{"id":262063,"date":"2026-07-13T18:48:23","date_gmt":"2026-07-13T15:48:23","guid":{"rendered":"https:\/\/1kitap1.com\/en\/hans-memling-alfred-michiels\/"},"modified":"2026-07-13T18:48:23","modified_gmt":"2026-07-13T15:48:23","slug":"hans-memling-alfred-michiels","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/hans-memling-alfred-michiels\/","title":{"rendered":"Hans Memling – Alfred Michiels"},"content":{"rendered":"
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\u201cThe composition and the execution,\u201d he says, \u201cimmediately reveal the animated spirit of the painter, who substitutes action with contemplative rest, so remarkable in his forerunners\u2019 figures.\u201d34 I believe that almost nobody else shares this unique opinion. In fact, what distinguishes itself more than the figures is the calm, a sort of dreamlike immobility. The complete symmetry of organisation enhances this impression of tranquil gentleness. Not one gesture, not one expression, not one attitude takes away from Jan Van Eyck\u2019s composed style. The voluminous fabrics that drape and envelop the figures, making it difficult for them to walk (for the three women, at least), kindle no sense of passion, drama, or movement.<\/p>\n

All the actors in the scene, other than Jesus and Saint Catherine, lower their eyes, and seem absorbed in their reflections and in themselves. They are alive, but in the calm life of solitude, and are not troubled by the upheaval in the world. The painter\u2019s isolation, piety, inferior social status and modesty strictly preoccupy their daily labour, and the mystical theories of Jean Van Ruysbroeck, although widespread, particularly contribute to giving the figures this air of meditation and contemplation.<\/p>\n

But one particular reason, simple and material, also contributed to it: artists did not know enough about anatomy, Hugo Van der Goes, The Adoration of the Shepherds (central panel of the Portinari Triptych), 1476-1478. Oil on wood panel, 250 x 310 cm. Galleria degli Uffizi, Florence. Memling\u2019s Major Works musculature or perspective to create shortcuts to give the figures violent gestures and energetic and passionate attitudes. When primitive painters try to do this, it is rare they reach their goal, and the awkwardness in their brush provokes the viewer into an involuntary smile.<\/p>\n

Feeling insufficient themselves, they look for calmer poses that are easier to render. Thus it is because of a weakness in execution that the painter\u2019s inexperience communicates this ingenious placidity to his work. If something is surprising in the Mystic Marriage of Saint Catherine, it is not the movement, the animated aspect of the figures and the ensemble, but rather the almost architectonic symmetry of the composition. The six figures who surround the Virgin correspond to each other exactly, and balance each other like statues on a Gothic porch.<\/p>\n

There is an influence of ogival art in this, as well as in the disproportionate fullness of the clothing, due to the sculpture from the Middle Ages.<\/p>\n

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\u00a9 Parkstone Press International, New York, USA \u00a9 Confidential Concepts, Worldwide, USA \u00a9 The National Gallery, London, pp. 96, 98, 99, 101, 223 No parts of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers.<\/p>\n

Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1- 4 – – Editor\u2019s Note Out of respect to the author\u2019s original work, this text has not been corrected or updated, particularly regarding attribution, dates, and the current locations of works. These were uncertain at the time of the text\u2019s first publication, and sometimes remain so to this day.<\/p>\n

The information in the captions, however, has been updated. 780 2 986 1 HANS MEMLING Foreword 7 I. Memling\u2019s Origins and Beginnings 11 II. Memling between History and Legend 35 III. Memling\u2019s Old Age and Genius 65 IV. Memling\u2019s Major Works 97 V. Master Memling, between Influences and Authentications 195 Notes 252 Index 253 Contents 6 7 O n approaching Bruges, one notes a tall tower with a warlike aspect that dominates the roofs of the city, and seems more like the dungeon in a fortress than a church\u2019s bell tower.<\/p>\n

But it is the bell tower of Notre Dame. No statues, mouldings, or engravings embellish this imposing mass. It proudly thrusts out its heavy walls, grave as the thought of death, bare and sad like the outside of a prison. Flocks of jackdaws fly around, calling their short loud cries, and they settle on the roof along with a row of mystical birds. The Northern sun whitens the edifice with its pale light, the Netherlands\u2019 misty horizon covering it with its bright lines.<\/p>\n

From the top of the tower, one can perceive from afar the ocean\u2019s tides. And, in a natural way, this scene inspires poetic sentiments and plunges its spectator into deep meditations. For any Dutch art lover, the picturesque town of Bruges is full of marvelous surprises. Even if its attractions cannot rival those of grander and more magnificent European towns, Bruges, during the fourteenth and fifteenth centuries, was the central and most important market of the cities of Hanse, home of merchant princes.<\/p>\n

Unfortunately, all this has changed; Bruges is no longer classified as an area of wealth and commercial importance. At one time houses were full of paintings by Memling and other great artists, which today are dispersed throughout the entire world.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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