By By Anna Piazza
On a Saturday afternoon, the Frick Collection in Manhattan was bustling with people ready to see the exhibition of Jan van Mimnelingh, more commonly known as Hans Memling. A major artist during the Northern Renaissance, Memling is a prime example of the artists coming out of areas like Flanders and Germany. His beautiful renderings of various people reflect upon the popular style that was growing during the 15th century and influenced so many artists. The Frick, along with other museums, was able to put together an amazing show displaying the few portraits Memling created during his lifetime. Throughout the paintings one can easily pick out the techniques that made him so appealing at the time.
The first trait one may notice upon viewing Memling’s work is his use of white to highlight the skin. Often times artists avoid using black and white to create light and shadow and opt for different shades of the color. Memling decides to use it nonetheless, giving his portraits a heavenly quality. Even at a quick glance around, one notices every face is glowing, especially compared to the dark backgrounds of some paintings. In “Portrait of an Old Woman,” one definitely notices how bright and lively the subject is, and even the white cloth around her head shines like satin. Like the other portraits, her face has a clean creamy complexion, despite her age, due to the white paint.
Memling’s painting technique adds to this heavenly quality, as well. The artist shows no sign of fast or harsh brushwork. His paintings are all extremely clean and seem pure of any flaws. Although one may believe that this lack of painterly style would ruin any chance of creating interesting textures, he is able to paint realistic looking fur in “Portrait of Man in Red Hat” and still keeps a smooth, satiny finish.
Keeping true to the Northern Renaissance tradition, Memling was also very talented in his careful rendering of details. He puts as much information as possible into the paintings. In “Diptych of Martin van Nieuwenhove,” a double portrait of a young man and the Virgin, he echoes Jan van Eyck by including details in surprising places. If one looks past the depiction of Mary a tiny mirror is visible in the background. Although it may seem unimpressive at first, it is astounding to realize that both figures are reflected onto it. In “Portrait of a Man with Coin of the Emperor Nero,” one can look closely and find small deer and people going on with their daily routines. Not only can one appreciate the passion that is necessary to add such details, but it is mind blowing to believe such a task can physically be done. His additions enrich the paintings, and are tastefully done-for these details are neither overbearing nor overly ornate.
Memling’s portraits now being displayed at the Frick Collection represent what the Northern Renaissance is best known for: new techniques leading to the breaking away from the previous medieval area, the pure and clean qualities of figures and their surroundings and meticulous details. Memling is able to beautifully render the subjects of his portraits and is consistent with the quality of his work (hardly changed at all throughout the years). The refined exhibit is sure to take the breath of anyone, whether one is familiar with the work or not. The Memling exhibit runs at the Frick until Dec. 31.
Examples of Memling’s portraits are on display at the Frick. (Image courtesy spongobongo.com)
