 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's
painting contains a wealth of religious meaning; it is filled with
symbols which explain the importance of Christ's mission on earth.
Jesus reaches out for an apple, emblem of Original Sin; his
attitude of acceptance foreshadows his future sacrifice on the
cross. The angel who offers the fruit of redemption is in fact
dressed in a dalmatic, the liturgical vestment worn by a deacon
during the solemn High Mass. Around the arch is a carved vine of
grapes referring to the wine of the eucharistic rite. On the
crystal and porphyry columns stand David, as an ancestor of Christ,
and Isaiah, one of the prophets who foretold the Virgin
Birth.
Memling adhered closely to the northern tradition in art; the
format and details of the enthroned Madonna theme recall Jan van
Eyck. It is believed that Memling worked in the studio of Rogier
van der Weyden at Brussels before settling in Bruges; here, he
adopted Rogier's angular figural types clothed in heavy, crisp
drapery, but transformed the older artist's dramatic intensity into
a calm and graceful elegance. The framing archway was a device used
by a number of Flemish painters including Rogier. While combining
various influences, Hans Memling's own tender and pious sentiment
made him the most popular artist of his day in Bruges.
The panel is composed of two boards aligned vertically with a
join 34.2 cm from the left edge. It is mounted on a thin secondary
panel of the same wood as the cradle. There are numerous very small
losses, especially at the top left and top right corners and the
bottom of the right angel's robe. Losses along the splits and the
join have been filled and inpainted. The Madonna's features and
some of the outlines of her robe have been strengthened. In general
the numerous tiny strokes of inpainting make the picture appear to
be in more pristine condition than is actually the case. The
figural group and the landscape are underdrawn in what seems to be
black chalk.
 汉斯·梅姆林 圣母子和天使 Madonna and Child with
Angels
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 Van
Eyck，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 Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels  汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels 汉斯·梅姆林 圣母子和天使 Madonna and Child with Angels 汉斯·梅姆林 圣母子和天使 Madonna and Child with
Angels
画家简介
汉斯·梅姆林(Hans
Memling，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（Rogier
van der
Weyden，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 Van
Eyck，约1390-1441)、罗吉尔·范德韦登、老迪里克·鲍茨(Dieric Bouts the
Elder，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(Paula
Nuttall)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（Memling
carpets）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 by
inheritance to his grandson, Leopold IV Friedrich, Duke of Anhalt
[1794-1871], Gotisches Haus; by inheritance to his son, Friedrich
I, Duke of Anhalt [1831-1904], Gotisches Haus; by inheritance to
his 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, Joachim
Ernst, Duke of Anhalt [1901-1947], Gotisches Haus; sold early 1927
to (Hugo Perls, Berlin);[2] sold via the Mannheimer collection,
Amsterdam, to (Duveen Brothers, Inc., London, New York, and
Paris);[3] purchased November 1927 by Andrew W. Mellon, Pittsburgh
and Washington, D.C.; deeded 5 June 1931 to The A.W. Mellon
Educational and Charitable Trust, Pittsburgh; gift 1937 to
NGA.
[1] This prince built the
Gotisches Haus and its English park and was an active collector,
adding early German and Netherlandish paintings to the family
holdings; see C. Rost, "Der alte Nassau-Oranische Bilderschatz und
sein späterer Verbleib," Jahrbücher für Kunstwissenschaft 6 (1873),
52-93, esp. 78-79, listing early catalogues of the collection. The
descriptions in the early catalogues of the Anhalt-Dessau
collection are not sufficiently specific to identify the Madonna
and Child with Angels.
[2] According to a note on a
photograph in the Friedländer archive, Rijksbureau voor
Kunsthistorische Documentatie, The Hague; and a letter of 23
October 1961 from Hugo Perls to the NGA (in NGA curatorial
files).
[3] Duveen Brothers Records,
accession number 960015, Research Library, Getty Research
Institute, Los Angeles: reel 120, box 265, folder 18; and
transcriptions from the Duveen Brothers Records (copies and
transcriptions in NGA curatorial files).
展览历史
1902 Exposition des primitifs flamands et d'art ancien, Hôtel
de Gouvernement Provincial, Bruges, 1902, no. 79.
1929 Loan Exhibition of Flemish Primitives, F. Kleinberger
Galleries, Inc., New York, 1929, no. 22.
2014 Memling. Rinascimento fiammingo, Scuderie del Quirinale,
Rome, 2014-2015, no. 28, repro.
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