Mystic Marriage of St. Catherine (Memling)
The Mystic Marriage of St. Catherine (or Virgin and Child with Saints Catherine of Alexandria and Barbara) is an oil-on-oak painting by Early Netherlandish painter Hans Memling, held at the Metropolitan Museum of Art, New York. It measures 68.3 x 73.3 cm and was executed c. 1480. The panels depict the Virgin holding the Child on her lap, flanked by two virgin martyr saints, St Catherine of Alexandria and St Barbara, against a landscape. It is a devotional donor portrait, and combines then popular themes of Marian art with elements common to iconography of Mary and the Child, such as the Hortus conclusus, sacra conversazione and a Virgo inter Virgines – the latter of which always presents Mary with Sts Catherine and Barbara.
The work demonstrates Memling's serene style. Maryan Ainsworth describes the composition as perfectly balanced and harmonious, the colors "bright and clear".[1] Memling combined techniques learned from his predecessors Rogier van der Weyden, to whom he was almost certainly apprenticed, and Jan van Eyck, synthesizing elements of the earlier artists' work.
The composition is an almost exact copy his central panel in the St John Altarpiece.[1] It is unknown when Memling painted it; 1480 seems a probable date according to tree ring analysis. The arbor arching over the Virgin's throne was added at a later date, probably in the 16th century.[2]
Contents
Description
The painting depicts the Virgin and Child flanked by saints and angels; the donor kneels to the left of the holy figures. The Virgin is enthroned beneath a baldachin (canopy of honor) of sumptuous brocade, and holds the child on her lap. Her emblem, the iris, can be seen in the garden behind the throne. On either side of her are two angels dressed in liturgical garments with musical instruments; the one to the left plays a portable organ and the one on right plays a harp. To the left in front of Mary kneels St Catherine of Alexandria, a martyr virgin saint, opposite St Barbara the second virgin martyr saint, who sits to the right, reading a missal.[1] The donor stands behind St Catherine, holding rosary beads. Attached to his hip is either a barely visible small purse or a coat-of-arms.[3]
St Catherine was highly venerated in the Middle Ages, second only in popularity to the Magdelen.[4] As befits her royal birth, Catherine wears a crown on her head, and is dressed in rich clothing with a white tabard, red velvet sleeves, and a lavishly patterned brocade skirt.[1] Emperor Maxentius tortured Catherine on an iron-spiked wheel and later, when she proclaimed herself married to Christ, he had her beheaded.[1] According to her legend the mystic marriage occurred in a dream from which she awoke with a ring on her finger. Her emblems are the breaking wheel and sword, seen in the foreground, peeking out from beneath the voluminous folds of her ermine-lined skirt.[4] She extends her left hand to the Christ Child who places the ring on her finger, symbolizing their spiritual, or mystical, betrothal.[1] James Snyder writes that, as was Memling's habit, "the drama of the moment is in no way reflected by the expressions on the faces of the participants."[4]
St Barbara is another of Christ's mystical brides.[4] Her emblem is the tower looming behind her, in which her father had her imprisoned and where she was secretly baptized. It is in the shape of a monstrance, meant to hold the sacramental bread; the three windows symbolize the Trinity.[3] In 1910 James Weale identified Catherine as probably an early portrait of Mary of Burgundy and Barbara as the earliest likeness of Margaret of York,[5] a theory that medieval art historian Thomas Kren believes quite plausible. Both women belonged to the Guild of St Barbara at Ghent; Margaret of York, who was an avid bibliophile, commissioned a number of illuminated manuscripts, one of which was a Life of St Catherine, and a recent exhumation gives physical examination of Mary of Burgundy's skull.[6]
By this period the female figures' features show Memling's development, who according to Ainsworth "has settled on a certain successful female types" – with a graceful oval face, wide eyes and narrow chins, whose expressions "tend to reflect a state of gentle, beatific acceptance."[1]
Iconography
A common Marian presentation in Late Gothic art was the Hortus conclusus, depicting the Virgin and Child in an enclosed garden. Memling extends the theme by positioning the group against an open sweeping background landscape.[1] The painting also contains elements of a sacra conversazione and the more specific Virgo inter Virgines.[7] In a Sacra Conversazione, Virgin and Child are grouped with saints and donors, whereas a Virgo inter Virgines presents the Virgin and Child only with virgin martyr saints and more often without the donor. The latter gained popularity in the Low Countries during the late 15th century; the setting was almost always in an enclosed garden, the grouping always included Virgin and Child with Saints Catherine and Barbara. Frequently St Catherine's mystical marriage is depicted. Depending on the wishes of the donor or the purpose of a work, other virgin saints such as Dorothy or Cecilia were added to the grouping. Paula Pumplin writes the subgenre might have originated with Hugo van der Goes or with Memling.[8]
