Who Painted This Painting?
Step 1: Finding out the subject matter.
If you were to look at the picture above, would you know what the subject matter was without looking at a description? The subject matter deals with angel-like figures, grabbing on to what looks like a holy figure, possibly the Virgin Mary on her way towards what looks like heaven. The center figure is being suspended above the ground by a flock of angels. If you look at the picture closely, the angel figures are dressed in elaborate, lavish, bright colored gowns, some with golden silk cloaks. The artist uses bright reds, oranges, yellows, and, for each of the angels, gowns. The faces are oval shaped, with oriental eyes. Four angels are represented on each side, top and mid-corners of the painting, playing different types of music instruments. Two other angels are represented playing instruments on the each side, near the opening sky into heaven, which is in the shape of a fiery ring. On the top center portion of the painting, there are two men with beards, dressed in bright red robes with halos upon their heads, and a dove hovering between them. One with his right hand up with two fingers, while one has a bishop’s shaft and pointed cylindrical crown. The men seem to be waiting for the figure that his being lifted by the angels, both holding together a crown below the dove.
I would assume that the two figures on the top center portion of the painting I would assume, would be Jesus Christ and God the father. If we would assuming that it was Jesus Christ and John the Baptist, the picture would indicate the reunion of the Deësis, in which Mother Mary and John the Baptist intercede from mankind at the Last Judgment, represented from The Altarpiece of the Lamb, painted between 1430 and 1432, by Jan and Hubert van Eyck in Ghent.
(Top portion from the “Mary with Angels” painting.)
(Below, two detail images of some of the angels.)
In the Altarpiece of the Lamb (also known as the Ghent Altarpiece) the theme of the Last Judgment (bottom center panel), from the biblical book of Revelations, portraying the end of the world when all mankind, living and the dead is judge by God. In the picture, shown below, bottom center panel, portrays the Deësis, an image of Byzantine origin representing the Mother Mary and John the Baptist interceding for mankind before Christ. From looking at each small detail in each painting, John the Baptist, in the Altarpiece of the Lamb, is not shown wearing a crown, or having a bishop’s crook. It might only mean that the figure would have to be God the Father in the unknown painting. God the Father is represented wearing a red garment with a pointed cylindrical crown above his head, and holding a bishop’s shaft, in which is closely represented in the “Mary with Angels” painting. His cloak is also bordered with lines of gold silk. His beard is not so thick as John the Baptist.
(Center top panel (Interior) of the Ghent Altar piece. By Jan and Hubert van Eyck. Altarpiece of the Lamb. 1432. Oil on panel. Cathedral of Saint Bavo, Ghent.)
In the Bible, it doesn’t talk much about Mary’s death at all. That led me to do some research under the search of, ‘the death of the Mary.’ What I came up on from Google.com, was a website that had to do with, “Medieval Illuminated Manuscripts- Ascension, Pentecost and the Death of Mary.” I found references toward the idea that the bible didn’t inform us about the death of Mary, in which the article reads, “The bible does not inform us about the circumstances of the death of the mother of Jesus. The stories about it took shape in the first centuries after her death and focused on three events: her deathbed (Dormition), her body being carried to heaven by angels (Assumption), and her coronation in heaven.” I found that the death of Mary has to do with an old Roman-Catholic and Orthodox tradition, known as the Feast of the Assumption of the Blessed Virgin Mary, celebrated on August 15th. I found two sources and two pieces of work that talk about and deal with the dormition of the Virgin Mary. If the theme of the Deësis is from early Byzantine painting, then perhaps the painting of the “Mary with Angels” painting, could have been influenced by other interpretations of the theme of the "Dormition of the Virgin," from earlier Byzantine paintings.
(Detailed image of the top portion of the “Mary with Angels” painting)
In an article called, “A Reflection on the Feast of the Assumption,” Virginia Kimball talks about the importance and mysteries of the death of the Mary in her study on the “Feast of the Assumption of the Blessed Virgin Mary.” Kimball’s study mentions a 15th century Greek Orthodox (iconographer) named Andreas Ritzos, who painted an illumination on wood of the Dormition of the Virgin, a (tempera on wood, 67 x 44 cm, dated 1450-1500) that clearly depicted the theme from earlier religious traditional Byzantine paintings. The article doesn’t mention the date of the painting, but it tells us a great deal about the painting itself. To best describe the layout of the painting Andreas Ritzos’s painting, Virginia Kimball tells us, “As a whole, we see Mary lying on her death bed, surrounded by angels and saints, church leaders, bishops, evangelists, dear friends and neighbors, and apostles coming on the way on a cloud. Around the entire icon there is a glow of gold and reds - representing the burst of the new kingdom and the surge of life. It is a scene crowned with both earthly and heavenly members of creation, coming to see the fulfillment of Christ’s word.” (Kimball, International Marian Research Institute).
