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The Annunciation is an oil painting by the Early

Netherlandish painter Hans Memling. It depicts the
Annunciation, the archangel Gabriel's
announcement to the Virgin Mary that she would
conceive and become the mother of Jesus,
described in the Gospel of Luke (Luke 1:26). The
painting was executed in the 1480s and was
transferred to canvas from its original oak panel
sometime after 1928; it is today held in the Robert
Lehman collection of the Metropolitan Museum of
Art in New York.

The panel shows Mary in a domestic interior with

two attendant angels. Gabriel is dressed in
ecclesiastical robes, while a dove hovers above
Mary, representing the Holy Spirit. It expands upon
the Annunciation wing of Rogier van der Weyden's
Saint Columba Altarpiece of c. 1455. According to
the art historian Maryan Ainsworth, the work is a
"startlingly original image, rich in connotations for
the viewer or worshiper".[1]
The Annunciation, 76.5 × 54.6 cm (301 ∕8 × 211 ∕2 in.),
Hans Memling, 1480s, oil on panel (transferred to
The iconography focuses on the Virgin's purity. Her
canvas), Metropolitan Museum of Art, New York
swoon foreshadows the Crucifixion of Jesus, and
the panel emphasizes her role as mother, bride, and
Queen of Heaven. The original frame survived until the 19th century and was inscribed with a date
believed to be 1482; modern art historians have suggested that the number's final digit was a 9, which
would give a date of 1489. In 1847, the art historian Gustav Friedrich Waagen described the panel as one
of Memling's "finest and most original works".[2] In 1902, it was exhibited in Bruges at the Exposition des
primitifs flamands à Bruges, after which it underwent cleaning and restoration. The banker Philip Lehman
bought it in 1920 from the Radziwiłł family, in whose collection it might have been since the 16th century;
Antoni Radziwiłł discovered it on a family estate in the early 19th century. At that time, it had been pierced
through with an arrow and required restoration.

Description
Subject
The Annunciation was a popular theme in European art,[3]
although a difficult scene to paint, because it depicts Mary's union
with Christ as she becomes the tabernacle for the Word made
flesh. The doctrine of Mary as Theotokos, the God­bearer, was
affirmed in 431 at the Council of Ephesus; two decades later the
Council of Chalcedon affirmed the doctrine of Incarnation – that
Christ was of two natures (God and Man) – and Mary's perpetual
virginity was affirmed at the Lateran Council of 631. In Byzantine
art, Annunciation scenes depict the Virgin enthroned and dressed
in royal regalia.[4] In later centuries she was shown in enclosed
spaces: the temple, the church, the garden.[5] Robert Campin's c. 1420s Mérode
Altarpiece, (The Cloisters), with
In Early Netherlandish art the conventional iconography of a hearth
Annunciation is typically set in and a vase of flowers
contemporary domestic interiors,
a motif and tradition established
by Robert Campin, and followed by Jan van Eyck and Rogier van der
Weyden.[1] Neither Campin nor van Eyck went so far as to set the scene
in a bedchamber,[4] although the motif is found in van der Weyden's
Louvre Annunciation of c. 1435 and his Saint Columba Altarpiece of
c. 1455, in which the Virgin kneels by the nuptial bed, rendered in red
made from costly pigments.[6] Memling's depiction of the scene is nearly
identical to that in the Saint Columba Altarpiece.[7]

Left panel of Rogier van der
Weyden's Saint Columba
altarpiece, c. 1455, Alte
Pinakothek, Munich. Rays of
light stream through the open
window toward the Virgin.
Figures
The archangel Gabriel appears before Mary to announce that she will
bear the Son of God.[8] He is shown standing in a three­quarter view,[9]
wearing a small jeweled diadem and dressed in vestments. He has a
richly embroidered red­and­gold brocade cope, edged with a pattern of
gray seraphim and wheels, over a white alb and amice. He holds his staff
of office in one hand, and raises the other towards the Virgin.[10] He
bends his knees, honoring and acknowledging her as Mother of Christ
and Queen of Heaven,[1] and his feet are bare and positioned slightly
behind hers.[11]

