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(L) “Portrait of a Young Man praying (recto)” and “Flowers in a Jug (verso),” circa 1485, by Hans Memling. Oil on panel. Thyssen-Bornemisza National Museum, Madrid. Public Domain
The German-Flemish artist Hans Memling (circa 1435–1494) was one of the most significant painters during the second half of the 15th century in the Southern Netherlands. His is best known for his elegant and serene portraits and religious paintings, rendered in a richly colored palette. He oversaw a large and successful workshop in Bruges, and approximately 90 of his paintings survive. These reflect his skills in conveying lighting effects, sculptural bodies, and harmonious forms.
One of Memling’s most acclaimed works is a single panel at Madrid’s Thyssen-Bornemisza National Museum dated to circa 1485, during his mature period. The front shows “Portrait of a Young Man praying (recto)” and the back displays “Flowers in a Jug (verso).” The portrait is considered to be among the finest likenesses painted by Memling, while the floral composition is one of the first independent still lifes in art. In addition, the specific textile style depicted in the still life is referred to today as “Memling” rugs.
A possible self-portrait detail in “Saint John the Baptist,” circa 1478, by Hans Memling. Oil on wood. National Gallery, London. Cropped image from Sailko/CC BY 3.0
Memling was born in Germany, near Frankfurt, and perhaps spent a period of artistic study in Cologne. Art historians deem him the generational heir to celebrated Netherlandish artists Jan van Eyck and Rogier van der Weyden, both pioneering painters in oil. Memling may have even trained with van der Weyden in his workshop.
By 1465, Memling lived in Bruges, Belgium, and remained in the flourishing city of trade and culture for the rest of his life. The city’s aristocrats, burghers, clergy, and wealthy foreign residents, including Spaniards and Italians, patronized Memling.
Theoretical Triptych
“Portrait of a Young Man praying (recto),” circa 1485, by Hans Memling. Oil on panel; 11 1/2 inches by 8 9/10 inches. Thyssen-Bornemisza National Museum, Madrid. Public Domain
A striking feature in the Thyssen-Bornemisza National Museum portrait is the background of open landscape, which is typical of Memling’s style. While he was not the first artist to include this in a portrait composition, his use made it popular in Flemish art.
Art historians believe, based on clothing and hairstyle, that the young man may have been Italian. However, some scholars speculate that he was a Spanish patron.
There is also debate about the original format of the panel. The general consensus is that this panel was part of a triptych. The placement of the praying man suggests that to the right of this figure would have been a second panel depicting the Madonna and Child. The landscape, visible through a loggia in the surviving panel, would have continued on this missing panel. The third panel, whose whereabouts are also unknown, would have shown a female donor, as Memling’s triptychs position a man on the left wing and a woman on the right.
Early Still Life
“Flowers in a Jug (verso),” circa 1485, by Hans Memling. Oil on panel; 11 1/2 inches by 8 9/10 inches. Thyssen-Bornemisza National Museum, Madrid. Public Domain
The back of the panel has a painting of a vase of flowers. If this work was part of a triptych, it would have formed one of the outside wings. The hypothetical panel of a female figure would likely have had on its back either another still life or the couple’s emblem.
While Memling’s “Flowers in a Jug (verso)” is considered one of the earliest independent still lifes, it does exhibit religious symbolism. Christ’s monogram is on the maiolica jug. Two types of flowers in the arrangement reference the Virgin: Lilies connote her purity, and irises allude to her role as Queen of Heaven and “Mater Dolorosa” (Sorrowful Mother) during the Passion. The aquilegias (columbine) signify the Holy Spirit.
The vase sits on an oriental rug patterned with hooked, stepped medallions. This style of “gul” (octagonal motif) became associated with Memling because of the painting. Since Memling died in 1494, experts infer that this historic carpet motif from Ottoman Turkey, considered one of the oldest rug designs, was well established by the 15th century. Oriental carpets were popular in Europe from the 14th century onward, and their inclusion in Renaissance paintings has provided a vital source of scholarship about Islamic carpets. Several types showcased in such artworks continue to be associated with European painters, including Lotto, Holbein, and Ghirlandaio.
An example of an 18th-century "Memling" rug from Konya, Turkey, which features the Memling gul design, or medallion-like motif. Public Domain
These beautiful paintings on panel, on permanent display at Thyssen-Bornemisza National Museum, represent the height of Memling’s brilliance and the impact he had on art history.
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Michelle Plastrik is an art adviser living in New York City. She writes on a range of topics, including art history, the art market, museums, art fairs, and special exhibitions.