According to recent scholarship, Ritzos was influenced by early Byzantine traditional religious themes of “Dormition of the Virgin.” By looking at the painting on page 317, I can see similar elements from Andreas Ritzos’s painting from that of the Assumption piece. If you look at the top section of the painting from Andreas Ritzos, you can see angels surrounding the Virgin Mary, as she is being lifted into heaven. There are even two angels on each side, opening the gates of heaven. Virginia Kimball tells us about the contemplating of Mary in Heaven, in which is depicted at the very top center portion of the Dormition of the Virgin panel by Andreas Ritzos. The difference between the Assumption piece and Andreas Ritzos’s painting, there is no depiction of the ‘Dormintion’ and the ‘Coronation of Mary’, just the ‘Assumption.’
(Above detail image of top portion of painting.)
(Illuminated painting by Andreas Ritzos. Dormition of the Virgin. Tempera on wood, 67 x 44 cm, dated 1450-1500.)
A painting by Michael Sittow, called, The Assumption of the Virgin, painted on wood panel in 1500, which represent a closer depicture of our unknown painting. This painting was painted in Spain, but heavenly influenced by Sittow’s three-year apprenticeship in Bruges, under his father. Sittow’s painting clearly represents the subject matter in which is depicted in the picture that’s shown above. If you look at the picture closely on the next page, you can see angels on each side of Mary, as she is being lifted into heaven. There is a landscape in which you see at the bottom portion of the paint. There are some differences, in which there are angels playing music. There is no indication of God the Father and Jesus Christ. There is not a lot of detail through out the angels’ gowns in which you see in the “Mary with Angels” painting. This find helps to establish the subject matter, but it does not tell us who painted the “Mary with Angels?”
(Michael Sittow. The Assumption of the Virgin. 1500. Panel on wood. 85/16 x 63/8. National Gallery of Art, Washington, D.C. )
Step 2: Finding out the Artist.
From the chapter readings from Northern Renaissance Art: Paintings, Sculpture, The Graphic Arts from 1350 to 1575, by James Snyder, revised by Larry Silver and Henry Luttikhuizen, says that, “One of the many anonymous Flemish artists in the Generation of (Hans) Memlinc has been identified as the Master of the Saint Lucy legend, after a painting located in the Church of Saint James in Bruges.” (202). During this time, between 1480 and 1500, I found out that many of the paintings that depicted episodes from the life of Saint Lucy, were not signed by the artist because of the band of foreign merchants by Emperor Maximilian I. The artists who trained in Bruges like Gerard David, Juan de Flandes, and Michael Sittow, only the few mentioned in Chapter 10 with Hans Memlinc, were sent out of Bruges to work for Isabella of Castile in Spain.
Many of the paintings that I researched from the Web gallery of Art website under the search of the Master of the Saint Lucy Legend, had similar characteristics towards the style of the figures, the detail applied to the figures cloths, the folds applied to the gowns, and the variety of bright colors and gold illuminations throughout. The backgrounds resemble similar features with background scenery of castles, hills, simple dirt roads, and few trees with a flushed background of blue to white. In the caption of the works from on top of the page, it says, “An immense number of paintings were produced in Bruges in the final quarter of the fifteenth century. Most covered the ground trodden by Memlinc, though many show the influence of Van der Weyden, Bouts and Van der Goes. There is a fresh but childish narrative manner about them, paralleling to some degree the art of the miniaturist. The two major representatives of this school are the Master of the Ursula Legend and the Master of the Lucy Legend.” (Emil Kren and Daniel Marx, Web Gallery of Art)
The paint that I have been studying for some time now, the “Mary with Angels,” I found to be categorized under the Master of the Saint Lucy Legend, under the name of the Mary, Queen of Heaven. The Mary, Queen of Heaven painting is said to be painted between 1485-1500, oil on panel, on painted surface, 119.2 x 161.8 cm, panel 201.5 x 163.8 cm, located at the National Gallery of Art, Washington, D.C. From a web biography, it says that, “His style is characterized by extraordinarily brilliant colors, intricately detailed textures and patterns, compressed space, and figures with oval faces that are restrained in expression. Several of his paintings have been found in Castile, suggesting that the Netherlandish artist may have spent part of his career in Spain.” (Emil Kren and Daniel Marx, Web Gallery of Art). No one knows for sure who painted the painting still. By knowing about the information provided, it will help us understand more about which painters could have attributed to the Master of the Saint Lucy Legend paintings. By learning about similar artists from around this time period and learning about other paintings, we can learn more about the Mary, Queen of Heaven painting, and learn more about the Master of the Saint Lucy Legend paintings.
