Han Memling's art pieces have always had a sentimental attachment. It is as if this painting could describe what the child, virgin Saint Catherine of Alexandria and Barbra is doing. It represents not only the location of the tower but also the physical resemblance of the people, their skin color, and their intense eyes. Furthermore, it describes the spiritual influence that comes from the Catholic traditions; hence, he can explain the actual religious life, inviting, colorful hospitable nature of what is in the painting. Memling can use the ceramics, crafts, sculpture and wooden works that portray tradition of the people in Netherland in a nonlinear fashion.
The historical and cultural context plays a very important role and at the same time, he can make them transcend so that it can be appreciated by someone who is not familiar with this context. Han Memling works of art can be found in art galleries and metropolitan museum of art.
There are certain fundamental components present in this work of art. The first element is how he used color. His painting has colors such as bright reds, green, and brown. It creates an amazing contrast to the eye. Your eyes cannot settle in one place because the colors take you round the paintings through each and every detail which intensifies and unites the color itself.
The second component is the use of familiar figures such as trees the tower, a child, and women. The images of women emphasize the denotation of life. Women are the bearers of life and color, and a woman is carrying a child. It is a devotional donor portrait that combines the familiar theme of Manan art with elements common to the iconography of Mary and the child. This woman carries the traditional responsibility of motherhood. The repeating figures of natural world help reemphasize the central theme of the painting where nature is an integral part of daily life. The landscape, trees, plants and grass tie back to nature and its overwhelming impact on people's life. The tower portrayed in the painting refers to a place where the Virgin took refuge. The building antique with old brick walls has an affinity to the past.
The painting includes all of the traditional elements of Han Memling's work and it also tells an interesting story about history and religious beliefs. The best way for me to begin an interpretation of this piece is to start by looking at the order of things. On the left, an anonymous donor is kneeling behind one of the women probably Saint Catherine holding rosary beads. He is reciting his rosary as he contemplates Saint Catherine's mystic marriage to the infant child (Tribute to Han Memling's website).
The painting also depicts the Virgin holding the baby on her laps flanked by two women against a landscape. The Virgin is beneath a canopy. Her symbol is in the garden behind the throne. The woman could symbolize Mary Mother of God and the child symbolizes Christ. On either side of the Virgin, are two angels dressed in liturgical clothes with musical instruments. The angel on the left is possibly playing a portable musical instrument while the one on the right a harp. The presence of the angels, the virgin, and the child bring a spiritual bond to the natural world.
The virgin stands for the tradition that stands for religion. The harmony of life and religion depends on keeping a good relationship with the child Christ as a result of angels' presence and the saints who have visited the Virgin and the child at her throne.
In this painting, the most surprising thing that caught my eyes is the intense focus of the painter's o the surface and texture of the surface at the throne.
Saint Catherine wears a crown on her head and dressed in lavish clothing with red velvet sleeves and lovely patterned skirt. The symbols of Saint Catherine are the breaking wheel and sword on the ground from beneath the folds of her skirt. She extends her left hand to the child who places a ring on her finger symbolizing their spiritual betrothal. According to Saint Catherine's legend, the mystic marriage between her and Christ occurred in her dream where she awoke with a ring on her finger.
Saint Barbra, on the other hand, had the tower behind her which was her symbol. It is in the shape of monstrance meant to hold the sacramental bread. T he three windows on the tower symbolize the Trinity. The female figures show the development of Han Memling, who has settled on strong female types whose expression tend to reflect a state of gentle acceptance.
There is a canopy with grape arbor which adds credence to the theory. The grape arbor icon symbolizes the blood of Christ probably significant in Memling's city where the Holy Blood was thought to house Christs blood (metropolitan museum).
Han Memling did not ignore the humble background with flowers that look as the instrument used to hold sacrament with some flowers. Memling has painted fabric with an elaborate pattern. Every part of the painting is with uncanny clarity. To me, these details seem prayerful.
Ainsworth, Maryan Ainsworth. "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, 1998a. ISBN 0-87099-870-6https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwikpZzI0aLLAhXB7xQKHf2LAv0QFggvMAM&url=http%3A%2F%2Fwww.wga.hu%2Fframes-e.html%3F%2Fhtml%2Fm%2Fmemling%2Findex.html&usg=AFQjCNEOlR6q3HMxzb-9Ry3nvpfyP0Qy-A&sig2=KoYavf1EOTFnfzRaNCjDTA
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