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.

在他的佛蘭芒前輩的傳統(tǒng)中，梅姆林的繪畫包含了豐富的宗教意義; 它充滿了解釋基督在地上使命的重要性的符號(hào)。耶穌伸手去拿蘋果，原罪的象征; 他的接受態(tài)度預(yù)示著他未來在十字架上的犧牲。提供救贖果實(shí)的天使實(shí)際上是穿著一件法衣，一位執(zhí)事在莊嚴(yán)的高質(zhì)量時(shí)穿的禮服。拱門周圍是浮雕的葡萄藤，指的是圣體圣事的酒。在水晶和斑巖柱上，大衛(wèi)作為基督的祖先，以及以賽亞，預(yù)言圣母誕生的先知之一。

梅姆林在藝術(shù)中密切關(guān)注北方傳統(tǒng); 麥當(dāng)娜登基主題的格式和細(xì)節(jié)讓人聯(lián)想起揚(yáng)·凡·艾克（Jan Van Eyck，1385-1441)。人們相信，在布魯日定居之前，梅姆林在布魯塞爾的羅吉爾·范德威登工作室工作; 在這里，他采用了羅吉爾的角形圖案，飾以沉重、清脆的帷幔，但他將前輩藝術(shù)家的戲劇性強(qiáng)度轉(zhuǎn)化為平靜的優(yōu)雅?？蚣芄伴T是許多弗拉芒畫家使用的元素，包括羅吉爾。在結(jié)合各種影響的同時(shí)，漢斯·梅姆林自己的柔和與虔誠的情感使他成為布魯日當(dāng)時(shí)最受歡迎的藝術(shù)家。

面板由兩塊垂直排列的板組成，連接點(diǎn)距離左邊緣34.2厘米。它安裝在與支架相同的木材的薄二級面板上。有很多非常小的損失，特別是在左上角和右上角以及右天使長袍的底部。分裂和連接的損失已經(jīng)填補(bǔ)和修復(fù)。麥當(dāng)娜的特征和她的長袍的一些輪廓得到了加強(qiáng)。一般來說，許多微小的修補(bǔ)筆畫使得圖像看起來比實(shí)際情況更加原始。圖形組和景觀在黑色粉筆似乎被抽出。

漢斯·梅姆林(Hans Memling，1430-1494)，文藝復(fù)興早期德國畫家。出生在德國的塞利根施塔特，1465年移居荷蘭布魯日，師從羅吉爾·范德韋登（Rogier van der Weyden，1399-1464）學(xué)習(xí)傳統(tǒng)荷蘭早期繪畫，后來形成了自己的繪畫風(fēng)格，成為布魯日主要藝術(shù)家之一，主要?jiǎng)?chuàng)作肖像畫、雙折畫（Diptych）和大的宗教作品。他非常成功，在1480年被列入城市納稅名單中最富有的公民之列，成為了當(dāng)時(shí)的標(biāo)志性畫家之一。他的肖像畫在意大利很受歡迎。他的顧客中有格里馬尼紅衣主教、本博紅衣主教和美第奇家族的首腦弗洛倫斯。

漢斯·梅姆林是15世紀(jì)佛蘭德斯繪畫的集大成者，也是佛蘭德斯畫家中最接近意大利畫風(fēng)的畫家。他繼承了揚(yáng)·凡艾克(Jan Van Eyck，約1390-1441)、羅吉爾·范德韋登、老迪里克·鮑茨(Dieric Bouts the Elder，約1410-1475)等前輩畫家的天才技藝，融會(huì)貫通，自成一家。

漢斯·梅姆林的藝術(shù)具有純粹的佛蘭德斯風(fēng)格，靜謐、虔誠而優(yōu)美，充滿中世紀(jì)后期寬和、熱誠的情致。梅姆林技巧純熟，人物造型是理想化而非個(gè)性化的，構(gòu)圖嚴(yán)謹(jǐn)，節(jié)奏分明，結(jié)構(gòu)精妙，色彩純凈光滑，富麗堂皇。與意大利那些激情澎湃的畫家相比，梅姆林更像一位冷靜的設(shè)計(jì)者，無論是宗教畫還是肖像畫，都是如此。那織金的錦繡使我們想起凡艾克的一些畫面，但是當(dāng)梅姆林把這種奢華本身當(dāng)成贊美的對象時(shí)，我們看到的就既不是凡艾克那種精確的自然主義，更不是范德韋登那種情感的力量，而是梅姆林對自己正在享有的富貴生活的贊美和自得。

漢斯·梅姆林宗教題材的作品源于晚期哥特式風(fēng)格，采用文藝復(fù)興特征的和諧構(gòu)圖及鮮明、歡愉的色彩，人物姿態(tài)風(fēng)雅優(yōu)美，具有純樸的牧歌情調(diào)。他的肖像畫在整個(gè)文藝復(fù)興時(shí)期具有突出的地位，保拉·努托爾(Paula Nuttall)認(rèn)為，梅姆林對肖像畫的獨(dú)特貢獻(xiàn)在于他對景觀背景的運(yùn)用，其特點(diǎn)是“頂部和底部、前景和背景之間的平衡：頭部被天空的中性擴(kuò)張所抵消，肩膀的中性區(qū)域被外部的景觀細(xì)節(jié)所激活”。梅姆林的肖像風(fēng)格影響了包括拉斐爾在內(nèi)的許多15世紀(jì)末意大利畫家。

梅姆林的名聲并不局限于意大利或佛蘭德斯。他的作品在16世紀(jì)受到了廣泛的贊賞。15世紀(jì)到17世紀(jì)從西方世界傳入東方的梅姆林地毯（Memling carpets）即以他的名字命名。梅姆林的藝術(shù)在19世紀(jì)被重新發(fā)現(xiàn)，并變得非常流行。

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, W?rlitz, 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.

1902 Exposition des primitifs flamands et d'art ancien, H?tel 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.

1872 Crowe, J. A., and G.B. Cavalcaselle. The Early Flemish Painters: Notices of Their Lives and Works. 2nd ed. London, 1872: 273, 280.

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1901 Weale, W. H. James. Hans Memling. London, 1901: 76, 104.

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