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The Presentation in the Temple ag
Painting ID:: 8175
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MEMLING, Hans
The Presentation in the Temple ag
1463
Oil on wood, 60 x 48 cm
National Gallery of Art, Washington
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The Presentation in the Temple (detail sg
Painting ID:: 8176
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MEMLING, Hans
The Presentation in the Temple (detail sg
1463
Oil on wood
National Gallery of Art, Washington
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Virgin and Child in a Landscape sg
Painting ID:: 8177
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MEMLING, Hans
Virgin and Child in a Landscape sg
Oil on wood, 50 x 29 cm
Collection Rotschild, Paris
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Triptych of Jan Crabbe ey
Painting ID:: 8178
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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
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Portrait of an Old Woman sh
Painting ID:: 8179
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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
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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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