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Hans Memling

Paintings

Eve Print by Hans Memling

Eve

 Adam Print by Hans Memling

Adam

Portrait of a Woman at Prayer Print by Hans Memling

Portrait of a Woman at Prayer

Saint John the Evangelist Print by Hans Memling

Saint John the Evangelist

Saint John the Evangelist Print by Hans Memling

Saint John the Evangelist

Saint Lawrence Print by Hans Memling

Saint Lawrence

The Virgin and Child with an Angel Print by Hans Memling

The Virgin and Child with an Angel

Virgin and Child Print by Hans Memling

Virgin and Child

Christ Blessing Print by Hans Memling

Christ Blessing

A Young Man at Prayer Print by Hans Memling

A Young Man at Prayer

The Donne Triptych Print by Hans Memling

The Donne Triptych

Portrait of a Young Man Print by Hans Memling

Portrait of a Young Man

Saint John the Baptist Print by Hans Memling

Saint John the Baptist

Saint John the Baptist Print by Hans Memling

Saint John the Baptist

Virgin and Child 2 Print by Hans Memling

Virgin and Child 2

Portrait of a Man reading Print by Hans Memling

Portrait of a Man reading

The Annunciation Print by Hans Memling

The Annunciation

Virgin and Child with Saints Catherine of Alexandria and Barbara Print by Hans Memling

Virgin and Child with Saints Catherine of Alexandria and Barbara

The Annunciation Print by Hans Memling

The Annunciation

Portrait of a Young Woman Print by Attributed to Hans Memling

Portrait of a Young Woman

Portrait of an Old Man Print by Hans Memling

Portrait of an Old Man

Young Woman with a Pink Print by Hans Memling and Workshop

Young Woman with a Pink

The Nativity Print by Workshop of Hans Memling

The Nativity

Hans Memling

The Virgin and Child with an Angel

Hans Memling

Two Panels from a Triptych

Hans Memling

The Virgin

Hans Memling

Praying Founder with Saint

Hans Memling

Crucifixion

Hans Memling

Praying founder with St. William of Maleval

Hans Memling

Portrait of a young woman

Hans Memling

Two horses and a monkey

Hans Memling

Altar of the Lübeck Marienkirche, left outer wing

Hans Memling

Altar of the Lübeck Marienkirche , left wing

Hans Memling

Altar of the Lübeck Marienkirche, middle panel

Hans Memling

Altar of the Lübeck Marienkirche, right outer wing

Hans Memling

Altar of the Lübeck Marienkirche, right outer wing

Hans Memling

Altar of the Lübeck Marienkirche, right outer wing

Hans Memling

Altar of the Lübeck Marienkirche, right wing

Hans Memling

Bathsheba in her bath

Hans Memling

Lamentation of Christ , with donor

Hans Memling

Nativity

Hans Memling

Christ crowned with thorns

Hans Memling

Presentation of Christ in the Temple

Hans Memling

The Last Judgement , left wing , outside

Hans Memling

The Last Judgement , left wing , inside

Hans Memling

The Last Judgement , central panel

Hans Memling

The Last Judgement , central panel , detail

Hans Memling

The Last Judgement , right wing , outside

Hans Memling

The Last Judgement , right wing , inside

Hans Memling

Diptych of Maarten van Nieuwenhove : Madonna

Hans Memling

Diptych of Maarten van Nieuwenhove : Portrait

Hans Memling

St. John the Baptist

Hans Memling

Saint Veronica

Hans Memling

Three king altar : the birth of Christ

Hans Memling

Three king altar : Adoration of the Magi

Hans Memling

Three king altar : presentation in the Temple

Hans Memling

Flight to Egypt

Hans Memling

Descent from the Cross

Hans Memling

The Holy Women and St John

Hans Memling

St. Christopher

Hans Memling

St. Stephen

Hans Memling

John the Baptist and St. Lawrence

Hans Memling

Cologne, Rhine partie from Bayenturm to large - St. -Martin (in the foreground Martyrdom of St. . Ursula )