Step 3: Paintings and Painters associated with Bruges, Between 1475 and 1500.
Based on information at the Web Gallery of Art, provide by Emil Kren and Daniel Marx, I found seven key paintings that are listed under the Master of the Saint Lucy Legend, all dated between 1475 and1500. Only one is not listed that I found from our text by James Snyder in chapter 10, and that is the Virgin of the Rose Garden, painted between 1475 and 1480. Information on the Virgin of the Rose Garden and other paintings suggest an ideal setting of Bruges, at a time of an economic depression, in hope to recapture the essence of art the community once had. Remembering that during this time, between 1480 and 1500, foreign trade was banned by Emperor Maximilian I. We have to remember that many artist who trained in Bruges like Gerard David, Juan de Flandes, and Michael Sittow, were sent out of Bruges to work for Isabella of Castile in Spain. This might have caused many paintings to be not signed by artists, because maybe they didn’t want to get caught. We also have to know that art was becoming a big focus in other parts of Northern Europe other then Bruges, Ghent, Brussels, and Louvain.
The other five paintings listed under the Master of the Saint Lucy Legend from the Web Gallery of Art were the Legend of St. Lucy (1480), St. Sebastian (1480-1490), Virgin Surrounded by Female Saints (1488), Lamentation (1490s), and St. Nicholas Altarpiece (center panel) (1486-1493), which was donated as a Van Eyck. Each of the paintings listed and even the Virgin of the Rose Garden painting, were all oil paintings on oak panel, except the Mary, Queen of Heaven painting that was painted on a painted surface over panel. Painting techniques of each of the paintings are said to have similar characteristics to those works of Hans Memling, Hugo van der Goes, and Jan Van Eyck. Most of the paintings characteristics were similar which consisted of bright colored fabrics having hard folds with a metallic gloss, intricate detail textures and patterns, compressed space, figures with oval faces, and oriental eyes. Other painters who I believe had a big influence on the Master of the Saint Lucy Legend paintings, based on technique and characteristics, can be shown through master works of Rogier van der Weyden, Petrus Christus of Flanders, Dueric Bouts (the Younger), Dueric Bouts (the Elder), and especially Gerard David, who all studied under the influence of van Eyck's works.
From the Web Gallery of Art, I found painters at the time between 1468 to 1500 that painted on oak panel were Hugo van der Goes, Rogier van der Weyden, Dieric the Elder Bouts, Hans Memling (Memlinc), and Gerad David. The painters that did most of, if not all their work on oak panel were Hans Memling, Gerad David, and Rogier van der Weyden. Other works of art which looks similar to the works of the Master of the Saint Lucy Legend are both Dieric Bouts, the Younger and Dieric Bouts, the Elder, in which both painters did none of their found works on oak panel. What throws me off by saying that the Bouts might have attributed to the paintings is that the Bouts didn’t have any paintings dated around this time period.
As I narrow down the details towards finding out which artist closey resembles the works of the Mary, Queen of Heaven painting, I feel that I need to find harder evidence on which artist could have painted the Mary, Queen of Heaven painting. So far, I haven't found any based on further readings by the author, based on knowing more about The Master of the Saint Lucy Legend. In a book by Herwing Guratzsch, Dutch and Flemish Painting, published by Vilo in 1981, I didn't find anything in the suggested further readings in the back of the book! It's even hard to find a first hand source from the Internet articles that I have read so far! Hopefully, I will find something as I stride to find further readings on the one has been mention about The Master of the Saint Lucy Legend.
Conclusion: Narrowing it down to a possible Artist.
I found some evidence that leads me to believe that Hans Memling (Memlinc) might have painted the Mary Queen of Heaven, painted around 1485-1500, and may have contributed his approach of style and techniques to a hand full of the paintings from the Master of the Saint Lucy Legend. From a book called Flemish Painting: The Century of Van Eyck, text by Jacques Lassaigne, by Albert Skira Publisher, 1957, on page 134. In the Hans Memlinc painting, The Adoration of the Magi, painted in 1470, one of the men, a black young magi, wears an ornament overshirt, that goes to past the Midwest. On his chest there are four symbols on sown cloth, of a gold with a darkish background. These symbols are represented as a textual shape, sounded by a black border, and leaf originated illuminations surrounding the inner designs.
