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 Virgin Showing the Man of Sorrows | St John and Veronica Diptych | Carrying the Cross | Portrait of a Young Man before a Landscape | Angel with an olive branch |
Related Artists:
BARRA, Didier
French painter (b. 1590, Metz, d. 1644, Napoli French painter, active in Italy. He was for a long time confused with FRAN?OIS DE NOM?, and the work of both artists was thought to be by a Mons? Desiderio, a 'highly praised painter of perspectives and city scenes' (de Dominici). It is now generally accepted that Mons? Desiderio was the pseudonym of Didier Barra (1982 exh. cat.), son of Cl?ment Barra. Didier Barra left Metz probably c. 1608, when his name appeared for the last time in the city archives. From c. 1630 he was active in Naples, where he came into contact with landscape and townscape painters from northern Europe. De Dominici wrote that he was associated with Belisario Corenzio. The point of departure in reconstructing Barra's oeuvre is the Panoramic View of Naples (Naples, Mus. N. S Martino), which is signed and dated Desiderius Barra ex civitate Methensi in Lotharingia, F. 1647. The picture is a precise and panoramic view of Naples from the sea, from a single viewpoint, enriched by lively brushwork and with spirited scenes of shipping in the foreground. Its topographical precision suggests that Barra was influenced by the engravings of large views of Naples made by Alessandro Baratta ( fl 1629-30), and he may himself have trained as a cartographer. On the basis of this picture, several views of Naples have been attributed to Barra.
Adriaen Isenbrandt
Flemish Northern Renaissance Painter, ca.1500-1551 There are only a few documentary records of his life, and some mentions in literature from his lifetime or soon after, but he cannot be documented as the creator of any surviving work; everything else consists of hypothesis. It is possible that he was born in Haarlem or even in Antwerp about 1490. It is not known where or with which painter he served his apprenticeship. He is named for the first time in 1510, when he came to Bruges and bought his burghership. In November of the same year he already became master in the painters?? Guild of St. Luke and the goldsmiths?? guild of St. Elooi. He was later elected nine time a deacon and twice the governor of the guild. Soon he had an important workshop, probably in the Korte Vlaminckstraat in Bruges. This was close to the workshop of Gerard David, at the Vlamijncbrugghe and the former workshop of Hans Memling. Bruges, at that time, was one of the richest towns in Europe. Rich traders and merchants ordered diptychs and portraits for personal use. Isenbrandt painted mainly for private clients. However, there were some paintings that were created without any particular commission. He had enough work to even put out work to other painters in Bruges, as a legal suit from 1534 by Isenbrandt against Jan van Eyck (not the famous one) for non-delivery of paintings he had ordered, demonstrates. He was also appointed the agent in Bruges of the painter Adriaan Provoost (son of Jan Provoost), who had moved to Antwerp in 1530. Contemporary sources therefore mention Isenbrandt as a famous and well-to-do painter. He married twice, the first time with Maria Grandeel, daughter of the painter Peter Grandeel. They had one child. After her death in 1537, he married again in 1547 with Clementine de Haerne. This second marriage resulted in two daughters and a son. He also had an extramarital daughter with the innkeeper Katelijne van Brandenburch (who was at the same the mistress of his friend Ambrosius Benson). When he died in 1551, he was buried alongside his first wife at the cemetery of the St. Jacob church in Bruges; his children inherited no less than four houses with surrounding property.
Domenico Quaglio
(1787-1837) was a German painter, engraver, stage designer, and architect. He was the second son of Giuseppe Quaglio and part of the large Quaglio pedigree of Italian artists involved in architecture, indoor fresco decoration, and scenography for the court theaters. He known as a landscape and architectural painter/decorator, including quadratura. He was born in Munich. He was taught perspective and scene-painting by his father, and engraving by Mettenleiter and Karl Hess. In 1819 he resigned his post as scene-painter, and occupied himself only with architecture, for which he obtained subjects in the Netherlands, Italy, France, and England. As architect in charge, Domenico Quaglio was responsible for the neogothic style of the exterior design of Hohenschwangau Castle, summer and hunting residence of King Maximilian II of Bavaria, son of King Ludwig I of Bavaria and father of King Ludwig II. Quaglio died at Hohenschwangau in 1837.