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Hans Memling Portrait of a Young Man kk 1470-75
Metropolitan Museum of Art, New York
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Hans Memling Descent from the Cross 1480/90
Capilla Real, Granada
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Hans Memling Still Life df
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Hans Memling Hell 1485
Musee des Beaux Arts, Strasbourg
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Hans Memling Vanity 1485
Musee des Beaux Arts, Strasbourg
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Hans Memling Portrait of a Young Man www
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Hans Memling Musician Angels dd 1485
Koninkijk Museum, Antwerp
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Hans Memling Tommaso Portari dd 1470
Metropolitan Museum of Art, New York
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Hans Memling Maria Maddalena Baroncelli 1470
Metropolitan Museum of Art, New York
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Hans Memling Portrait of an Unknown Man 1490
Galleria degli Uffizi, Florence
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Hans Memling The Archangel Michael 1480
Wallace Collection, London
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Hans Memling Portrait of Martin van Nieuwenhove 1487
Hospital Saint Jean, Bruges
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Hans Memling Triptych of St.John the Baptist and St.John the Evangelist hh 1479
Hospital Saint Jean, Bruges
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Hans Memling Triptych of St.John the Baptist and St.John the Evangelist ff 1479
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Hans Memling Triptych of St.John the Baptist and St.John the Evangelist gg 1479
Hospital Saint Jean, Bruges
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Hans Memling Triptych of St.John the Baptist and St.John the Evangelist 1479
Hospital Saint Jean, Bruges
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Hans Memling Triptych of St.John the Baptist and St.John the Evangelist 1479
Hospital Saint Jean, Bruges
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Hans Memling St.Ursula Shrine 1489
Hospital Saint Jean, Bruges
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Hans Memling The Last Judgment Triptych Muzeum Narodowe, Gdansk
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Hans Memling The Last Judgement Triptych Muzeum Narodowe, Gdansk
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Hans Memling
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Netherlandish Northern Renaissance Painter, ca.1435-1494
Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden (c. 1455?C1460). He then went to Bruges around 1465.
There is an apocryphical story that he was a wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges, and that to show his gratitude he refused payment for a picture he had painted for them. Memling did indeed paint for the Hospitallers, but he painted several pictures for them, in 1479 and 1480, and it is likely that he was known to his patrons of St John, prior to the Battle of Nancy.
Memling is connected with military operations only in a distant sense. His name appears on a list of subscribers to the loan which was raised by Maximilian I of Austria, to defend against hostilities towards France in 1480. In 1477, when he was incorrectly claimed to have been killed, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, under the name of the Seven Griefs of Mary, is now in the Gallery of Turin. It is one of the fine creations of his more mature period. It 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 can be found since the 1470s in the St. Mary's Church, Gda??sk. Critical opinion has been unanimous in assigning this altarpiece to Memling. This affirms that Memling was a resident and a skilled artist at Bruges in 1473; for the Last Judgment was undoubtedly painted and sold to a merchant at Bruges, who shipped it there on board of a vessel bound to the Mediterranean, which was captured by Danzig privateer Paul Beneke in that very year. This purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.
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