DOI Page / Citation link:
https://doi.org/10.11588/diglit.42081#0072
then reminded of the immense influence Van der Weyden
exercised over Memling who so often borrowed his own
subjects and types from this Master. Then quite naturally the
idea takes shape : our Saint Mary - Magdalen might have been done
by Memling, painted maybe, in Rogier’s studio. An examination
of the details of our panel renders this conjecture plausible :
besides the general characteristics of style and feeling which
connect it with Memling, we note also numerous similarities of
craft which can be compared with the workmanship of the celebrated
Bruges painter : the trees are done in the same way - short
strokes giving them a golden crown -, there is the same living
modeling of the face, the same special colours, etc.who
else but Memling could have executed in so masterly a fashion
such a painting, showing so many points in common with
the painter of the Mystical Marriage of Saint Catharine.
Although we have no formal proofs we venture to say that
it is not unlikely that it may be attributed to Memling and
that we are justified in admitting this theory, so long as no
new document comes to light to contradict us. *——*-;-
The triptych of the Braque family in the Louvre from
which our Saint Mary - Magdalen is reproduced would date from
the years between 1446 (year in which the Beaune polyptych
was finished) and 1452 (year in which Jehan Braque died).
It must not be forgotten that it is not altogether impossible
to think, according to Mr. Hulin de Loo, that on coming
back from Rome in 1450, Rogier may have brought back
with him to Brussels, young Hans who originally came from
the Mayence district, and that the latter may have stayed on
exercised over Memling who so often borrowed his own
subjects and types from this Master. Then quite naturally the
idea takes shape : our Saint Mary - Magdalen might have been done
by Memling, painted maybe, in Rogier’s studio. An examination
of the details of our panel renders this conjecture plausible :
besides the general characteristics of style and feeling which
connect it with Memling, we note also numerous similarities of
craft which can be compared with the workmanship of the celebrated
Bruges painter : the trees are done in the same way - short
strokes giving them a golden crown -, there is the same living
modeling of the face, the same special colours, etc.who
else but Memling could have executed in so masterly a fashion
such a painting, showing so many points in common with
the painter of the Mystical Marriage of Saint Catharine.
Although we have no formal proofs we venture to say that
it is not unlikely that it may be attributed to Memling and
that we are justified in admitting this theory, so long as no
new document comes to light to contradict us. *——*-;-
The triptych of the Braque family in the Louvre from
which our Saint Mary - Magdalen is reproduced would date from
the years between 1446 (year in which the Beaune polyptych
was finished) and 1452 (year in which Jehan Braque died).
It must not be forgotten that it is not altogether impossible
to think, according to Mr. Hulin de Loo, that on coming
back from Rome in 1450, Rogier may have brought back
with him to Brussels, young Hans who originally came from
the Mayence district, and that the latter may have stayed on