The Virgin is in a frontal view;[9] directly behind her the red­curtained bed acts as a framing device, similar
to the traditional canopy of honor or baldachin.[6] Unlike in the work of Memling's predecessors, whose
Virgins are garbed in heavily jeweled and costly robes, the plain white shift she wears beneath a blue
mantle is minimally jeweled at the hem and at the open neckline. A purple underdress peeks out at her
neck and wrists, indicating her royal status.[5] Mary seems neither surprised nor fearful at the
announcement; according to Blum the scene is rendered with a great sense of naturalism and
successfully depicts "the transformation of Mary from girl to God­bearer".[11]

The Virgin holds an innovative and unusual position. She seems to be

either rising or swooning as if having lost her balance, a divergence
from her conventional seated or kneeling pose. Blum believes "one
may search in vain in other Netherlandish Annunciation panels of the
fifteenth century of a Virgin positioned as she is here".[6] The art
historian Penny Jolly suggests that the painting shows a birthing
position, a motif with which van der Weyden experimented in his
Seven Sacraments Altarpiece, where the Virgin's collapse results in a
childbirth­like posture, and in his Descent from the Cross, which has
Mary Magdalene bending and crouching – similar to the position
Memling's Magdalene assumes in his Lamentation.[12] Flanking the
Virgin, and holding her, are two attendant angels. The one to the left
lifts the Virgin's robe while the other gazes at the viewer, "soliciting
our response", according to Ainsworth.[1] Both are small­statured,
solemn, and, according to Blum, in mood "comparable to that of
Gabriel".[13] Other than the presence of the angels, Memling shows a
typical upper­merchant­class 15th­century Flemish bedchamber.[4] Jan van Eyck's Annunciation,
from the 1432 Ghent Altarpiece, has
an inscription streaming towards the
Objects Virgin and the dove of the Holy
Spirit hovers above.
A dove, representing the Holy Spirit, hovers inside a rainbow­hued
circle of light directly above the Virgin's head. Its placement and size
are unusual for art of the period. It is unlike anything found in van der Weyden, and is never repeated in
Memling's work, but reminiscent of van Eyck's dove in the Ghent Altarpiece's Annunciation panel.[10] Its
shape is found in medallions hung above beds at that time, and thus seems in keeping with the domestic
interior.[4] Mary's left hand rests on an open prayer book, which she has propped open on a prie­dieu, with
the letter "D" visible – perhaps for Deus tecum ("the Lord be with you"), according to Ainsworth.[1] Blum
speculates that the passage is from Isaiah 7:14, "Behold a Virgin shall conceive and bear a son".[11] A
vase containing white lilies and a single blue iris is next to it on the floor.[14]

A curtain sack, commonly found on beds of the period, hangs in the central axis between Gabriel and the
attendant angel.[15] A sideboard beside the bed contains two types of candles and a flask of water
standing in bright light falling from the window to the left.[1] The floor is multi­colored tile­work, similar to
that in van der Weyden's Saint Columba Altarpiece; Memling truncates the ceiling rafters in the mid­
ground, at the end of the bed, with the floor extending into the foreground. Blum describes the effect as
acting "like an open stage for the holy figures".[9]

Iconography
The iconography is not overly labored, and Memling avoids extraneous symbolism.[11] Many elements
emphasize Mary's role as the Mother of God; the chamber is furnished with simple everyday objects that
indicate her purity. The vase of lilies and the items on the sideboard are objects 15th­century viewers
would have associated with her.[8] White lilies were often used to signify her purity, while irises or sword
lilies were used as metaphors for her suffering.[14] Memling emphasizes symbols associated with her
womb and virginity, "introduces two additional angelic priests, and floods the room with natural light,
thereby rearranging the anecdotal to emphasize the doctrinal meaning".[11] Charles Sterling describes the
work as "one of the finest examples of Memling's ability to take a pictorial convention inherited from his
predecessors and infuse it with a heightened sense of emotion and narrative complexity".[16]
Light
From the 9th century Light became associated with Mary and the
Incarnation. Millard Meiss notes that from the 12th century a
common way to convey the conception was to compare light
passing through glass to the passage of the Holy Spirit through the
body of the Virgin.[17] Saint Bernard likened it to sunshine,
explaining in this passage: "Just as the brilliance of the sun fills
and penetrates a glass window without damaging it, and pierces
its solid form with imperceptible subtlety, neither hurting when
entering nor destroying when emerging; thus the word of God, the
splendor of the Father, entered the virgin chamber and then came
forth from the closed womb."[18] Detail showing the light shining on
the sideboard, a flask of clear water, a
Three objects on the bedside cabinet represent the Virgin's purity: ropewick light, a candlestick, and a
curtain­sack
the water flask, the candleholder, and the ropewick light. The light
passing through the glass of the womb­shaped flask symbolizes
her flesh, pierced by divine light;[19] its clear and undisturbed water represents her purity at the moment of
conception,[1] a device found also in the earlier paintings as a metaphor of the Virgin's sanctity.[20] The
flask shows a reflection of the window's crossbar as a cross, a symbol of the Crucifixion – another small
detail in which Memling "lays one translucent symbolic form upon another".[19]