In Hans Memling painting, The Descent from the Cross, painted in 1475, a man represented in the foreground also appears wearing a illuminated cloth gown, with leaf like illumination surrounding a textual shape, surrounded by a black boarder. The main symbol, or shape, looks like a flower or a fruit, growing from a stem, this style of representation is also found on two of the angels on each side of Mary, and on the backdrop cloth behind God, the Father, and Jesus Christ. Other Memling paintings that have the representation of an orientation of leaf flower design on clothing articles and backdrops, are represented in the St. John Altarpiece (1474-79), Virgin and Child with St. Anthony the Abbot and a Donor (1472), The Mystic Marriage of St. Catherine (1479-80), Virgin Enthroned with Child and Angel, 1480, and The Annunciation, painted in 1489.
(Detail picture (on the left) from Adoration of the Magi, 1470; Detail picture (on the right) from the St. John Altarpiece; 1474-79; and Detail picture (below) from Diptych with the Deposition, painted between1492-94.)
From three other Hans Memling paintings, Last Judgment Triptych (1467-71), St. John Altarpiece (1474-79), and Madonna Enthroned with Child and Two Angels (1490-91), all have supporting evidence towards the style characteristics of those from the Mary, Queen of Heaven painting. In the Last Judgment Triptych, painted between 1467-71, Memling follows the styles and characteristics from those of Rogier van der Weyden, in which he produces his own version of the Last Judgment Altarpiece that was painted between 1446-1452, by Weyden. If you look at the pictures below, you can see the similarities in the folds in the clothing, the use of bright contrasting colors, and the patches of bulging clouds (in which you can find evident in the Mary, Queen of Heaven painting), and the usage of similar contents of the angels and holy figure in the center.
(Rogier van der Weyden, Beaune Altarpiece, central panel, Christ as Judge(1446-1452) and Hans Memling, Last Judgement, Central panel, Christ as Judge (1467-71).
By studying the left wing panel of the Last Judgment Triptych (1467-71) by Hans Memling, I noticed that one of the angels near the entrance to heaven, has a stylistic detail on their wings, similar to those on an angel in the Mary, Queen of Heaven (1485-1500) painting, from the Master of the Saint Lucy Legend. If you look at the pictures below, there is a stylistic trait in which at the tip of the wings, the artist has placed what looks like to be, the ends of what would be a peacock feather. This find is also evident in Hans Memling’s Last Judgement Altarpiece, in the central panel, in which you see at the end of the wings of the main angel, peacock feathers.
(Detailed Picture from the Mary, Queen of Heaven, 1485-1490.
By Master of the Saint Lucy Legend.)
(Detail Picture from the Last Judgment Triptych (left wing), 1467-71,
By Hans Memling.)
(Detail Picture from the Last Judgment Triptych (central panel), 1467-71, By Hans Memling.
With new hard evidence that I found, I strongly believe that Hans Memling might have painted the Mary, Queen of Heaven, painted between 1485 and 1490. I strongly believe that Hans Memling might have contributed his style and craftmanship to most of the paintings labeled under the Master of the Saint Lucy Legend between 1480 and 1490, in Bruges. Most if not all the paintings that Hans Memling painted that depicted the theme of the Virgin and Child has the depiction of a throne with a backdrop with an orientated leaf-flower design, with gold illumination. Painting that I came across which have the orientated leaf-flower design is the Madonna and Child with Angels, 1485, oil painted on panel, 231/2 x 187/8 in. National Gallery of Art, Washington, D.C. Andrew Mellon Collection; the Virgin and Child with St Anthony the Abbot and a Donor, 1472, oil painted on wood, 93 x 55 cm. National Gallery of Canada, Ottawa; the Virgin Enthroned with Child and Angel, 1480, oil painted on wood, 66. X 46.5 cm. Staatliche Museen, Berlin; the Virgin and Child Enthroned with Two Angels, 1485-90, Oil painted on panel, 68.2 x 51.5 cm. St. Osyth’s Priory, St. Osyth; the Madonna Enthroned with Child and Two Angels, 1490-91, oil painted on wood, 57 x 42 cm. Galleria degli Uffizi, Florence; and The Donne Triptych, (centre panel) 1475, oil painted on oak, 70,5 x 30,5 cm. National Gallery, London.
