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Memling Hans Memling 1435-1494 ? Relationships: Studied under Rogier van der Weyden. Memling's students included Gerard David and Michel Sittow. Although he was
and so he became one of the greatest painters to hail from the Northern Renaissance. Hans Memling was born in Steligenstadt, near Frankfurt, around 1433. On January
For my final essay, the six works of art I am going to write about are the Sumerian sculptures, Venus de Milo, Mona Lisa, Diptych of Martin van Nieuwenhove, The Oath
painter of the next generation - Petrus Christus, Dierik Bouts, Hugo van der Goes, and Hans Memling - depended on Rogier's examples (http:/7.1911encyclopedia.org/W/WE/WEYBRIDGE.htm
Rogier van der Weyden, who focused on emotional drama in his religious paintings; Hans Memling, who created delicate, graceful figures against ethereal backgrounds;
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Hans Memling 1435-1494
Relationships: Studied under Rogier van der Weyden.
Memling's students included Gerard David and Michel Sittow.
Although he was known as a master of Flemish disciplines, Hans Memling was born in
Seligenstadt, near what is today Frankfurt, Germany. Memling, whose name is sometimes spelled
Memlinc, first gained a reputation as a painter in Brussels. In many ways his work shows an influence
of painter Rogier van der Weyden. Because of this, Memling is believed to have studied under him.4
Probably having served his apprenticeship at Cologne or Mainz he did not move to Bruges
until 1467 having been involved with military operations against those that resisted the French
occupation. Some historians suggest he ventured to the hospital as a wounded soldier, some believe he
was simply seeking sanctuary there. Either way, Memling's well-known religious works were painted
for the Hospital of St. John in Brugge. Including Adoration of the Magi and six panels depicting a
journey to Rome for the hospital's shrine to St. Ursula through 1479 and 1480. A number of
Memling's works are signed and dated, and others allow historians to place them easily into a timeline
based on the patron depicted in them. Otherwise it is very difficult to place an early, middle, and late
style for the artist. His compositions and types, were repeated again and again with few indications of
any formal development. Over time, his Madonnas become thinner, more ethereal and more selfconscious, and a greater use of Italian motifs such as putti, garlands, and sculptural detail for the
settings marks the later works. His portraits, too, appear to develop from a type with a simple neutral
background to those enhanced with a loggia or window view of a landscape, but these, too, may have
been less a stylistic development than an adaptation of his...
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