TABLE OF CONTENTS
Preface 5 Abbreviations 7 Introduction 9
Parti. Wanderjabre
Chapter 1. In Search of Memling in Rogier's Workshop 17 I. Sixteenth-Century Sources Associating Memling with Rogier van der Weyden 17 A. Vasari and Guicciardini 17 B. Inventories of the Collection of Margaret of Austria 19
II. Paintings Related to Works by Rogier van der Weyden 21 A. The Gdansk Last Judgment and the Beaune Altarpiece 21 B. Memling's Adoration Triptychs and the Columba Altarpiece 24 C. "Rogerian" Paintings Erroneously Attributed to the Youthful Memling 25 D.Recent Attributions to Memling 33
Chapter 2. Early Training in Cologne 43 I. Memling and Lochner 45
II. Memling and Painting in Cologne before Lochner 51 A. The Virgo inter Virgines 51 B. The Narrative Crucifixion 53 C. Simultanbilder 53
Chapter 3. A Sojourn in Louvain? Compositional Types Related to Works by Dirk Bouts 63 I. The Madonna and Child with Angels in a Loggia 63 II. The Half-length Madonna in an Interior or Loggia 65 III.Diptych with the Man of Sorrows and the Virgin in Prayer 68 IV. PassionScenes 71 Chapter 4. The Impact of Van Eyck and Christus 79 Chapter 9. Hospital Altarpieces , 175 I. Inscriptions on Frames and Trompe-l'oeil 79 I. The Hospital Context 175 II. Portraiture 81 II. The St. John Altarpiece 179 lll.The Virgin and Child with Saints, Angels, and/or Donors 83 III. The Triptych of Jan Floreins and the Triptych ofAdriaan Reins 186
Partn. Master Painter in Bruges Part IV. Memling and Italy
Chapter 5. Workshop ; 95 Chapter 10. Italian Commissions and their Impact in Italy 199 I. Production 95 I. Memling's Italian Patrons 199 A. 1465-1479 95 B. 1480-1488 96 II. Paintings by Memling in Italy, c. 1470-1510 201 C. 1489-1494 96 A. Works by Memling Documented in Italian Sources 202 B. Works by Memling Reflected in Italian Painting 202 II. Proposed Assistants 98 A. Martin Schongauer 98 lll.Italian Responses to Memling's Paintings 208 B.Michel Sittow 102 A. Copies 209 C. The Master of the St. Bartholomew Altarpiece 103 B. Quotations of Specific Landscape Motifs 209 D.Albrecht Diirer 106 C.The Landscape alia fiamminga 213 D.Portraiture 213 III. Workshop Practices 110
Chapter 6. Patronage 115 Chapter 11. Italian Painters Emulating Memling 221 I. Who the Patrons Were 115 I. Domenico Ghirlandaio (1449-1494) 221 II. What the Patrons Wanted 116 II. Leonardo da Vinci (1452-1519) 226 A. The Desire for Works Based on Famous Precedents 116 lll.Pietro Vannucci, calledPerugino (ca. 1445-1523) 230 B. Types of Paintings Commissioned 117 C. Motivations 118 TV.Raffaello Sanzio, called Raphael (1483-1520) 236 Ul.How the Patrons got what they wanted 119 Epilogue 249
Part ID. Major Commissions Catalogue Chapter 7. Funerary Altarpieces 129 I. The Gdansk Last Judgment Triptych 129 A. Accepted works 256 B. Disputed works 322 II. TheMoreel Triptych 136 C. Rejected works 335 lll.The Lubeck Passion Altarpiece 139 Selected Bibliography 339 Exhibition Catalogues 359 Chapter 8. Paintings as Aids to Spiritual Pilgrimage 147 Index 363 I. The Turin Scenes of the Passion 147 Photographic Credits 385 II. The Seven Joys of the Virgin 155 III. The Lubeck Passion Altarpiece 162 IV. The Reliquary of St. Ursula • 164
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