From studying the each painting closely from the Master of the Saint Lucy Legend, I found that five out of the eight paintings had the depiction of a throne with a backdrop with an orientated leaf-flower design or on an article of clothing on one of the figures in foreground. The Virgin Surrounded by Female Saints, 1490-91, oil painted on wood, 57 x 42 cm. Galleria degli Uffizi, Florence; this painting from the Master of the Saint Lucy Legend amazingly has similar facial features to those of the Madonna Enthroned with Child and Two Angels, by Hans Memling. Also, both paintings have the depiction of a throne backdrop with an orientated leaf-flower design behind the center figure. Both the Madonna Enthroned with Child and Two Angels, and the Virgin Surrounded by Female Saints paintings were said to be painted between 1490-91. It is clear in the St. Nicholas Altarpiece (central panel) painted between 1486 and 1493, that this painting has the depiction of a throne with a backdrop with an orientated left-flower design, behind St. Nicholas. It’s also clear that the Legend of St. Lucy painting, painted in 1480, depicts a throne with a backdrop with an orientated left-flower design. In the center of the panel, there is a holy priest like figure sitting on a thrown. Behind the figure, you can see the orientated leaf-flower design.
(Detailed Picture from the St. Nicholas Altarpiece, from the Master of the Saint Lucy Legend.)
(Detailed Picture from The Legend of St. Lucy, from the Master of the Saint Lucy Legend)
(Madonna Enthroned with Child and Two Angels, By Hans Memling, 1490-91.)
(Virgin Surrounded by Female Saints,By Master of the Saint Lucy Legend, 1490-91.)
I’ve come so far on finding out about the Master of the Saint Lucy Legend and learning about Hans Memling and his paintings. With the work I gathered up over the span of eight weeks, I’m glad I had accomplished on finding out more about art through this short time. I strongly believe that Hans Memling might have contributed and attributed his approach of style and technique to other paintings from the Master of the Saint Lucy Legend with other artist, that fact has not been looked at yet. Why have scholars not pointed out the details that I have found regarding the Master of the Saint Lucy Legend and Has Memling paintings? I believe and hope that my research will lead me to finding more answers then questions towards knowing more about the Master of the Saint Lucy Legend. If scholars find out if my findings are true, I hope and believe it will open the door to more questions and ideas about these known works by this unknown artist. If we know who painted the paintings, then the Master of the Saint Lucy Legend probably will no longer exist. On a final note, I would like to thank Emil Kren and Daniel Marx, for their contributions towards helping other people learn about European art through the early centuries of art, on the Web Gallery of Art. The Web Gallery of Art website has helped me so much in my research towards finding the information I needed to finish my report. I hope that this research paper helped others and future researchers on find more about the Master of the Saint Lucy Legend. Please look at my personal notes! There is important information there, which I left out of the paper. Thank you!
Personal Notes/ End notes:
1. Most of the paintings detail information and descriptions are provided by the Web Gallery of Art, by Emil Kren and Daniel Marx at the Web Gallery of Art at: http://www.wga.hu/
2. Information and pictures of the Master of the Saint Lucy Legend is provide by Emil Kren and Daniel Marx at the Web Gallery of Art at: http://www.wga.hu/ frames-e.html?%20/html/m/master/lucy/5queen.html.
3. Detail pictures from the Master of the Saint Lucy Legend taken from: http://keptar.demasz.hu/arthp/html/m/master /index.htm /. Related link created by Emil Kren and Daniel Marx (from an earlier version of Web Gallery of Art at: http://keptar.demasz.hu.)
4. Main painting of study: The Master of the Saint Lucy Legend. Mary, Queen of Heaven. 1485-1500. Oil on panel. Painted surface: 119.2 x 161.8 cm, Panel: 201.5 x 163.8 cm. National Gallery of Art, Washington, D.C.
5. Picture of Center panel of Altarpiece of the Lamb (Ghent Altarpiece) taking from:
http://fits.depauw.edu/aharris/Courses/ArtH132/galleries/images/fullsize/fs_van_Eyck_Ghent_Deesis.jpg.
6. Jan van Eyck. Altarpiece of the Lamb (interior). C. 1432. Panels’ 11 ft g3/4 in. x 15 ft 11/2 in. Cathedral of Saint Bavo,Ghent Groeningmuseum, Bruges. Information about the painting and artist found on pages 168-169. From Chapter 8, Ghent, Part 2 Fifteenth-century Innovations.
