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.  Related Paintings of Hans Memling :. | St Andrew | Portrait of a Young Man at Prayer | Sant Esteve i Sant Cristofor | Portrait of an old Woman | Portrait of a Praying Man |
Related Artists:
Christoph Paudiss
German,Christoph Paudiss, ca.1618-1666
Robert Havell Jr Prints
1793-1878 Engraver and painter, cousin of William Havell. He learnt the art of aquatint engraving from his father, Robert Havell I. He worked first in the family engraving business and then c. 1825-7 with Colnaghi in London. In 1827 he undertook the execution in aquatint of the plates for John James Audubon Birds of America, published in parts in London between 1827 and 1838. Havell engraved 425 of the plates and reworked the ten that had been engraved by William Home Lizars in Edinburgh. Havell father printed and coloured some of the double elephant folio sheets in 1827-8 after which Havell took on those tasks himself, establishing himself as a master of aquatint. Among his other important works in the medium are the plates for Mrs E. Bury Selection of Hexandrian Plants (London, 1831-4). In 1839, at Audubon invitation, Havell moved with his family to New York and embarked on a new career as a landscape painter in the style of the Hudson River school, while also working as an engraver. He settled in the Hudson River villages of Ossining (1841) and Tarrytown (1857) but painted throughout north-eastern America. View of Deerfield, Massachusetts (1847; Hist. Deerfield, MA) is characteristic of his quietly romantic idealization of his subjects. Niagara Falls from the Chinese Pagoda (1845; New York, Pub. Lib.), engraved by Havell after one of his paintings, is among the best known of his American aquatints. Though his reputation rests largely on his work for Audubon, his original subjects gave him greater opportunities to display the full range of his aquatint technique. Part of the Havell family
Hugo van der Goes
1440-1482 Flemish Hugo van der Goes Galleries Hugo became a member of the painters' guild of Ghent as a master in 1467. In 1468 he was involved in the decoration of the town of Bruges in celebration of the marriage between Charles the Bold and Margaret of York and he provided heraldic decorations for Charles's joyeuse entr??e to Ghent in 1469 and again in 1472. He was elected dean of the Ghent guild in 1473 or 1474. In 1475, or some years later, Hugo entered Rooklooster, a monastery near Brussels belonging to the Windesheim Congregation, and professed there as a frater conversus. He continued to paint, and remained at Rooklooster until his death in 1482 or 1483. In 1480 he was called to the town of Leuven to evaluate the Justice Scenes left unfinished by the painter Dieric Bouts on his death in 1475. Shortly after this, Hugo, returning with other members of his monastery from a trip to Cologne, fell into a state of suicidal gloom, declaring himself to be damned. After returning to Rooklooster, Hugo recovered from his illness, and died there. His time at Rooklooster is recorded in the chronicle of his fellow monk, Gaspar Ofhuys. A report by a German physician, Hieronymus M??nzer, from 1495, according to which a painter from Ghent was driven to melancholy by the attempt to equal the Ghent Altarpiece, may refer to Hugo. His most famous surviving work is the Portinari Triptych (Uffizi, Florence), an altarpiece commissioned for the church of San Egidio in the hospital of Santa Maria Nuova in Florence by Tommaso Portinari, the manager of the Bruges branch of the Medici Bank. The triptych arrived in Florence in 1483, apparently some years after its completion by van der Goes. The largest Netherlandish work that could be seen in Florence, it was greatly praised. Giorgio Vasari in his Vite of 1550 referred to it as by "Ugo d'Anversa" ("Hugo of Antwerp"). This the sole documentation for its authorship by Hugo; other works are attributed to him based on stylistic comparison with the altarpiece. Hugo appears to have left a large number of drawings, and either from these or the paintings themselves followers made large numbers of copies of compositions that have not survived from his own hand. A drawing of Jacob and Rachel preserved at Christ Church, Oxford is thought to be a rare surviving autograph drawing.