Light represented by candles was then often used to symbolise

the Virgin and Christ; both Campin and van Eyck placed hearths or
candles in their annunciation scenes.[20] The candleholder without
a candle and the ropewick without flame symbolize the world
before Christ's Nativity and the presence of his divine light,
according to Ainsworth.[1]

The challenge for painters of the Annunciation was how to visually

represent the Incarnation, the Word made flesh, or Logos.[21] They
often showed rays of light emanating from Gabriel or a nearby
window entering Mary's body to depict the concept of Christ "who
inhabited and passed through her body". The light rays might
sometimes include an inscription,[19] and were sometimes shown
Dieric Bouts's Annunciation, entering her ear, in the belief that it was thus the Word became
c. 1450s, Getty Center, Los Angeles, flesh.[22]
omits rays of light.
Memling did not depict the light as distinct rays, nor had Dieric
Bouts's Getty Annunciation. Yet the room is bright, filled with
sunlight, a fenestra incarnationis, which would have been an adequate symbol for the contemporary
viewer.[23] By the mid­15th century the Virgin is found depicted in a room or chamber near an open
window to permit the passage of light.[22] Memling's room, with its window through which light streams, is a
most "decorous sign of Mary's chastity", according to Blum.[23] There are no word scrolls or banderoles to
indicate the Virgin's acceptance, yet her consent is obvious through her pose, which seems, according to
Sterling, both submissive and active.[24]

Mother of Christ
 The Virgin birth is indicated by the red bed and red womb­shaped
curtain­sack. During the early 15th century hanging beds or
curtain­sacks became symbols of the Incarnation, and "served to
affirm [Christ's] humanity". Blum notes that at a time "when artists
did not hesitate to depict the breast of the Virgin, Memling did not
shun her womb".[15] Christ's humanity was a source of fascination,
and it was only in Netherlandish art that a solution was found for
visualizing his embryonic state with curtain­sacks draped to
suggest the shape of a womb.[25]

Mary's body becomes the tabernacle holding the Host made

The Boucicaut Master's "Visitation"
(c. 1405) is a rare example of Mary with
attendant angels who touch her
garments.
mother in the throes of the pain of childbirth". At the cross she felt the pain of his death, pain which at his
birth she had not experienced.[12]
flesh.[10] She becomes an object of devotion, a "monstrance
containing the Host".[1] Her full belly and the presence of the dove
indicate that the moment of Incarnation has occurred. Viewers
would have been reminded of the Crucifixion and Lamentation with
the swoon, "thus anticipating Christ's sacrifice for the salvation of
mankind at the moment of his conception".[1] According to
theologians, Mary stood with dignity at the Crucifixion of Jesus, but
in 15th­century art she is depicted swooning, according to Jolly, "in
agony at the sight of her dying son ... assuming the pose of a

The painting's domestic setting belies its liturgical meaning. The dove
is a reminder of the Eucharist and Mass. Lotte Brand Philip observes
how throughout the 15th century "eucharistic vessels made in the
form of doves and suspended over altars ... were lowered at the
moment of transubstantiation"; here it suggests that in the same way
the Holy Spirit gives life to the bread and wine, it gave life to the
Virgin's womb.[10] She carries the Body and Blood of Christ, and is
attended by three priestly angels.[10] Mary's function is to bear "the
Savior of the World"; the angels' role is to "support, present and
protect her sacred being".[5] With the birth of Christ her "miraculous
womb passed its final test" to become an object of veneration.[4]