7. Note: Dr. Emil Krén is a retired scientist in solid state physics, presently a consultant in information technology at KFKI Computer Systems Corporation, Budapest, Hungary. http://www.wga.hu/index1.html
8. Note: Dr. Dániel Marx is a research assistant at the Department of Computer Science and Information Theory, Budapest University of Technology and Economics, Budapest, Hungary. http://www.wga.hu/index1.html.
9. Short biography on Michael Sittow, provide by the on the online Getty Art Museum, at http://www.getty.edu/art/collections/bio/a442-1.html. 31 Oct. 2005. The Official website of The Getty Center (J. Paul Getty Museum), located at 1200 Getty Center Drive Los Angeles, CA 90049 Tel. (310) 440-7300.
10. Picture of Michael Sittow. The Assumption of the Virgin. 1500. Panel on wood. 85/16 x 63/8, taken from: 31 Oct. 2005 http://www.nga.gov/cgi-bin/pinfo?Object= 49998+0+ none.
11. Notes on the Madonna of the Rose Garden, from the Master of the Saint Lucy Legend: “The hills in the picture are deliberate additions to the landscape. It may be they are meant to remind us that ‘As the hills stand round about Jerusalem, even so the Lord standeth round about His People.”; “It would is generally conceded that Memling was the first painter to give his portraits open-air backgrounds. His fields and bits of woodland shown over the shoulders of sturdy Flemish burghers and Italian merchants are as meaningful as the landscape in his religious pictures.” Elst, Baron Joseph van der. “The Last Flowering of the Middle Ages.” Page 26.
12. Hans Memling paintings, The Descent from the Cross, 1475, Last Judgment Triptych, 1467-71, and the St. John Altarpiece, 1474-79, all have supporting evidence towards the style characteristics of those from the Mary, Queen of Heaven painting. All pictures of each of the paintings where found under each of the artist’s name under the artist index at the Web Gallery of Art website. All found under M, page 3 of 4, under the name of MEMLING, Hans.
13. Portion of the, Adoration of the Magi, 1470, found under Early works up to 1472 (page 2). Information and picture provided by Kren, Emil, and Daniel Marx at the Web Gallery of Art homepage. The Adoration of the Magi is the centerpiece that is part of an altarpiece Triptych. The triptych depicts the Nativity (left), The Adoration of the Magi (central) and the Presentation of the Temple (right).
14. Most if not all paintings that Hans Memling has painted with the Virgin and Child has the depiction of a thrown with a backdrop with an orientated leaf-flower design, with gold illumination. Painting that have this find are the Madonna and Child with Angels, 1485, Oil on panel, 231/2 x 187/8 in. National Gallery of Art, Washington, D.C. Andrew Mellon Collection; Virgin and Child with St Anthony the Abbot and a Donor, 1472, Oil on wood, 93 x 55 cm. National Gallery of Canada, Ottawa; Virgin Enthroned with Child and Angel, 1480, Oil on wood, 66. X 46.5 cm. Staatliche Museen, Berlin; Virgin and Child Enthroned with Two Angels, 1485-90, Oil on panel, 68.2 x 51.5 cm. St. Osyth’s Priory, St. Osyth; Madonna Enthroned with Child and Two Angels, 1490-91. Oil on wood, 57 x 42 cm. Galleria degli Uffizi, Florence; The Donne Triptych, (centre panel) 1475.Oil on oak, 70,5 x 30,5 cm. National Gallery, London.
15. Master of the Saint Lucy Legend. Virgin Surrounded by Female Saints, 1490-91. Oil on wood, 57 x 42 cm. Galleria degli Uffizi, Florence. This painting from the Master of the Saint Lucy Legend, has similar facial features to those of the Madonna Enthroned with Child and Two Angels, by Hans Memling, painted between 1490-91. Oil painted on wood, 57 x 42 cm. Galleria degli Uffizi, Florence.
16. Hans Memling. Madonna Enthroned with Child and Two Angels, 1490-91. Oil painted on wood, 57 x 42 cm. Galleria degli Uffizi, Florence. This painting also has the depiction of a thrown with a backdrop with an orientated left-flower design. Plus this design is depicted on the one of the women’s dress that is keeling down on the left hand corner of the painting, the one with what is believe to be a Bible.
17. Master of the Saint Lucy Legend. St. Nicholas Altarpiece (central panel) 1486-93. Oil on oak panel, 101.5 x 81.5 cm. Groeninge Museum, Bruges. This painting also has the depiction of a thrown with a backdrop with an orientated left-flower design, behind St. Nicholas.