Hans Memling

Cologne, Rhine partie from Bayenturm to the cathedral (first in the foreground arrival of St . Ursula )

Hans Memling

Madonna with St. Anthony and Donors

Hans Memling

Marie altar of Sir John Donne of Kidwelly

Hans Memling

Marie altar of Sir John Donne of Kidwelly , detail

Hans Memling

Martyrdom of St. Sebastian

Hans Memling

Mystic Marriage of St. Catherine

Hans Memling

Portinari Triptych , Middle panel : Madonna

Hans Memling

Portrait of Willem Moreel

Hans Memling

Portrait of Barbara van Vlaendenbergh

Hans Memling

Portrait of Maria Maddalena Portinari

Hans Memling

Portrait of Martin van Nieuwenhove

Hans Memling

Portrait of Tommaso Portinari

Hans Memling

Portrait of an elderly woman

Hans Memling

Portrait of a Lady

Hans Memling

Portrait of an older man

Hans Memling

Portrait of a man (Giovanni )

Hans Memling

Portrait of a man

Hans Memling

Portrait of a man with an antique coin

Hans Memling

Mother of Sorrows with dead Christ

Hans Memling

Scenes from the life of Mary

Hans Memling

Table with scenes of the Passion of Christ

Hans Memling

Enthroned Madonna and musician angels

Hans Memling

Mystic Marriage of St. Catherine

Hans Memling

Mystic Marriage of St. Catherine , detail

Hans Memling

Mystic Marriage of St. Catherine , detail

Hans Memling

Mystic Marriage of St. Catherine , detail

Hans Memling

Mystic Marriage of St. Catherine , detail

Hans Memling

Mystic Marriage of St. Catherine

Hans Memling

Triptych of Willem Moreel , left wing

Hans Memling

Triptych of Willem Moreel , middle panel

Hans Memling

Triptych of Willem Moreel right wing

Hans Memling

Ursula Shrine

Hans Memling

Ursula Shrine : Arrival of the virgins in Cologne

Hans Memling

Ursula Shrine : Martyrdom of St. Ursula

Hans Memling

Ursula Shrine : St Ursula and her companions

Hans Memling

Vase with flowers

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Virgin And Child Print by Hans Memling

Virgin and Child

Hans Memling (also spelled Memlinc; c. 1430 – 11 August 1494) was a German-born painter who moved to Flanders and worked in the tradition of Early Netherlandish painting. He spent some time in the Brussels workshop of Rogier van der Weyden, and after Rogier's death in 1464, Memling was made a citizen of Bruges, where he became one of the leading artists, painting both portraits and diptychs for personal devotion and several large religious works, seamlessly continuing the style he learned in his youth.

Life and works

Born in Seligenstadt,[2] near Frankfurt in the Middle Main region, Memling served his apprenticeship at Mainz or Cologne, and later worked in the Low Countries under Rogier van der Weyden (c. 1455–1460) in Brussels, Duchy of Brabant. He then worked at Bruges, County of Flanders by 1465.[2]
Last Judgement, triptych, oil on wood, 1466–1473. National Museum, Gdańsk

He may have been wounded at the Battle of Nancy (1477), sheltered and cured by the Hospitallers at Bruges and to show his gratitude he refused payment for a picture he had painted for them. Memling did paint for the Hospitallers in 1479 and 1480, and it is likely that he was known to the patrons of St John prior to the Battle of Nancy. In 1477, when he was believed dead, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, Scenes of the Passion of Christ, now in the Galleria Sabauda of Turin, is not inferior in any way to those of 1479 in the Hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment, which since the 1470s, is in the National Museum, Gdańsk. Critical opinion has been generally unanimous in assigning this altarpiece to Memling. This is evidence that Memling was a resident of Bruges in 1473; for the Last Judgment was likely painted and sold to a merchant at Bruges, who shipped it there on board a vessel bound to the Mediterranean which was captured by Danzig privateer Paul Beneke in that very year. The purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.