Bride of Christ
Memling presents the Virgin as the Bride of Christ about to assume
her role as Queen of Heaven, with attendant angels indicating her
royal status.[24] Angels of this kind are usually shown hovering above
the Virgin, holding her crown, and some German painters showed Stefan Lochner, The Virgin
Crowned by Angels, c. 1450,
them hovering close in Annunciation scenes, but angels rarely Cleveland Museum of Art, depicts
approach or touch the Virgin.[26] Only a single previous version of the Virgin as Queen of Heaven with
such attendant angels has been found: in the Boucicaut Master's two barely visible attendant angels
hovering above her crown.
early 15th­century illuminated manuscript version of the "Visitation",
the pregnant Virgin's long mantle is held by attendant angels, about
which Blum notes that "her queenly appearance surely commemorates the moment when Mary is first
addressed as Theotokos, the Mother of the Lord".[5] Memling often depicted pairs of angels dressed in
addressed as Theotokos, the Mother of the Lord".[5] Memling often depicted pairs of angels dressed in
vestments attending the Virgin, but these two, dressed in simple amices and albs, were never repeated in
his art. Their dual function is to "present the eucharistic offering and proclaim the Virgin bride and
queen".[5]

Style and influence

The Annunciation draws heavily on van der Weyden's Louvre
Annunciation (1430s), his Saint Columba Altarpiece (c. 1455), and
the Clugny Annunciation (c. 1465–1475), which is attributed either
to van der Weyden or to Memling.[1] Memling almost certainly was
apprenticed to van der Weyden in Brussels until he set up his own
workshop in Bruges sometime after 1465.[27] Memling's
Annunciation is more innovative, with motifs such as the attendant
angels that were absent in the earlier paintings.[1] According to Till­
Holger Borchert, not only was Memling familiar with van der
Weyden's motifs and compositions, but he might have assisted
with the underdrawing in van der Weyden's workshop.[27] The
shutters on the right are copied from the Louvre panel, and the
knotted curtain appears in the Saint Columba triptych's
"Annunciation".[6]

A sense of movement is conveyed throughout. The trailing edges

of Gabriel's garment fall outside the pictorial space, indicating his
Clugny Annunciation, c. 1465–1475, arrival. The Virgin's "serpentine" pose, with attendant angels
Workshop of Rogier van der Weyden or
supporting her, adds to the sense of flow.[16] Memling's use of
by Hans Memling, Metropolitan
Museum of Art, New York color achieves a startling effect. The traditional rays of light are
replaced with light color indicators; the white clothes rendered in
"icy" blue, the angel to the right in yellow patches seems "bleached
by light", and the left­hand angel appears to be steeped in shadow, dressed in clothes of lavender and
bearing deep green wings. The effect is iridescent, according to Blum, who writes, "this shimmering
surface gives [the figures] an unearthly quality, separating them from the more believable world of the
bedchamber".[9] The effect deviates from the pure naturalism and realism which typifies Early
Netherlandish art, causing a "startling" juxtaposition, an effect that is "unsteadying" and contradictory.[28]

Scholars have not established whether the panel was meant to be

a single devotional work, or part of a larger, and now broken up,
polyptych. According to Ainsworth, its size and "the sacramental
nature of its subject would have been appropriate for a family
chapel in a church or monastery for the chapel of a guild
corporation".[1] An intact, inscribed frame is unusual for a wing
panel, indicating that it was probably intended as a single piece,[2]
but scholars are unsure because the slight left­to­right axis of the
tiles suggests that it could have been the left­hand wing of a larger
piece.[16] There is no information about the panel's reverse, which
has not survived.[2] Center panel, Annunciation
Triptych, Rogier van der Weyden,
Technical analysis shows extensive underdrawing, typical for c. 1430s, Louvre, Paris
Technical analysis shows extensive underdrawing, typical for c. 1430s, Louvre, Paris
Memling. This was completed in a dry medium, except for the
dove and the flask and candles on the sideboard. Revisions during
the final painting included the enlargement of the Virgin's sleeves and the repositioning of Gabriel's staff.
Incisions were made to indicate the floor tiles and the dove's position.[29]

The only person to question Gustav Friedrich Waagen's 1847 attribution to Memling is W. H. J. Weale,
who in 1903 declared that Memling "would never have dreamt of introducing into the representation of this
mystery these two sentimental and affected angels".[30]

Provenance and condition

The painting's known provenance begins in the 1830s when it was in the possession of the Radziwiłł
family.[1] According to the art historian Sulpiz Boisserée, who saw the painting in 1832, Antoni Radziwiłł
found the painting in an estate his father owned. Waagen speculated that may have belonged to Mikołaj
Radziwiłł (1549–1616), who might have inherited it from his brother Jerzy Radziwiłł (1556–1600), who was
a cardinal.[31] The family kept it until 1920 when Princess Radziwiłł sold it to the Duveen Brothers in Paris.[1]
The American investment banker Philip Lehman bought it in October 1920; it is now held in the Robert
Lehman collection at the Metropolitan Museum of Art, in New York.[1]