Such 15th-century paintings were always devotional in nature, commissioned by donors whose earthly concern was spiritual salvation after death.[9] Jan van Eyck's Virgin and Child with Canon van der Paele (1434–36) is considered the most evocative and realistic of the period according to Guy Bauman. He writes van Eyck perfectly captures the essence between mortal and divine, and Virgin and Child with Canon van der Paele functions as an epitaph or perhaps a commemorative piece.[10] The function of Memling's Mystic Marriage is unknown; other than the prayer beads held in the donor's hand, which signify his devotion to the cult of the virgin, nothing is known about him. Bauman speculates the work could have been an epigraph, or a commemorative piece, because Memling's positioning of the donor behind the saints bears a slight similarity to van Eyck's Canon van der Paele.[11]
The grape arbor arching over the canopy is a later addition, perhaps requested by the donor or a subsequent owner. Technical examination reveals significant differences between Memling's style and the hand that executed the arbor: the green pigments differ from the pigments used for the green background landscape; and the brushstrokes "are broader and more descriptive of nature than are the schematic strokes that characterize the stylized trees and bushes of the background landscape". The grape arbor is absent from the extensive underdrawings.[12] An early 16th century copy of the painting at the Galleria dell'Accademia in Florence contains a similar motif, suggesting the arbor was added either during Memling's lifetime or so soon after he died. The arbor's paint is similar in age to the painting's original paint layer, adding credence to the theory it was probably added soon after its execution, probably at the request of the donor. Ainsworth explains it was not unusual for owners to request alterations to a paintings, often to keep them up-to-date. The iconography of the grape arbor was at that time a common means to signify the blood of Christ, particularly significant in Memling's city of Bruges where the Basilica of the Holy Blood was thought to house a relic of Christ's blood.[13]
Style and composition
Memling was almost certainly apprenticed to Rogier van der Weyden whose style influenced the younger painter.[14] By the end of the 1460s Memling's style was developed; according Max Friedländer he is best characterized as "an assured pictorial interpreter of quiet mood, at his best when presenting the Virgin in a circle of female saints or as a portraitist."[15] He is known for a style that captures a sense of serenity and grace,[15] which garnered a great amount of admiration during the late-19th century, when he was thought to be was thought to be a painter who saw with his soul. In the early-20th century, however, he was criticized as lacking innovation. Bernhard Ridderbros writes that neither analysis credits Memling "with the significance of his work, which was considerable", nor credits the extent to which he synthesized the techniques and motifs of his predecessors, van der Weyden and van Eyck.[16]
The composition of the Mystic Marriage of St Catherine is almost identical to the central panel of Memling's St John Altarpiece, except that the former is set in a columned space. According to Ainsworth, aside from differences in the folds of the saints' dresses the figures are "virtually identical in type, costume and gesture". The altarpiece has the two St Johns flanking the heavenly figures, whereas here the single donor is shown to the left of St Catherine.[1] Guy Bauman suggests the donor's presence on the left is intrusive, writing that Memling's proclivity for symmetry "has resulted in a curious compositional solution that balances the donor with Saint Barbara's tower".[10]
Ainsworth explains the panel "reveals spontaneous and rather detailed underdrawing", which is typical for Memling. She speculates he used preliminary workshop studies as a basis for this panel and other similar renditions of the same scene.[1] The nature of the black chalk underdrawings, visible via technical analyses, suggests he drew them freely before applying layers of paint to achieve a smooth surface. Almost certainly the two paintings, despite their similarities, were not the product of a template or other mechanical means of copying.[2]
