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Portfolio Hans Memling. The complete works. (542: Gold, Oak, Oil, Oil On Canvas, Oil On Panel, Tempera, Wood)

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  • Hans Memling - Scenes from the Passion of Christ (left side)
  • Hans Memling - St John Altarpiece
  • Hans Memling - Nativity
  • Hans Memling - The last judgement triptych
  • Hans Memling - Scenes from the life of Mary
  • Hans Memling - The Last Judgment (Triptych)
  • Hans Memling - Scenes from the Passion of Christ
  • Hans Memling - Last Judgment Triptych (left wing)
  • Hans Memling - Christ Giving His Blessing
  • Hans Memling - St John and Veronica Diptych (right wing)
  • Hans Memling - Angel Musicians
  • Hans Memling - Virgin and Child Enthroned (detail)
  • Hans Memling - Last Judgment Triptych [right wing]
  • Hans Memling - Portrait of Jacob Obrecht
  • Hans Memling - Mystic marriage of St Catherine
  • Hans Memling - Christ Giving His Blessing
  • Hans Memling - Marriage of St. Catherine
  • Hans Memling - Christ Giving His Blessing
  • Hans Memling - The Man of Sorrows in the Arms of the Virgin
  • Hans Memling - The Mystic Marriage Of St. Catherine Of Alexandria (central panel of the San Giovanni Polyptch)
  • Hans Memling - late - Christ Surrounded by Musician Angels
  • Hans Memling - Scenes from the Passion of Christ (detail - )
  • Hans Memling - christ giving his blessing
  • Hans Memling - Portrait of an Old Woman - -
  • Hans Memling - Christ Giving His Blessing 1
  • Hans Memling - Christ Surrounded by Musician Angels
  • Hans Memling - late - Christ Giving His Blessing
All 542 Artworks from Hans Memling

Hans Memling (also spelled Memlinc) (c. 1430 – 11 August 1494) was a German-born Early Netherlandish painter.

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. 1455–1460). He then went to Bruges around 1465.

There is a story (perhaps apocryphal) that he was 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 in 1479 and 1480 and it is likely that he was known to the patrons of St John prior to the Battle of Nancy.

Memling's name appears on a list of subscribers to the loan 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 since the 1470s, is in the St. Mary's Church, Gdańsk. Critical opinion has been generally unanimous in assigning this altarpiece to Memling. This is evidence that Memling was a resident of Bruges in 1473; for the Last Judgment was likely 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. The purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.

It is characteristic that the oldest allusions to pictures connected to Memling point to relations with the Burgundian court. The inventories of Margaret of Austria, drawn up in 1524, allude to a triptych of the God of Pity by Roger van der Weyden, of which the wings containing angels were by "Master Hans". But this entry is less important as affording testimony in favour of the preservation of Memling's work than as showing his connection with an older Flemish craftsman. For ages Roger van der Weyden was acknowledged as an artist of the school of Bruges, until records of undisputed authenticity demonstrated that he was bred at Tournai and settled at Brussels. Nothing seems more natural than the conjunction of his name with that of Memling as the author of an altarpiece, since, though Memling's youth remains obscure, it is clear from the style of his manhood that he was taught in the painting-room of Van der Weyden. Nor is it beyond the limits of probability that it was Van der Weyden who received commissions at a distance from Brussels, and first took his pupil to Bruges, where he afterwards dwelt.

The clearest evidence of the connection of the two masters is that afforded by pictures, particularly an altarpiece, which has alternately been assigned to each of them, and which may be due to their joint labours. In this altarpiece, which is a triptych ordered for a patron of the house of Sforza, we find the style of Van der Weyden in the central panel of the Crucifixion, and that of Memling in the episodes on the wings. Yet the whole piece was assigned to the former in the Zambeccari collection at Bologna, whilst it was attributed to the latter at the Middleton sale in London in 1872.

