Hans Memling's life, artistic influences, and religious works

Memling's Annunciation

BIOGRAPHY -- Hans Memling

Hans Memling was probably born between 1430 and 1440 in the Main region of Seligenstadt, Germany, even though he is usually said to be from Finland. Historians But in all honesty, little seems known about his early years. Some stories suggest that he was injured in a military conflict associated with Charles the Bold, with the result that he was admitted to a religious care setting. In the hospital, it is said that he received extraordinary care that both enlightened his spiritually and invested in him a desire to use his talents to return thanks to those who saved his life. While newer evidence suggests these stories are mostly just self-serving for the organizations themselves, they likely came about because they allowed his caregivers to associate themselves with the artist who would eventually be tagged "the best in Christendom" because of his portrait and theological works. The fables were likely well received by the artist as well in that they gave him access to other artists who would teach, mentor and partner with him, and enable him to become wealthy and noble through his works. His first dated commission piece came in 1467, a portrait of the Italian medalist Nicolo Spinelli. Around 1480, he would marry Anne de Valkenaere (d. 1487), by whom he had three sons, Jean, Cornelius, and Nicholas. He was successful enough through these years to register on taxpayer rolls in the city of Bruges, where he owned three houses. He died in about 1494 in Bruges, which was the city most often associated with his career.

ARTISTIC INFLUENCES

According to various sources, Memling was at one time regarded as the greatest of painters of the late 15th century. Movements during this period suggested that artistry was going through some dramatic changes that would reshape how pieces were developed, and he is suggested to be one of the earliest followers of these many shirts. His influences prior to and during these changes likely came about from a number of sources, including his studies and work with reputable artists such as Jan van Eyck and Rogier van der Weyden.

Prior to his stylistic growth, the works of the region were often seen as being harsh and depicting of the lesser goods of living. Some have said that even as these changes came about, those Memling studied with remained attuned to the older styles, which helped ensure that he would be more associated with the progressive styles underway. This fact did not mean that the work of his mentors was of lesser quality, just that they would remain notably different than works made by Memling, thus making it possible to judge his work on the Annunciation.

Memling is said to have been instrumental in presenting religious subjects in his pieces in realistic ways, including the human forms he often included. In his Mystic Marriage of St. Catherine, for example, the angels have no need for wings, the saints no radiance of nimbuses. Instead, they were identified by their saintly purposes; the attributes that the viewer would see would be what these emissaries of God were actually doing to effectively earn their Grace. It was this that would allow him to add charm and peacefulness to what he painted. It could also be said to have allowed him to open the doors (and windows) to other representations in his works, such as landscape and outdoor attributes. His touch in this regard encouraged the perception of movement and expression in his works, made even better by greater uses of color and other narrative elements. These characteristics are predominate in the Annunciation, which is at least one strong reason for accepting that even if that project was commissioned from van der Weyden by Ferry de Clugny, Cardinal and Bishop of Tournai, it was Memling who did the main work.

ANNUNCIATION OF MARY (1465-75)

The painting (center pain) represents Luke 1:34. It is said to reflect the meaning of the language of the Bible where the Virgin Mary questions how she can be having a baby (Jesus), given her commitment to virginity and because she had no sex with a man. Thoughts have it that the conception of such a child was scheduled to occur sometime later, so experts interpret this as meaning it was reasonable for Mary to be confused and uncertain. The painting depicts her being informed with a message that there was no concern, that she was in good stead with the Lord.

EMOTIONS OF THE SETTING

The setting is soothing, comforting and authoritative; the emotions reflecting this joy and confidence. There is no contest of feelings. Mary seems to be accepting of the message without further concern. She does not seem to be continuing to question her circumstances, and is said to be comfortable with not questioning her underlying faith and compliance with God's desires. The angel being well dressed, carrying the glory associated with the church hierarchy, confirms this emotional comfort. And, as noted the open window affirms how inviting the setting is. The garden is clean and welcoming, and the wealth affirms the feelings of comfort, job and peace.

KEY ELEMENTS OF DEPICTION

It seems that the key element is the gracious openness of the message and its sense of delivering the message in an open and inviting way. Memling is noted for being one of the artists that brought landscape settings, brightness, and a sense of charm and comfort to his works. The room feels this way and thus affirms the message of Luke without resorting to harsher styles that might have been seen as "commanding" religious authority. It can be said that Mary's belly is shown to highlight the birth, and there are vases and items that suggest the holding and supporting life.

COMPOSTION OF PAINTING

Medium: The medium is oil on wood. It could be suggested that this is more appropriate than other kinds of framing or canvass materials, which would be usually more expensive. It can be said to help to convey an idea of commonality, thus confirming that it is appropriate for all people to see and learn the message.

Color: The color of red predominates. It can be seen as a good read, a red of the heart. The comfort might be thought of as reflecting the kinds of bright color that even the contemporary church uses to convey job. The sky outside is blue. The sun is clearly shining with bright and light shades. The angel is dressed in white and the Virgin Mary in royal colors.

Size: The size of the work is 73 1/4 inches by 45 1/4 inches. This is about six feet tall, which means that the people and setting are represented as life-like and life-sized.