Memling was unique in repeating his work; according to Shirley Blum he "duplicated scenes and motifs to an extent never before witnessed in Netherlandish painting."[17] She writes he failed to achieve a sense of unity across the panels of the St John Altarpiece,[18] which he solved by simplifying imagery and by depicting a single idea on a single panel. Unlike van Eyck, whose overwhelmingly large Madonnas symbolize the church in which they stand, hidden or disguised symbolism is absent in Memling's work. His straightforward and literal details function as nothing other than as ornamentation and background for the Virgin. In his later work, the ornamentation became increasingly elaborate and Italianesque.[17] Friedländer likened him to Fra Angelico in that Memling not so much copied or repeated his work, but rather "he pictured the Madonna as she took form in his imagination, depicting therefore always the same body and the same soul."[19]
Attribution and provenance
Only two of Memling's works are definitively attributed and dated; both are at Old St. John's Hospital (Sint-Janshospitaal). The St John Altarpiece is inscribed with a date of 1479, almost certainly the date it was installed; Triptych of Jan Floreins is inscribed and probably commissioned by a prelate or brother at the hospital. Attributions and dating depend on stylistic analysis, but because Memling repeated compositions such as this, dating is more problematic. Generally art historians agree he executed St. Catherine at about the same time as the altarpiece, probably around 1480.[20] Friedländer first suggested the 1480 date in 1916;[21] a date that since has been substantiated with tree ring analysis.[2]
There is no record of the painting's owners until its purchased by Sir Joshua Reynolds of London, who may have acquired it on a trip to Bruges, or from Dr. John Taylor of Ashbourne, who is recorded as an owner. It was bequeathed to a Mrs Davenport in London,[2] who showed it Burlington House. At an unknown date it was acquired by architect G. F. Bodley and later sold to an London art dealer who had it cleaned and passed it to Parisian dealer, Leopold Goldschmidt. He had it exhibited in the 1902 Bruges exposition.[21] Benjamin Altman bought it in 1911 for $200,000 and bequeathed it on his death in 1913 to the Altman Collection at New York's Metropolitan museum.[2]
References
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 Ainsworth (1998), 116
- ↑ 2.0 2.1 2.2 2.3 2.4 "Virgin and Child with Saints". Metropolitan Museum of Art. Retrieved April 19, 2015.
- ↑ 3.0 3.1 Ridderbos (2005), 136
- ↑ 4.0 4.1 4.2 4.3 Snyder (1987), 35
- ↑ Weale (1910), 177
- ↑ Kren (1992), 43
- ↑ Blum (1969), 93
- ↑ Pumplin (2010), 317–18
- ↑ Bauman (1986), 17
- ↑ 10.0 10.1 Bauman (1986), 25
- ↑ Bauman (1986), 30
- ↑ Ainsworth (2005), 55
- ↑ Ainsworth (2005), 56
- ↑ Friedlænder (1956), 42
- ↑ 15.0 15.1 Friedlænder (1956), 44
- ↑ Ridderbos (2005), 140
- ↑ 17.0 17.1 Blum (1969), 97
- ↑ Blum (1969), 94
- ↑ Friedländer (1920), 116
- ↑ Hand (1987), 184
- ↑ 21.0 21.1 Friedländer (1916), 188, 193
Sources
- Ainsworth, Maryan. "Hans Memling". Maryan Ainsworth, et al. (eds.), From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1998. ISBN 0-87099-870-6
- Ainsworth, Maryan. "Intentional Alterations of Early Netherlandish Paintings". Metropolitan Museum Journal, Vol. 40, (2005)
- Bauman, Guy. "Early Flemish Portraits 1425–1525". The Metropolitan Museum of Art Bulletin, Volume 43, No. 4, Spring, 1986
- Blum, Shirley Neilson. Early Netherlandish Triptychs: A Study in Patronage. Los Angeles: University of California Press, 1969
- Friedländer, Max. "About some of Hans Memling's Pictures in the United States". Art in American, Volume 8, 1920
- Friedländer, Max. Early Netherlandish Painting:From Van Eyck to Bruegel. Garden City, NY: Phaidon Publishers, 1956
- Friedländer, Max. "The Altman Memlings in the Metropolitan Museum of Art". Art in American, Volume 4, 1916
- Hand, John Oliver; Martha Wolff. Early Netherlandish Painting. Washington: National Gallery of Art, (1987). ISBN 978-0-89468-093-9
- Kren, Thomas. Margaret of York, Simon Marmion, and The Visions of Tondal. Los Angeles: Getty Publication, (1992). ISBN 978-0-89236-204-2
- Pumplin, Paula. "The Communion of Saints: The Master of the Virgo inter Virgines' Virgin and Child with Saints Catherine, Cecilia, Barbara and Ursula". The Rijksmuseum Bulletin, Vol. 58, No. 4, (2010)
- Ridderbos, Bernhard; Van Buren, Anne; Van Veen, Henk. Early Netherlandish Paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2005. ISBN 0-89236-816-0
- Snyder, James (ed.). The Renaissance in the North. New York: Metropolitan Museum of Art, 1987. ISBN 978-0-87099-434-0
- Weale, James. "Notes on Some Portraits of the Early Netherlands School. Three Portraits of the House of Burgundy". The Burlington Magazine for Connoisseurs, Vol. 17, No. 87 (June 1910)
External links
- "Virgin and Child with Saints". Metropolitan Museum of Art.