His painting of the Baptist in the gallery of Munich, done circa 1470, is the oldest form in which Memling's style is displayed. It is scarcely surpassed by the Last Judgment in Danzig. The latter work shows that Memling preserved the tradition of sacred art used earlier by Rogier van der Weyden in the Last Judgment of Beaune. Memling is seen to have purged his master's manner of excessive stringency, and add to his other qualities a velvet softness of pigment, a delicate transparence of colours, and yielding grace of slender forms. Picture-fanciers of Italy were certainly familiar with the beauties of Memling's compositions, as shown in the preference given to them by such purchasers as Cardinal Grimani and Cardinal Bembo at Venice, and the heads of the house of Medici at Florence.

Memling's reputation was not confined to Italy or Flanders. The Madonna and Saints (which passed from the Duchatel collection to the Louvre), the Virgin and Child (painted for Sir John Donne and now at the National Gallery, London), and other noble specimens in English and Continental private houses, show his work was widely appreciated in the 16th century.

It was perhaps not their sole attraction that they gave the most tender and delicate possible impersonations of the Mother of Christ that could suit the taste of that age in any European country. But the portraits of the donors, with which they were mostly combined, were more characteristic, and probably more remarkable as likenesses, than any that Memling's contemporaries could produce. Nor is it unreasonable to think that his success as a portrait painter, which is manifested in isolated busts as well as in altarpieces, was of a kind to react with effect on the Venetian school, which undoubtedly was affected by the partiality of Antonello da Messina for trans-Alpine types studied in Flanders in Memling's time. The portraits of Sir John Donne and his wife and children in the National Gallery, London altarpiece are also remarkable as models of drawing and finish than as refined presentations of persons of distinction; nor is any difference in this respect to be found in the splendid groups of father, mother, and children in the Louvre. As single portraits, the busts of Burgomaster Moreel and his wife in the museum of Brussels, and their daughter the Sibyl Zambetha (according to the added description) in the hospital at Bruges, are the finest and most interesting of specimens.

The Seven Griefs of Mary in the gallery of Turin, to which we may add the Seven Joys of Mary in the Pinakothek of Munich, are illustrations of the habit in Flanders art of representing a cycle of subjects on the different planes of a single picture, where a wide expanse of ground is covered with incidents from the Passion in the form common to the action of sacred plays. Another example of this narrative style is his painting of Scenes from the Passion of Christ.

The masterpiece of Memling's later years, a shrine containing relics of St Ursula in the museum of the hospital of Bruges, is fairly supposed to have been ordered and finished in 1480. The delicacy of finish in its miniature figures, the variety of its landscapes and costume, the marvellous patience with which its details are given, are all matters of enjoyment to the spectator. There is later work of the master in the St Christopher and Saints of 1484 in the academy, or the Newenhoven Madonna in the hospital of Bruges, or a large Crucifixion, with scenes from the Passion, of 1491 from the Lübeck Cathedral (Dom) of Lübeck, now in Lübeck's St. Annen Museum. But as we near the close of Memling's career we observe that his practice has become larger than he can compass alone; and, as usual in such cases, the labour of a workshop is substituted for his own. The registers of the painters' guild at Bruges give the names of two apprentices who served their time with Memling and paid dues on admission to the guild in 1480 and 1486. These subordinates remained obscure.

