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 :. | Allegory of Chastity | Portinari Triptych | Portrait of an Unknown Man | Virgin and Child | The Last Judgment Triptych |
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Albert von Keller
Albert von Keller (April 27, 1844 - July 14, 1920) was a German painter. He was born at Gais, in Switzerland; he studied at the Munich Academy under Lenbach and Ramberg, and must be counted among the leading colorists of the modern German school. Travels in Italy, France, England and Holland, and a prolonged sojourn in Paris, helped to develop his style. His scenes of society life, such as the famous "Dinner" (1890), are painted with thoroughly Parisian esprit, and his portraits are marked by the same elegant distinction. He was particularly successful in the rendering of rustling silk and satin dresses and draperies. His historical and imaginative works were as modern in spirit and as unacademical as his portraits. As of 1911, at the Munich Pinakothek was his painting "Jairi Töchterlein" (1886), while the Königsberg Museum contained his "Roman Bath", and the Liebieg collection in Reichenberg the "Audience with Louis XV", the first picture that drew attention to his talent. Among other important works he painted "Faustina in the Temple of Juno at Praeneste", "The Witches Sleep" (1888), "The Judgment of Paris", "The Happy Sister", "Temptation" (1892), "Autumn" (1893), "An Adventure" (1896), and "The Crucifixion".
Leonhard Beck
German Northern Renaissance Painter, ca.1480-1542, Illuminator, painter, draughtsman and woodcutter, son of Georg Beck. He first appears as an illuminator and collaborator with his father in two Psalters for the Augsburg monastery of SS Ulrich and Afra in 1495, producing 35 coloured initial letters for each of them (Augsburg, Staats- & Stadtbib., Cod. 49a). These are vigorously coloured but fairly uniform in character, with small, lively biblical scenes excellently adapted to the letters. Red, green and blue predominate; ochre tones provide a link with the gold ground. The initial letter X is composed of splendidly curled, entwining foliage with birds and half-figures of prophets; the Virgin, Joseph, the Christ Child in the manger and the choir of angels are each enclosed in one of its sectors. The figures are presented in a light, easy manner; the draughtsmanship avoids unnecessary detail.
Evert Larock
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