Generally the condition is good. Memling painted the work on two panels of about 28 cm each. The dated
and inscribed frame, probably the original, was discarded in 1830.[29] There have been three documented
restorations. The painting had been pierced by an arrow when Antoni Radziwiłł found it; he had it restored
and the damage repaired. At that time the Virgin's mantle and the flesh tones sustained heavy
overpainting. The original frame was discarded, but its inscription was inserted into the new frame.[24] A
description of the original frame suggests that it bore a coat of arms, perhaps belonging to Jerzy
Radziwiłł.[31] The second restoration was after its exhibition in Bruges in 1902, and the third when Lehman
had it restored and transferred to canvas sometime after 1928. The painting survived the transfer without
significant damage. A late 19th­century photograph shows wood on all four sides of the painted surface,
which suggests that the edges may have been extended during the transfer. Areas that suffered paint loss
and overpainting are Gabriel's cope and the vase holding the flowers.[29]

When Boisserée saw the painting he recorded the inscription's date as 1480. The last digit of the
inscription was faded and difficult to read and had become illegible by 1899. Waagen suggested that the
date could have been 1482, and the art historian Dirk de Vos suggested 1489.[2] Memling's style does not
lend itself well to assigning dates, making a determination difficult. According to Sterling, an earlier date is
easily accepted, especially because of stylistic similarities to Memling's 1479 St John Altarpiece,[2]
whereas Ainsworth leans toward the later date as more in keeping with the mature style of the late
1480s.[1]

References
1. ^ a b c d e f g h i j k l m n o p q Ainsworth (1998), p. 118
2. ^ a b c d e Sterling (1998), p. 81
3. ^ "The Annunciation" . Metropolitan Museum of Art. Retrieved April 28, 2015.
4. ^ a b c d e Blum (1992), p. 52
5. ^ a b c d e Blum (1992), p. 53
6. ^ a b c d Blum (1992), p. 43
7. ^ Snyder (1987), p. 38
 8. ^ a b Howard (2000), p. 353
9. ^ a b c d Blum (1992), p. 55
10. ^ a b c d e Blum (1992), p. 49
11. ^ a b c d e Blum (1992), p. 50
12. ^ a b Jolly (2014), pp. 40, 57
13. ^ Blum (1992), p. 54
14. ^ a b Blum (1992), p. 48
15. ^ a b Blum (1992), p. 44
16. ^ a b c Sterling (1998), p. 80
17. ^ Meiss (1945), p. 177
18. ^ Meiss (1945), p. 176
19. ^ a b c Blum (1992), p. 46
20. ^ a b Meiss (1945), p. 175
21. ^ Koslow (1989), p. 10
22. ^ a b Meiss (1945), p. 178
23. ^ a b Blum (1992), p. 47
24. ^ a b c Sterling (1998), p. 83
25. ^ Koslow (1989), pp. 11–12
26. ^ Sterling (1998), p. 82
27. ^ a b Borchert (2008), p. 87
28. ^ Blum (1992), p. 56
29. ^ a b c Sterling (1998), p. 78
30. ^ Weale (1903), p. 35
31. ^ a b Sterling (1998), p. 84