The trustees of his will appeared before the court of wards at Bruges on December 10, 1495, and we gather from records of that date and place that Memling left behind several children and considerable property.
[Biography - Hans Memling - 9Ko]
Hans Memling (également orthographié Memlinc) (c. 1430-1411 Août 1494) était un peintre d'origine allemande primitifs flamands. Né à Seligenstadt, près de Francfort dans la région du Moyen-Rhin, on pense que Memling a fait son apprentissage à Mayence ou Cologne, et a ensuite travaillé aux Pays-Bas en vertu de Rogier van der Weyden (c. 1455-1460). I...
[Biography - Hans Memling - 11Ko]
Hans Memling (auch buchstabiert Memlinc) (1430 - 11. August 1494) war ein deutsch-geboren altniederländischen Maler. Geboren in Seligenstadt bei Frankfurt im Nahen Rhein Region, wird angenommen, dass Memling seine Ausbildung in Mainz oder Köln, später in den Niederlanden unter Rogier van der Weyden (um 1455 bis 1460) gearbeitet. Er ging dann nach B...
[Biography - Hans Memling - 10Ko]
Hans Memling (scritto anche Memlinc) (1430 - 11 Agosto 1494) è stato un pittore di origine tedesca fiammingo. Nato a Seligenstadt, vicino a Francoforte nella regione del Medio Reno, si ritiene che Memling il suo apprendistato a Magonza o di Colonia, e successivamente ha lavorato nei Paesi Bassi con Rogier van der Weyden (c. 1455-1460). Poi andò a B...
[Biography - Hans Memling - 10Ko]
Hans Memling (también deletreado Memlinc) (c. 1430 - 11 de agosto 1494) fue un pintor nacido en Alemania primitivos flamencos. Nacido en Seligenstadt, cerca de Frankfurt, en la región del Medio Rin, se cree que Memling realizó su aprendizaje en Maguncia y Colonia, y más tarde trabajó en los Países Bajos en virtud de Rogier van der Weyden (c. 1.455-...
[Biography - Hans Memling - 10Ko]
Ганса Мемлинга (также пишется Memlinc) (ок. 1430 - 11 августа 1494 г.) была немецкого происхождения Рано нидерландский живописец. Родился в Seligenstadt, недалеко от Франкфурта на Ближнем Рейне, считается, что Мемлинга служил своего ученичества в Майнце и Кельне, а позже работал в Нидерландах под Рогир ван дер Вейден (ок. 1455-1460). Затем он отпра...
[Biography - Hans Memling - 8Ko]
汉斯Memling(拼写Memlinc)(约1430 - 1494年8月11日)是一位出生在德国的早期尼德兰画家。 出生在Seligenstadt法兰克福附近,在中东莱茵地区,它认为,在美因茨或科隆Memling担任学徒,以及后来在荷兰罗希尔的van der Weyden(约1455-1460)下工作。他接着布鲁日在1465左右。 有一个故事(也许是杜撰的),他在南锡战役中受伤,庇护和在布鲁日和医院骑士治愈他拒绝支付他为他们画的图片,以显示他的感激之情。 Memling涂料的医院骑士的确在1479和1480,这是有可能,他被称为圣约翰顾客南锡战役前。 Memling的名字出现在一个用户列表,由奥地利的马克西米我提出,对捍卫在1480年对法国的敌对行动的贷款。 1477年,当他被错误地声称已被...
[Biography - Hans Memling - 3Ko]
Hans Memling (Seligenstadt, 1430/1440 — Bruges, 1494) foi um dos mais notáveis pintores alemães. Viveu a maior parte de sua vida em Flandres, na Bélgica. Foi ignorado pela historiografia de arte até meados do século dezenove, quando o seu nome se tornou conhecido. No início da sua vida artística, passou algum tempo na cidade de Colónia, na Alemanha...
[Biography - Hans Memling - 2Ko]
Hans Memling (também escrito Memlinc) (c. 1430 - 11 de agosto 1494) foi um pintor nascido na Alemanha início Netherlandish. Nascido em Seligenstadt, perto de Frankfurt na região Rhein Médio, acredita-se que Memling fez sua aprendizagem em Mainz ou Colónia, e mais tarde trabalhou nos Países Baixos com Rogier van der Weyden (c. 1455-1460). Ele então ...
[Biography - Hans Memling - 10Ko]
ハンスメムリンク(Memlincも綴る)(C. 1430 - 1494年8月11日)はドイツ生まれの初期ネーデルランドの画家。 フランクフルト近くのミドルラインの領域で、Seligenstadtのに生まれ、それがメムリンクがマインツやケルンで修行を務めた、と後でヒールファンデルウェイデン(紀元前1455〜1460)の下にオランダで働いていたと考えられている。彼はその後、1465年前後ブルージュに行きました。 彼は、ナンシーの戦いで負傷したブルージュでHospitallersによって守らおよび硬化と感謝の意を示すことは彼がそれらのために塗装していた画像の支払いを拒否された話(おそらく作り話)があります。メムリンクは実際に1479年と1480年にHospitallersのためにペイントしました、...
[Biography - Hans Memling - 5Ko]
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