18. Master of the Saint Lucy Legend. Legend of St. Lucy, 1480. Oil on oak panel. 79 x 183 cm. Sint-Jacobskerk, Bruges. This painting from the Master of the Saint Lucy Legend also has the depiction of a thrown with a backdrop with an orientated left-flower design. In the center of the panel, there is a holy priest like figure sitting on a thrown. Behind the figure, you can see the orientated leaf-flower design, with is depicted in ten paintings that I’ve came upon during my research.
19. Five out of the eight paintings from the Master of the Saint Lucy Legend has the depiction of a thrown with a backdrop with an orientated leaf-flower design or on a article of clothing, on one of the figures in the painting.
20. Master of the Saint Lucy Legend. St. Nicholas Altarpiece (central panel) 1486-93. Oil on oak panel, 101.5 x 81.5 cm. Groeninge Museum, Bruges. An unknown painter donated this painting as a Van Eyck. Information provided by the Web Gallery of Art, based on the painting of St. Nicholas, from the Master of the Saint Lucy Legend. Was said to be a Spanish commission by Bermejo.
21. Hans Memling. St. John Altarpiece, painted between 1474 and 1479, Oil on oak panel, 173,6 x 173,7 cm. Memlingmuseum, Sint-Janshospitaal, Bruges. This painting is also named under the St. Katherine Altarpiece, found on page 232, in Otto Pächt’s Early Netherlandish Painting: From Rogier van der Weyden to Gerard David.” Editor Monika Rosenauer. Translator David Britt. Munich, Germany. Harvey Miller Publishers. 1997.
22. Paintings that depicted musical angels in the background, middle ground, and foreground in Hans Memling’s paintings that I’ve already came upon, is the Last Judgment Triptych (open), 1467-71, oil on wood, 221 x 161 cm (central); St John Altarpiece (central panel and right panel), 1474-79, oil on oak panel, 173.6 x 173.7 cm, Memlingmuseum, Sint-Janshospitaal, Bruges; The Donne Triptych, (centre panel) 1475, oil on oak, 70.5 x 30.5 cm, National Gallery, London; and the Virgin Enthroned with Child and Angel, 1480, Oil on wood, 66 X 46.5 cm, Staatliche Museen, Berlin.
23.Paintings that we haven’t come upon that depict musical angels are The Mystic Marriage of St Catherine, 1479-80, Oil on wood, 67 x 72 cm, Metropolitan Museum of Art, New York; Virgin and Child with Musical Angels, 1480, oil on panel, 40 x 29 cm. Alte Pinakothek, Munich; Virgin and Child Enthroned, 1480s, oil on oak panel, 81 x 55 cm, Staatiliche Museen, Berlin; and the Virgin and Child in a Rose-Garden with Two Angels, 1408s, oil on oak panel, 37.7 x 27.7 cm, Museo del Prado, Madrid.
24. This research paper was for ART 322 (Northern Netherlandish Art History, Section 1 (writing (L) course), for Fall 2005, at Southern Connecticut State University, Completed December 2nd, 2005. This research paper is located at: http://astudyfromthemasterofthesaint.blogspot.com
*25. From the Web Gallery of art, Biography on Hans Memling, I found that Hans Memling name is also spelled Memlinc. Other websites I looked at have suggested this information.
*26. From a text I found on the subject of Iconology, in the Chapter “The Icons of Balkan Peninsula and the Greek Islands,” on page 311, it says that Ritzos was influenced by early Byzantine traditional religious themes of “Dormition of the Virgin.
27. Attributing paintings from study shown:
Jan van Eyck(1395-1441) and Herbert van Eyck (died 1426) –
-Altarpiece of the Lamb (interior). C. 1432. Panels’ 11 ft g3/4 in. x 15 ft 11/2 in. Cathedral of Saint Bavo,Ghent Groeningmuseum, Bruges.
Andreas Ritzos- (Greek Byzantine Style Painter, 1422-1492)
-Dormition of the Virgin. 1450-1500. Tempera on wood, 67 x 44 cm. Galleria Sabaudo of Turin
Michael Sittow- (1468-1525)
-The Assumption of the Virgin. 1500. Panel on wood. 85/16 x 63/8. National Gallery of Art, Washington, D.C
Hans Memling- (1440-1494)
-Adoration of the Magic. 1470. Oil on wood, 96,4 x 147 cm. Museo del Prado, Madrid;
- Last Judgment Triptych (open). 1467-71. Oil on wood, 221 x 161 cm (central), 223,5 x 72,5 cm. (Left wing) 223 x 72 cm. (Right wing) 223 x 72 cm. Muzeum Narodowe, Gdansk.
