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MEMLING, Hans The Presentation in the Temple ag oil painting


The Presentation in the Temple ag
Painting ID::  8175
MEMLING, Hans
The Presentation in the Temple ag
1463 Oil on wood, 60 x 48 cm National Gallery of Art, Washington

   
   
     

MEMLING, Hans The Presentation in the Temple (detail sg oil painting


The Presentation in the Temple (detail sg
Painting ID::  8176
MEMLING, Hans
The Presentation in the Temple (detail sg
1463 Oil on wood National Gallery of Art, Washington

   
   
     

MEMLING, Hans Virgin and Child in a Landscape sg oil painting


Virgin and Child in a Landscape sg
Painting ID::  8177
MEMLING, Hans
Virgin and Child in a Landscape sg
Oil on wood, 50 x 29 cm Collection Rotschild, Paris

   
   
     

MEMLING, Hans Triptych of Jan Crabbe ey oil painting


Triptych of Jan Crabbe ey
Painting ID::  8178
MEMLING, Hans
Triptych of Jan Crabbe ey
1467-70 Oil on oak panel, 78 x 63 cm (central panel), 83,3 x 26,7 cm (each wing) Museo Civico, Vicenza

   
   
     

MEMLING, Hans Portrait of an Old Woman sh oil painting


Portrait of an Old Woman sh
Painting ID::  8179
MEMLING, Hans
Portrait of an Old Woman sh
1468-70 Oil on wood, 25.6 x 17.7 cm Museum of Fine Arts, Houston, Texas

   
   
     

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     MEMLING, Hans
     Netherlandish Northern Renaissance Painter, ca.1435-1494 South Netherlandish painter of German origin. Together with Dieric Bouts I and Hugo van der Goes, he was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the 15th century in the wake of Jan van Eyck, the Master of Fl?malle and Rogier van der Weyden. Their principal innovation was to apply optic realism to devotional or mystical subjects. Although Memling lived in the turbulent period of transition from the Burgundian ruling house to that of the Habsburgs, little of this is evident in his work. His commissions were almost exclusively from rich burghers in Bruges (bankers, merchants and politicians) or churchmen and the occasional aristocrat. Often they were foreigners, especially Italians, who had political or financial connections with the town, whose central economic position was to last only a few decades longer. They had Memling paint their portraits, bust or full length, in devotional paintings or on altarpieces for their chapel in Bruges or back home. He seems not to have received official commissions (from the town council or court). An exceptional proportion of this oeuvre has survived. Besides about 20 altarpieces, often in several panels and of considerable size,

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