努托尔(PaulaNuttall)认为，梅姆林对肖像画的独特贡献在于他对景观背景的运用，其特点是“顶部和底部、前景和背景之间的平衡：头部被天空的中性扩张所抵消，肩膀的中性区域被外部的景观细节所激活”。梅姆林的肖像风格影响了包括拉斐尔在内的许多15世纪末意大利画家。

梅姆林的名声并不局限于意大利或佛兰德斯。他的作品在16世纪受到了广泛的赞赏。15世纪到17世纪从西方世界传入东方的梅姆林地毯（Memlingcarpets）即以他的名字命名。梅姆林的艺术在19世纪被重新发现，并变得非常流行。

（阴山工作室综合整理编写）

作品资料

Hans Memling

Netherlandish, active c. 1465 - 1494

Madonna and Child with Angels

after 1479

oil on panel

painted surface: 57.6 x 46.4 cm (22 11/16 x 18 1/4 in.)

overall (panel): 58.8 x 48 cm (23 1/8 x 18 7/8 in.)

framed: 86.3 x 77.4 x 11.4 cm (34 x 30 1/2 x 4 1/2 in.)

Andrew W. Mellon Collection

1937.1.41

On View:West Building, Main Floor - Gallery 39

PROVENANCE

Probably Leopold III Friedrich Franz, Duke of Anhalt-Dessau[1740-1817], Gotisches Haus, Wörlitz, near Dessau;[1] probably byinheritance to his grandson, Leopold IV Friedrich, Duke of Anhalt[1794-1871], Gotisches Haus; by inheritance to his son, FriedrichI, Duke of Anhalt [1831-1904], Gotisches Haus; by inheritance tohis son, Friedrich II, Duke of Anhalt [1856-1918], Gotisches Haus;by inheritance to his son, Eduard Georg Wilhelm, Duke of Anhalt[1861-1918], Gotisches Haus; by inheritance to his son, JoachimErnst, Duke of Anhalt [1901-1947], Gotisches Haus; sold early 1927to (Hugo Perls, Berlin);[2] sold via the Mannheimer collection,Amsterdam, to (Duveen Brothers, Inc., London, New York, andParis);[3] purchased November 1927 by Andrew W. Mellon, Pittsburghand Washington, D.C.; deeded 5 June 1931 to The A.W. MellonEducational and Charitable Trust, Pittsburgh; gift 1937 toNGA.

[1] This prince built theGotisches Haus and its English park and was an active collector,adding early German and Netherlandish paintings to the familyholdings; see C. Rost, "Der alte Nassau-Oranische Bilderschatz undsein späterer Verbleib," Jahrbücher für Kunstwissenschaft 6 (1873),52-93, esp. 78-79, listing early catalogues of the collection. Thedescriptions in the early catalogues of the Anhalt-Dessaucollection are not sufficiently specific to identify the Madonnaand Child with Angels.

[2] According to a note on aphotograph in the Friedländer archive, Rijksbureau voorKunsthistorische Documentatie, The Hague; and a letter of 23October 1961 from Hugo Perls to the NGA (in NGA curatorialfiles).

[3] Duveen Brothers Records,accession number 960015, Research Library, Getty ResearchInstitute, Los Angeles: reel 120, box 265, folder 18; andtranscriptions from the Duveen Brothers Records (copies andtranscriptions in NGA curatorial files).

展览历史

1902 Exposition des primitifs flamands et d'art ancien, Hôtelde Gouvernement Provincial, Bruges, 1902, no. 79.

1929 Loan Exhibition of Flemish Primitives, F. KleinbergerGalleries, Inc., New York, 1929, no. 22.

2014 Memling. Rinascimento fiammingo, Scuderie del Quirinale,Rome, 2014-2015, no. 28, repro.

相关文献

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