The oldest allusions to pictures connected to Memling point to his relations with the Burgundian court, which was held in Brussels. The inventories of Margaret of Austria, drawn up in 1524, allude to a triptych of the God of Pity by Roger van der Weyden, of which the wings containing angels were painted by "Master Hans". He may have been apprenticed to van der Weyden in Bruges, where he afterwards dwelt.
Advent and Triumph of Christ (or Seven Joys of Mary)

The clearest evidence of the connection of the two masters is that afforded by pictures, particularly an altarpiece, which has alternately been assigned to each of them, and which may be due to their joint labours. In this altarpiece, which is a triptych ordered for a patron of the house of Sforza, we find the style of van der Weyden in the central panel of the Crucifixion, and that of Memling in the episodes on the wings. Yet the whole piece was assigned to the former in the Zambeccari collection at Bologna, whilst it was attributed to the latter at the Middleton sale in London in 1872.

Memling's painting of the Baptist in the gallery of Munich (c. 1470) is the oldest form in which Memling's style is displayed. The subsequent Last Judgment in Gdańsk shows that Memling preserved the tradition of sacred art used earlier by Rogier van der Weyden in the Beaune Altarpiece.

Memling's portraits, in particular, were popular in Italy.[3] According to Paula Nuttall, Memling's distinctive contribution to portraiture was his use of landscape backgrounds, characterized by "a balanced counterpoint between top and bottom, foreground and background: the head offset by the neutral expanse of sky, and the neutral area of the shoulders enlivened by the landscape detail beyond".[4] Memling's portrait style influenced the work of numerous late-15th-century Italian painters,[5] and is evident in works such as Raphael's Portraits of Agnolo and Maddalena Doni.[6] He was popular with Italian customers as shown in the preference given to them by such purchasers as Cardinal Grimani and Cardinal Bembo at Venice, and the heads of the house of Medici at Florence.


Triptych of Earthly Vanity and Divine Salvation (front) (c.1485)
Oil on oak panel, 22 x 15 cm (each wing) Musée des Beaux-Arts de Strasbourg

Memling's reputation was not confined to Italy or Flanders. The Madonna and Saints (which passed from the Duchatel collection to the Louvre), the Virgin and Child (painted for Sir John Donne and now at the National Gallery, London), and the four attributed portraits in the Uffizi Gallery of Florence (including the Portrait of Folco Portinari), show that his work was widely appreciated in the 16th century.

The Scenes from the Passion of Christ in the Galleria Sabauda of Turin and the Advent and Triumph of Christ in the Pinakothek of Munich are illustrations of the habit in Flanders art of representing a cycle of subjects on the different planes of a single picture, where a wide expanse of ground is covered with incidents from the Passion in the form common to the action of sacred plays.

Memling became sufficiently prosperous that his name appears on a list of the 875 richest citizens of Bruges who were obligatory subscribers to the loan raised by Maximilian I of Austria, to finance hostilities towards France in 1480.[7] Memling's name does not appear on subsequent subscription lists of this type, suggesting that his financial circumstances declined somewhat as a result of the economic crisis in Bruges during the 1480s.[8]

The masterpiece of Memling's later years, the Shrine of St Ursula in the museum of the hospital of Bruges, is fairly supposed to have been ordered and finished in 1480. The delicacy of finish in its miniature figures, the variety of its landscapes and costume, the marvellous patience with which its details are given, are all matters of enjoyment to the spectator. There is later work of the master in the St Christopher and Saints of 1484 in the academy, or the Newenhoven Madonna in the hospital of Bruges, or a large Crucifixion, with scenes from the Passion, of 1491 from the Lübeck Cathedral (Dom) of Lübeck, now in Lübeck's St. Annen Museum. Near the close of Memling's career he was increasingly supported by his workshop. The registers of the painters' guild at Bruges give the names of two apprentices who served their time with Memling and paid dues on admission to the guild in 1480 and 1486. These subordinates remained obscure.

