The Motive
by: Benjamin Woodman
Hans Memling, Diptych of Maarten Nieuwenhove
1487
Napoleon Bonaparte once said. “Religion is what keeps the poor from murdering the rich.” Devotional art of the Northern Renaissance was an important aspect in the lives of the patron and artist alike. The works often served purposes outside of mere decoration or pious devotion and also were considered significant works by their respective artist’s. Two examples of works demonstrating this point are Claus Sluter’s Well of Moses and Hans Memling’s Virgin and Child and Maarten van Nieuwenhove. Each of these works displays aspects of devotion, political agenda, and artistic complexity.
Sluter’s work resides in the Carthusian monastery Chartreuse de Champmol which was patronized by Phillip the Bold of burgundy. This large, originally 24.5 feet in height, statue is situated directly in the middle of the monastery and once displayed the coats of arms of both the duke and duchess of Burgundy.[i] This political juxtaposition likely served as a constant reminder to the monks, clergy, and other viewers of their pious generosity. However, the monument also served as a devotional object which would have been used by the Carthusian monks to transcend the confines of physical reality to contemplate the torture and death of Jesus. This function was enhanced by Sluter’s minute attention to detail, and emphasis of emotion. The original statue was capped with a Calvary scene containing Jesus on a cross, Mary Magdalene, and arguably Virgin Mary and Saint John.[ii] Sluter’s dramatic handling of Jesus’ features and physical demeanor in the sculpture are evident in the surviving sculpture. This is best represented by the facial expression resembling great pain and physical exhaustion to a point of defeat and a succumbing to death with the eyes gently closed and the head sagging to the side.[iii] Sluter also took the liberty of extracting cavities and absences in which light could pass through the hair and crown of Jesus unto his face and torso.[iv] The wounds upon Jesus’ side also appear to be accented with polychrome paint to resemble actual wounds.[v] These considerations would have enhanced the realism of the sculpture beyond many of its contemporaries, thus setting it apart as an iconic artistic achievement. Hans Memling’s work, similar to Sluter’s, was commissioned by a political figure. The devotional diptych of Maarten van Nieuwenhove and the virgin and child also contained political agendas.[vi] However, these agendas were attuned more to a desire of political respect than of a reminder of political prowess. This work was commissioned by Nieuwenhove as a means to not only acquire greater piety, but also as a means of advancing his personal career as a politician.[vii] The political purpose of this work was successful in generating enough public clout as to land him a position as a councilor five years after its creation which would eventually lead to his position as mayor of Bruges two years before his death.[viii] The political power of this piece is best seen through the multiple references to Nieuwenhove’s heritage and association to great persons of the past. The panel depicting the virgin and child contains a stained glass representation of Nieuwenhove’s coat of arms, thus relating him to his powerful and respected family.[ix] The diptych also depicts both Nieuwenhove and the Virgin Mary clothed in traditionally regal clothing with rich violets and fine jewelry; this would have alluded to Nieuwenhove’s desire to claim high ranking political status.[x] As well as the family association and the royal clothing, Maarten is seated in front of a window depicting a stained glass representation of Saint Martin, his name saint.[xi] Saint Martin is often associated with Christian charity and is thus depicted donating a piece of his cloak to a nearby beggar.[xii] This association would have been a well accepted political linking as being a generous and charitable person, willing to share his wealth. This works multiple political references and agendas did little to affect its devotional quality. The depiction of Nieuwenhove and the virgin and child in the same physical space had never occurred in a diptych before.[xiii]This suggested a strong, intimate engagement with the sacred persons seated across from the patron.[xiv] The sharing of a physical space was an illusionistic achievement by Memling by way of subtle hints and linear and atmospheric perspective. The general appearance of the spaces in each panel suggests a shared room, but it is the mirror behind the virgin’s shoulder depicting Mary and Maarten in the same room and in close proximity.[xv] The identical tile pattern in each panel and the continuous fabric of Mary’s robe are also signals of shared space.[xvi] These aspects in addition to the realistic appearance of physical textures and surfaces and the worldly references lend to an overall experience of pious observation, political ambitions, and artistic skill. When considered carefully in context, these two works share many common aspects despite their different medium and patronages. Sluter’s Well of Moses commanded reverence for both God and patron, whereas Memling’s diptych desired greater respect for the young, ambitious patron. The general use of piety as apolitical tool can be observed throughout Northern Renaissance art, and these two objects represent prime examples of that usage. This practice was not unique to the Northern Renaissance and can even be seen enhancing and entrenching the careers and ambitions of political leaders today.
Endnotes:
[i] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 54.
[ii] Ibid, and Susie Nash, “Claus Sluter’s ‘Well of Moses’ for the Chartreuse de Champmol Reconsidered: Part I”, The Burlington Magazine 147:1233, 799.
[iii] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 55.
[iv] Ibid.
[v] Ibid.
[vi] Ibid, 136.
[vii] National Gallery of Art, “Prayers and Portraits: Unfolding the Netherlandish Diptych”, National Gallery pf Art, http://www.nga.gov/exhibitions/2006/diptych/diptych1.shtm. (Accessed April 7, 2011)
[viii] Ibid.
[ix] Ibid.
[x] Ibid.
[xi] Ibid.
[xii] Ibid.
[xiii] Ibid.
[xiv] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 136-37.
