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 :. | The Annunciation | The Annunciation gggg | Bathsheba | Diptych of Maarten Nieuwenhove | Triptych of Adriaan Reins |
Related Artists:
Haberle John
American Painter, 1856-1933 was a 19th century American painter in the trompe l'oeil (literally, "fool the eye") style. His still lifes of ordinary objects are painted in such a way that the painting can be mistaken for the objects themselves. He is considered one of the three major figures??together with William Harnett and John F. Peto??practicing this form of still life painting in the United States in the last quarter of the 19th century. A Bachelor's Drawer by John Haberle, 1890?C94, oil on canvas, 50.8 x 91.4 cm, Metropolitan Museum of Art, New YorkHaberle was born in New Haven, Connecticut; his parents were Swiss immigrants. At the age of 14 he left school to apprentice with an engraver. He also worked for many years as an exhibit preparator for the Peabody Museum of Natural History at Yale University. His career as a painter began in 1887. His style is characterized by a meticulous rendering of two-dimensional objects. He is especially noted for his depictions of paper objects, including currency. Art historian Alfred Frankenstein has contrasted Haberle's work with that of his contemporaries: Peto is moved by the pathos of used-up things. Haberle is wry and wacky, full of bravado, self-congratulating virtuosity, and sly flamboyance. He works largely within an old tradition, that of the trompe l'oeil still life in painted line ... It is poles away from Harnett's sumptuosity, careful balances, and well-modeled volumes, and is equally far from Peto's sensitivity in matters of tone and hue.
Bon Boullogne
(bapt. February 22, 1649 - May 17, 1717) was a French painter. Boullogne was born in Paris, a son of the painter Louis Boullogne;[1] he was regarded as the most gifted of his children. He took his first lessons from his father, whom he is thought to have assisted in the Grande Galerie of the Louvre. Through his father, who presented a half-length figure of St John by Bon to Jean-Baptiste Colbert, Contrôleur General des Finances, he was sent to the Academie de France in Rome as a Pensionnaire du Roi. In this capacity, he made copies of famous works, in particular some frescoes by Raphael in the Vatican Loggie, intended for reproduction as Gobelins tapestries. The period he then spent in Lombardy helped to complete his training. He studied the work of Antonio da Correggio and the Annibale Carracci, as well as Guido Reni, Domenichino and Francesco Albani. Bones painting, especially the mythological work, shows great affinities with the work of the Bolognese school, which was also to be found in the royal collections. Also of influence to Bon was Nordic art, as demonstrated in his female portraits framed by plant like motifs, a device taken up by his pupil Robert Tournieres. He died in Paris.
Manuel Dias de Oliveira
(1764 - 1837)