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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
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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
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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
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Hans Memling
Portrait of a Praying Man.(mk08)
c.1480-1485
Oil on wood
29.2x22.5cm
Castagnola,Sammlung
Thyssen-Bornemisza,
Schloss Rohoncz
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Hans Memling
Detail from Saint john the Baptist
mk52
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Hans Memling
Saint John the Baptist
mk52
c.1475
Left wing of a triptych,
oil on wood
71.1x30cm
National Gallery,London
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Hans Memling
The Nativity,The Adoration of the Magi,The Presentation in the Temple
mk61
Oil on panel
95x63cm
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Hans Memling
The Adoration of the Magi
mk61
Oil on panel
95x145cm
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Hans Memling
Portrait of a Man in a Landscap
mk67
Oil on panel
22 7/16x16 9/16in
Uffizi,Gallery
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Hans Memling
Last Judgement
mk68
Oil on wood,central panel
7'4x5' 3 1/2"
Gdansk,Pomorskie
Museum
1467-1471
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Hans Memling
Last Judgement
mk68
1467-1471
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Hans Memling
Portrait of a man
mk76
Painted c.1470
Oil on panel
13 1/8x9 1/8in
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Hans Memling
Recreation by our Gallery
mk79
About 1485-1490
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Hans Memling
The Martyrdom of St Ursula's Companions and The Martyrdom of St Ursula
mk86
Oil on wood
35x25cm
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Hans Memling
Portrait of a Praying Man
mk86
c.1480-1485
Oil on wood
29.2x22.5cm
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Hans Memling
Last Judgment Triptych
mk156
1467-1471
Oil on oak panel
222x160cm
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Hans Memling
Madonna Enthroned with Child and Two Angels
mk156
Oil on panel
57x42cm
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Hans Memling
Portrait of a Man at Prayer before a Landscape
mk156
c.1480
Oil on panel
30x22cm
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Hans Memling
Portrait of a young man
mk161
Oil on panel
15x11
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Hans Memling
The Madonna and the Nino with two angeles
mk166
Final of the fifteenth century
I Wave on board of
wood 57x42cm Uffizi, Florence
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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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