He died in Bruges. The trustees of his will appeared before the court of wards at Bruges on 10 December 1495, and we gather from records of that date and place that Memling left behind several children and considerable property.


Critical opinion

Erwin Panofsky in his 1953 Early Netherlandish Painting (p. 347), says of Memling: "... while the Romantics and the Victorians considered his sweetness the very summit of Medieval art, we feel inclined to compare him to a composer such as Felix Mendelssohn: he occasionally enchants, never offends, and never overwhelms. His works give the impression of derivativeness ..."


Selected works
Mystic Marriage of St. Catherine, Metropolitan Museum of Art, New York

Adam and Eve (c. 1485), oil on oak, 69.3 × 17.3 cm (each), Kunsthistorisches Museum, Vienna
"Adoration of the Magi (c. 1470), oil on wood, 96.4 × 147 cm, Museo del Prado, Madrid
"St John Altarpiece (c. 1479), oil on wood, Old St. John's Hospital, Bruges
Advent and Triumph of Christ (1480), oil on wood, 81 × 189 cm, Alte Pinakothek, Munich [1]
Allegory with a Virgin (1479–80), oil on oak panel, 38.3 × 31.9 cm, Musée Jacquemart-André, Paris [2]
Angel Musicians (1480s), oil on wood, 165 × 230 cm (each panel)[3]
Annunciation (1467–70), oil on panels, 83.3 × 26.5 cm (each), Groeninge Museum, Bruges [4]
Bathsheba (1485), oil on wood, 191 × 84 cm, Staatsgalerie, Stuttgart [5]
Carrying the Cross, oil on oak, 58.2 × 27.5 cm, Museum of Fine Arts, Budapest [6]
Christ at the Column (1485–90), oil on oak panel, 58.8 × 34.3 cm (with original frame), Colección Mateu, Barcelona [7]
Christ Giving His Blessing (1478), oil on oak panel, 38.1 × 28.2 cm, Norton Simon Museum of Art, Pasadena [8]
Sibylla Sambetha (1480), oil on oak panel, 38 cm x 26.5 cm. Old St. John's Hospital, Bruges
Christ Giving His Blessing (1481), oil on oak panel, 34.8 × 26.2 cm, Museum of Fine Arts, Boston [9]
Christ Surrounded by Musician Angels (1480s), oil on wood, 164 × 212 cm, Koninklijk Museum voor Schone Kunsten, Antwerp [10]
Crucifixion (detail), oil on oak, 56 × 63 cm (full panel), Museum of Fine Arts, Budapest [11]
Deposition (left wing of a diptych) (1490s), oil on oak panel, 538 × 39 cm, Groeninge Museum, Bruges [12]
Diptych of Jean de Cellier (c. 1475), oil on wood, 25 × 15 cm, Musée du Louvre, Paris [13]

Memling carpets

Memling carpets are a type of early Oriental carpet painted in several Memlings, and named after him. They are characterized by guls with "hooked" lines radiating from a central body, and probably came from Anatolia or Armenia.

Memlinc, by W. H. James Weale and J. Cyril Weale

References and sources

References

King, Donald and Sylvester, David eds. The Eastern Carpet in the Western World, From the 15th to the 17th century, p. 57, Arts Council of Great Britain, London, 1983, ISBN 0-7287-0362-9
Murray, P. and Murray, L. (1963) The Art of the Renaissance. London: Thames & Hudson, p. 156. ISBN 978-0-500-20008-7
Borchert 2005, p. 70
Borchert 2005, p. 74
Borchert 2005, p. 78
Borchert 2005, p. 83
Borchert 2005, p. 15

Borchert 2005, pp. 15–16

Sources

Borchert, Till-Holger (ed.) (2005). Memling's Portraits. Thames & Hudson. ISBN 0-500-09326-1.
Public Domain This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.

Further reading

de Vos, Dirk (1994). Hans Memling: The Complete Works. Harry N Abrams. ISBN 0-8109-3649-6.

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