All Hans Memling Oil Paintings

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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Hans Memling Portrait of a Young Woman oil on canvas


Portrait of a Young Woman
Portrait of a Young Woman
Painting ID::  91571
  1480(1480) Medium oil on oak panel Dimensions Height: 38 cm (15 in). Width: 26.5 cm (10.4 in). cyf
  1480(1480) Medium oil on oak panel Dimensions Height: 38 cm (15 in). Width: 26.5 cm (10.4 in). cyf

Height    Width


  INS/CM       Quality

X

  

Hans Memling The Virgin Showing the Man of Sorrows oil on canvas


The Virgin Showing the Man of Sorrows
The Virgin Showing the Man of Sorrows
Painting ID::  91656
  1480(1480) Medium oil on panel Dimensions Height: 52 cm (20.5 in). Width: 36 cm (14.2 in). cyf
  1480(1480) Medium oil on panel Dimensions Height: 52 cm (20.5 in). Width: 36 cm (14.2 in). cyf

Height    Width


  INS/CM       Quality

X

  

Hans Memling The Adoration of the Magi oil on canvas


The Adoration of the Magi
The Adoration of the Magi
Painting ID::  91657
  1470(1470) Medium oil on panel Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). cyf
  1470(1470) Medium oil on panel Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). cyf

Height    Width


  INS/CM       Quality

X

  

Hans Memling Portrait of an Old Woman oil on canvas


Portrait of an Old Woman
Portrait of an Old Woman
Painting ID::  91669
  between 1468(1468) and 1470(1470) Medium oil on panel Dimensions Height: 25.6 cm (10.1 in). Width: 17.7 cm (7 in). cyf
  between 1468(1468) and 1470(1470) Medium oil on panel Dimensions Height: 25.6 cm (10.1 in). Width: 17.7 cm (7 in). cyf

Height    Width


  INS/CM       Quality

X

  

Hans Memling Virgin and Child in a Landscape oil on canvas


Virgin and Child in a Landscape
Virgin and Child in a Landscape
Painting ID::  91717
  Oil on wood Dimensions 50 x 29 cm cyf
  Oil on wood Dimensions 50 x 29 cm cyf

Height    Width


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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.

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