[xv] National Gallery of Art, “Prayers and Portraits: Unfolding the Netherlandish Diptych”, National Gallery pf Art, http://www.nga.gov/exhibitions/2006/diptych/diptych1.shtm. (Accessed April 7, 2011)
[xvi] Ibid.
Sluter’s work resides in the Carthusian monastery Chartreuse de Champmol which was patronized by Phillip the Bold of burgundy. This large, originally 24.5 feet in height, statue is situated directly in the middle of the monastery and once displayed the coats of arms of both the duke and duchess of Burgundy.[i] This political juxtaposition likely served as a constant reminder to the monks, clergy, and other viewers of their pious generosity. However, the monument also served as a devotional object which would have been used by the Carthusian monks to transcend the confines of physical reality to contemplate the torture and death of Jesus. This function was enhanced by Sluter’s minute attention to detail, and emphasis of emotion. The original statue was capped with a Calvary scene containing Jesus on a cross, Mary Magdalene, and arguably Virgin Mary and Saint John.[ii] Sluter’s dramatic handling of Jesus’ features and physical demeanor in the sculpture are evident in the surviving sculpture. This is best represented by the facial expression resembling great pain and physical exhaustion to a point of defeat and a succumbing to death with the eyes gently closed and the head sagging to the side.[iii] Sluter also took the liberty of extracting cavities and absences in which light could pass through the hair and crown of Jesus unto his face and torso.[iv] The wounds upon Jesus’ side also appear to be accented with polychrome paint to resemble actual wounds.[v] These considerations would have enhanced the realism of the sculpture beyond many of its contemporaries, thus setting it apart as an iconic artistic achievement. Hans Memling’s work, similar to Sluter’s, was commissioned by a political figure. The devotional diptych of Maarten van Nieuwenhove and the virgin and child also contained political agendas.[vi] However, these agendas were attuned more to a desire of political respect than of a reminder of political prowess. This work was commissioned by Nieuwenhove as a means to not only acquire greater piety, but also as a means of advancing his personal career as a politician.[vii] The political purpose of this work was successful in generating enough public clout as to land him a position as a councilor five years after its creation which would eventually lead to his position as mayor of Bruges two years before his death.[viii] The political power of this piece is best seen through the multiple references to Nieuwenhove’s heritage and association to great persons of the past. The panel depicting the virgin and child contains a stained glass representation of Nieuwenhove’s coat of arms, thus relating him to his powerful and respected family.[ix] The diptych also depicts both Nieuwenhove and the Virgin Mary clothed in traditionally regal clothing with rich violets and fine jewelry; this would have alluded to Nieuwenhove’s desire to claim high ranking political status.[x] As well as the family association and the royal clothing, Maarten is seated in front of a window depicting a stained glass representation of Saint Martin, his name saint.[xi] Saint Martin is often associated with Christian charity and is thus depicted donating a piece of his cloak to a nearby beggar.[xii] This association would have been a well accepted political linking as being a generous and charitable person, willing to share his wealth. This works multiple political references and agendas did little to affect its devotional quality. The depiction of Nieuwenhove and the virgin and child in the same physical space had never occurred in a diptych before.[xiii]This suggested a strong, intimate engagement with the sacred persons seated across from the patron.[xiv] The sharing of a physical space was an illusionistic achievement by Memling by way of subtle hints and linear and atmospheric perspective. The general appearance of the spaces in each panel suggests a shared room, but it is the mirror behind the virgin’s shoulder depicting Mary and Maarten in the same room and in close proximity.[xv] The identical tile pattern in each panel and the continuous fabric of Mary’s robe are also signals of shared space.[xvi] These aspects in addition to the realistic appearance of physical textures and surfaces and the worldly references lend to an overall experience of pious observation, political ambitions, and artistic skill. When considered carefully in context, these two works share many common aspects despite their different medium and patronages. Sluter’s Well of Moses commanded reverence for both God and patron, whereas Memling’s diptych desired greater respect for the young, ambitious patron. The general use of piety as apolitical tool can be observed throughout Northern Renaissance art, and these two objects represent prime examples of that usage. This practice was not unique to the Northern Renaissance and can even be seen enhancing and entrenching the careers and ambitions of political leaders today.
Endnotes:
[i] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 54.
[ii] Ibid, and Susie Nash, “Claus Sluter’s ‘Well of Moses’ for the Chartreuse de Champmol Reconsidered: Part I”, The Burlington Magazine 147:1233, 799.
[iii] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 55.
[iv] Ibid.
[v] Ibid.
[vi] Ibid, 136.
[vii] National Gallery of Art, “Prayers and Portraits: Unfolding the Netherlandish Diptych”, National Gallery pf Art, http://www.nga.gov/exhibitions/2006/diptych/diptych1.shtm. (Accessed April 7, 2011)
[viii] Ibid.
[ix] Ibid.
[x] Ibid.
[xi] Ibid.
[xii] Ibid.
[xiii] Ibid.
[xiv] Jeffery Chips Smith, The Northern Renaissance, (New York: Phaidon Press, 2004) 136-37.
[xv] National Gallery of Art, “Prayers and Portraits: Unfolding the Netherlandish Diptych”, National Gallery pf Art, http://www.nga.gov/exhibitions/2006/diptych/diptych1.shtm. (Accessed April 7, 2011)
[xvi] Ibid.