-Madonna Enthroned with Child and Two Angels, 1490-91. Oil on wood, 57 x 42 cm. Galleria degli Uffizi, Florence.
- St John Altarpiece (central panel). 1474-79. Oil on oak panel, 173,6 x 173,7 cm. Memlingmuseum, Sint-Janshospitaal, Bruges.
-The Donne Triptych, (centre panel) 1475, oil painted on oak, 70,5 x 30,5 cm. National Gallery, London.
Rogier van der Weyden (1399-1464) -
-Last Judgment Altarpiece (central panel), 1446-1448. Oil on wood. Musée de l'Hôtel Dieu, Beaune
Master of the Saint Lucy Legend (1480-1490) -
- Mary, Queen of Heaven. 1485-1500. Oil on panel. Painted surface: 119.2 x 161.8 cm, Panel: 201.5 x 163.8 cm. National Gallery of Art, Washington, D.C.
- Legend of St. Lucy, 1480. Oil on oak panel. 79 x 183 cm. Sint-Jacobskerk, Bruges.
-St. Nicholas Altarpiece (central panel) 1486-93. Oil on oak panel, 101.5 x 81.5 cm. Groeninge Museum, Bruges.
-* Virgin Surrounded by Female Saints, 1490-91. Oil on wood, 57 x 42 cm. Galleria degli Uffizi, Florence.
*Revision notes not included. Revision of paper overlooked by Professor David Levine- History of Northern Renaissance Art, Southern Connecticut State University, Fall 2005.
* (Notes, previously left out or added)
Work Cited/Sources/Readings:
-"Master of the Saint Lucy Legend." Biography. 04 Nov. 2005. The National Gallery of Art. http://www.nga.gov/cgi-bin/pbio?21100
-“Medieval Illuminated Manuscripts- Ascension, Pentecost and the Death of Mary.” 10 Oct 2005. http://www.kb.nl/kb/manuscripts/highlights/73E42_uk.html
-Babic, Gordana, and Manolis Chatzidakis. “VI, The Icons of The Balkan Peninsula and the Greek Islands (part 2)”. The Icon. Trans. By Arnoldo Monoldo Editore. New York. Alfred A. Knopf, Inc. 1982. pp. 305-317.
-Blum, Shirley Neilsen. “Early Netherlandish Triptychs: A Study in Patronage.” Los Angeles University of California Press. 1969. pp. 38-48; and 87-96.
-Elst, Baron Joseph van der. “The Last Flowering of the Middle Ages.” New York. Doubleday & Company, Inc. 1944. pp. 26; and 88-96.
-Guratzsch, Herwig. “Dutch and Flemish Painting.” New York. Vilo. 1981. pp. 74-86.
-Kimball, Virginia. “A Reflection on the Feast of the Assumption.” The Marian Library/International Marian Research Institute. Dayton, Ohio.08-Jan-2003. 12 Oct 2005. http://www.udayton.edu/mary/meditations/kimball.html.
-Kren, Emil, and Daniel Marx. “Master of the Saint Lucy Legend.” Web Gallery of Art. 04 Nov. 2005. http://www.wga.hu/framese.html?%20/html/m/master/lucy/%205 queen.html
-Lassaigne, Jacques. “Flemish Painting: The Century of Van Eyck.” Translated by Stuart Gilbert. Albert Skira Publisher. 1957. 88-90; 132-137; 142; and 154-155.
-Pächt, Otto. “Early Netherlandish Painting: From Rogier van der Weyden to Gerard David.” Editor Monika Rosenauer. Translator David Britt. Munich, Germany. Harvey Miller Publishers. 1997. pp. 227-244.
-Puyvelde, Leo van. “Flemish Painting From the Van Eycks to Metsys.” Translated by Alan Kendall. New York. McGraw-Hill Book Company. 1968. pp. 176-207.
-Snyder, James. “Northern Renaissance Art: Painting, Sculpture, The Graphic Arts From 1350 to 1575.” Revised by Larry Silver and Henry Luttikhuizen. 2nd ed.New Jersey. Pearson Prentice Hall. 2005. 88-94; 168-169; 202-213; and 456.
posted by Gene Brady Jr. at 9:16 AM
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