Rogier’s Durán Madonna (Museo Nacional del Prado, Madrid), Last Judgment Altarpiece (Hôtel Dieu, Beaune), Saint Columba Altarpiece (Alte Pinakothek, Munich), and Bladelin Altarpiece (Staatliche Museen, Gemäldegalerie, Berlin) were particularly influential in this regard. In addition, there is ample evidence that Memling assimilated Rogier’s compositions, figure motifs, and stylistic traits, even including the salient characteristics of his underdrawings, for his early paintings.
This relationship is supported by Giorgio Vasari, who mentions Memling as a pupil of Rogier of Brussels (Rogier van der Weyden) in his famous Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550. Memling probably trained as a painter in that region before heading out to gain further practical experience, perhaps first in Cologne and then in Brussels around 1459–60, where he most likely worked as a journeyman assistant in Rogier van der Weyden’s workshop. Although he spent the majority of his career in that thriving city, he was born around 1435–40 in the German town of Klein-Krotzenburg near Seligenstadt, south-east of Frankfurt, Germany. The history of lost intermediaries, traces uncovered by contemporary conservatory methods and the reexamination of workshop practices is only just beginning.The Artist: A successor of Jan van Eyck and Petrus Christus, and a contemporary of Gerard David, Hans Memling was among the most important artists of fifteenth-century Bruges. Instead of evaluating processes of transmission by reflecting their innovational impact we propose to concentrate more on the process itself. By offering a critical reading of our history of notion and concept, the paper aims to sensibilize for an unbiased view on processes of copying, repetition and tradition building. In this context, the role of model and pattern books should be renegotiated as is also for the illuminators methods of work. Starting from an example of a motif’s multiple repitition in more than a dozen Flemish books of hours over the period of five decades, it calls into question popular patterns of explanation, such as the economization of production, but propose to rethink our understanding of how and traditions were re-invented in manuscript painting.
This paper seeks to give a spotlighted insight on the state of research of transmissions of artistic patterns in late medieval manuscript illumination.
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