LaurieAnnie's photos with the keyword: Memling

The Annunciation 1480–89 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: 1480–89 Medium: Oil on panel, transferred to canvas Dimensions: 30 1/8 x 21 1/2 in. (76.5 x 54.6 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.113 Memling modeled this Annunciation on the left wing of Rogier van der Weyden’s Saint Columba Altarpiece (now in Munich), but his innovative rendition portrays the Virgin swooning and supported by two angels, rather than kneeling. Like other fifteenth-century Flemish painters working in the wake of Jan van Eyck, Hans Memling cloaked religious imagery in the pictorial language of everyday life, paying close attention to naturalistic detail. This Annunciation takes place in a comfortably appointed bedchamber, though many of the domestic furnishings have symbolic connotations. The carafe of water, through which light passes uncorrupted, and the vase of lilies are symbols of the Virgin's purity, while the empty candleholder signifies her imminent role as bearer of Christ, light of the world. Gabriel's priestly garb alludes to the ritual of the Mass and, therefore, the incarnation of Christ. A soft glowing light falls on the Virgin and suffuses the room, elevating the scene from the realm of the ordinary and signaling the sacred nature of the drama. Text from: www.metmuseum.org/art/collection/search/459055

The Annunciation 1480–89 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: 1480–89 Medium: Oil on panel, transferred to canvas Dimensions: 30 1/8 x 21 1/2 in. (76.5 x 54.6 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.113 Memling modeled this Annunciation on the left wing of Rogier van der Weyden’s Saint Columba Altarpiece (now in Munich), but his innovative rendition portrays the Virgin swooning and supported by two angels, rather than kneeling. Like other fifteenth-century Flemish painters working in the wake of Jan van Eyck, Hans Memling cloaked religious imagery in the pictorial language of everyday life, paying close attention to naturalistic detail. This Annunciation takes place in a comfortably appointed bedchamber, though many of the domestic furnishings have symbolic connotations. The carafe of water, through which light passes uncorrupted, and the vase of lilies are symbols of the Virgin's purity, while the empty candleholder signifies her imminent role as bearer of Christ, light of the world. Gabriel's priestly garb alludes to the ritual of the Mass and, therefore, the incarnation of Christ. A soft glowing light falls on the Virgin and suffuses the room, elevating the scene from the realm of the ordinary and signaling the sacred nature of the drama. Text from: www.metmuseum.org/art/collection/search/459055

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

The Annunciation ca. 1465–70 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1465–70 Medium: Oil on wood Dimensions: 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.7 One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier's workshop before establishing himself in Bruges in 1465. Text from: www.metmuseum.org/art/collection/search/437490

Hans MEMLING Seligenstadt, c. 1435 – Bruges, 1494 Angel Holding an Olive Branch, Emblem of Divine Peace c. 1475–80 H. 0.16 m; W. 0.10 m This is a fragment of the left wing of a portable triptych (right wing intact: Angel with a Sword, Wallace Collection, London; center: Pietà by Rogier van der Weyden, lost) that belonged to Margaret of Austria (inventories of 1516 and 1523/24). Acquired from a private collection in Neuilly, 1993 Department of Paintings R.F. 1993-1 Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=24010&langue=en

Hans MEMLING Seligenstadt, c. 1435 – Bruges, 1494 Angel Holding an Olive Branch, Emblem of Divine Peace c. 1475–80 H. 0.16 m; W. 0.10 m This is a fragment of the left wing of a portable triptych (right wing intact: Angel with a Sword, Wallace Collection, London; center: Pietà by Rogier van der Weyden, lost) that belonged to Margaret of Austria (inventories of 1516 and 1523/24). Acquired from a private collection in Neuilly, 1993 Department of Paintings R.F. 1993-1 Text from: cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=24010&langue=en

Tommaso di Folco Portinari (1428–1501); Maria Portinari (Maria Maddalena Baroncelli, born 1456),ca. 1470 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1470 Medium: Oil on wood Dimensions: (.626, Tommaso) overall 17 3/8 x 13 1/4 in. (44.1 x 33.7 cm), painted surface 16 5/8 x 12 1/2 in. (42.2 x 31.8 cm); (.627, Maria) overall 17 3/8 x 13 3/8 in. (44.1 x 34 cm); painted surface 16 5/8 x 12 5/8 in. (42.2 x 32.1 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.626–27 The clever balance of verisimilitude and idealization in the features of this pair made Hans Memling the most sought-after portraitist of his day. The Florentine Tommaso Portinari was the branch manager of the Medici bank in Bruges, and probably commissioned these portraits from Memling upon the couple’s marriage in 1470. They originally formed a triptych with a central devotional image of the Virgin and Child. Beyond demonstrating the couple’s piety, Maria’s elaborate necklace and gown display their wealth and social status. Memling places the sitters before illusionistic frames, an innovation suggesting that the figures project into our space. Text from: www.metmuseum.org/art/collection/search/437056

Tommaso di Folco Portinari (1428–1501); Maria Portinari (Maria Maddalena Baroncelli, born 1456),ca. 1470 Object Details Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1470 Medium: Oil on wood Dimensions: (.626, Tommaso) overall 17 3/8 x 13 1/4 in. (44.1 x 33.7 cm), painted surface 16 5/8 x 12 1/2 in. (42.2 x 31.8 cm); (.627, Maria) overall 17 3/8 x 13 3/8 in. (44.1 x 34 cm); painted surface 16 5/8 x 12 5/8 in. (42.2 x 32.1 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.626–27 The clever balance of verisimilitude and idealization in the features of this pair made Hans Memling the most sought-after portraitist of his day. The Florentine Tommaso Portinari was the branch manager of the Medici bank in Bruges, and probably commissioned these portraits from Memling upon the couple’s marriage in 1470. They originally formed a triptych with a central devotional image of the Virgin and Child. Beyond demonstrating the couple’s piety, Maria’s elaborate necklace and gown display their wealth and social status. Memling places the sitters before illusionistic frames, an innovation suggesting that the figures project into our space. Text from: www.metmuseum.org/art/collection/search/437056

Portrait of an Old Man Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges) Date: ca. 1475 Medium: Oil on wood Dimensions: Overall 10 3/8 x 7 5/8 in. (26.4 x 19.4 cm); painted surface 10 x 7 1/4 in. (25.4 x 18.4 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.648 Gallery Label: This sympathetic portrayal of an elderly man once formed a diptych with a portrait of an old woman (Museum of Fine Arts, Houston). Unlike the devotional portraits of Tommaso and Maria Portinari displayed nearby, the purpose here is entirely secular. Memling depicts his sitter with hands folded and resting gently on a ledge, not joined in prayer. This portrait and its pendant were created to preserve the appearances of the sitters as they neared the end of their lives, a function of portraiture that became increasingly popular in the sixteenth and seventeenth centuries. Text from: www.metmuseum.org/collection/the-collection-online/search/437055

Hans Memling Netherlandish, active by 1465, died 1494 The Annunciation, 1480-1489 From the Robert Lehman Collection, Accession # 1975.1.113 Text from the Metropolitan Museum of Art label.