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Hans Memling The Resurrection with the Martyrdom of st Sebastian and the Ascension a triptych (mk05) oil painting


The Resurrection with the Martyrdom of st Sebastian and the Ascension a triptych (mk05)
Painting ID::  20047
Hans Memling
The Resurrection with the Martyrdom of st Sebastian and the Ascension a triptych (mk05)
Wood centreal panel 24 1/2 x 17 1/2''(62 x 45 cm) wings 24 1/2 x 7 1/2''(62 x 19 cm)Acquired in 1860

   
   
     

Hans Memling John the Baptist and st mary magdalen wings of a triptych (mk05) oil painting


John the Baptist and st mary magdalen wings of a triptych (mk05)
Painting ID::  20048
Hans Memling
John the Baptist and st mary magdalen wings of a triptych (mk05)
Wood 19 x 6 1/4'' (48 x 16 cm)each Acquired in 1851

   
   
     

Hans Memling The Virgin and Child between st James and St Dominic (mk05) oil painting


The Virgin and Child between st James and St Dominic (mk05)
Painting ID::  20049
Hans Memling
The Virgin and Child between st James and St Dominic (mk05)
Wood 51 1/4 x 63''(130 x 160 cm)Bequeathed in 1878

   
   
     

Hans Memling Portrait of a Praying Man.(mk08) oil painting


Portrait of a Praying Man.(mk08)
Painting ID::  21251
Hans Memling
Portrait of a Praying Man.(mk08)
c.1480-1485 Oil on wood 29.2x22.5cm Castagnola,Sammlung Thyssen-Bornemisza, Schloss Rohoncz

   
   
     

Hans Memling Detail from Saint john the Baptist oil painting


Detail from Saint john the Baptist
Painting ID::  26712
Hans Memling
Detail from Saint john the Baptist
mk52

   
   
     

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     Hans Memling
     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.

     Related Artists::.
     | WATTEAU, Louis-Joseph | Lodewyck Toeput | Joachim Patenier |


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