Sources
Ainsworth, Maryan. "Hans Memling: The Annunciation". In: From Van Eyck to Bruegel: Early Netherlandish Painting
in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1998. ISBN 978­0­87099­870­6
Baynes, T. S., ed. (1878), "Annunciation" , Encyclopædia Britannica, vol. 2 (9th ed.), New York: Charles
Scribner's Sons, p. 90
Blum, Shirley Neilsen (1992). "Hans Memling's Annunciation with Angelic Attendants". Metropolitan Museum
Journal. The University of Chicago Press. 27: 43–58. doi:10.2307/1512934 . JSTOR 1512934 .
S2CID 193013508 .
Borchert, Till­Holger. "Hans Memling and Rogier van der Weyden". In: J. Chapuis (ed), Invention: Northern
Renaissance Studies in honor of Molly Faries. Turnhout, Belgium: Brepols, 2008. ISBN 978­2­503­52768­0
Howard, Kathleen (ed). The Metropolitan Museum of Art Guide. New York: Metropolitan Museum of Art, 2000.
ISBN 978­0­87099­711­2
Jolly, Penny Howell. Picturing the 'Pregnant' Magdalene in Northern Art, 1430–1550: Addressing and Undressing
the Sinner­Saint. Farnham, Surrey: Ashgate, 2014. ISBN 978­1­4724­1495­3
Koslow, Susan (1986). "The Curtain­Sack: A Newly Discovered Incarnation Motif in Rogier van der Weyden's
Columba Annunciation". Artibus et Historiae. IRSA. 7 (13): 9–33. doi:10.2307/1483245 . JSTOR 1483245 .
S2CID 194328498 .
Meiss, Millard (September 1945). "Light as Form and Symbol in Some Fifteenth­Century Paintings". The Art
Bulletin. CAA. 27 (3): 175–181. doi:10.2307/3047010 . JSTOR 3047010 . S2CID 191469058 .
Snyder, James (ed). The Renaissance in the North. New York: Metropolitan Museum of Art, 1987. ISBN 978­0­
87099­434­0
Sterling, Charles. Fifteenth­ to Eighteenth­century European Paintings in the Robert Lehman Collection. New York:
Metropolitan Museum of Art with Princeton University Press, 1998. ISBN 978­0­691­00698­7
 Weale, James W. H. (March 1903). "The Early Painters of the Netherlands as Illustrated by the Bruges Exhibition
of 1902". The Burlington Magazine for Connoisseurs. Vol. 1, no. 1. Burlington Magazine Publications. pp. 40–43,
46–49, 51–53. JSTOR 855565 .

External links
Metropolitan Museum of Art, Memling's The Annunciation Wikimedia Commons has
media related to Annunciation
(Memling).

V ꞏ Tꞏ E Hans Memling
Virgin and Child Enthroned with two Musical Angels, c. 1467 ꞏ
Scenes from the Passion of Christ, c. 1470 ꞏ Adoration of the Magi, c. 1471 ꞏ
Mater Dolorosa, c. 1475 ꞏ Madonna and Child with Angels, c. 1479 ꞏ
Allegory with a Virgin, c. 1479–1480 ꞏ Advent and Triumph of Christ, c. 1480 ꞏ
Individual
Mater Dolorosa, c. 1480 ꞏ Mystic Marriage of St Catherine, c. 1480 ꞏ
religious panels
Angel Musicians, 1480s ꞏ Pagagnotti Triptych, c. 1480 ꞏ
Christ Surrounded by Musician Angels, c. 1480s ꞏ Annunciation, 1480s ꞏ
Adam and Eve, c. 1485 ꞏ Bathsheba, c. 1485 ꞏ
Madonna and Child with Saint James and Saint Dominic, c. 1485
Last Judgment, c. 1467–1471 ꞏ Diptych of an elderly couple, c. 1470–1472 ꞏ
Diptych of Jean de Cellier, c. 1475 ꞏ Jan Floreins Altarpiece, 1479 ꞏ
St John Altarpiece, 1479 ꞏ Adoration of the Magi, c. 1479–1480 ꞏ
Polyptychs Adriaan Reins Altarpiece, 1480 ꞏ Donne Triptych, c. 1480 ꞏ Moreel Triptych, 1484 ꞏ
Earthly Vanity and Divine Salvation, c. 1485 ꞏ Benedetto Portinari Triptych, 1487 ꞏ
Diptych of Maarten van Nieuwenhove, 1487 ꞏ St. Ursula Shrine, c. 1489 ꞏ
Christ Surrounded by Singing and Music­making Angels, c. 1483–1494
Portrait of a Man in a Red Hat, c. 1465–1470 ꞏ Portrait of a Man, c. 1470–1472 ꞏ
Portrait of Tommaso Portinari, c. 1470–1472 ꞏ Portrait of Maria Portinari, c. 1470–
1472 ꞏ Portrait of an Elderly Man, c. 1470–1475 ꞏ Portrait of an Elderly Woman, c.
1470–1475 ꞏ Portrait of a Man with a Pink Carnation, 1475 ꞏ
Portraits
Portrait of Benedetto Portinari, 1478 ꞏ Portrait of Willem Morell, c. 1480 ꞏ
Portrait of a Man with a Roman Medal, c. 1480 ꞏ
Portrait of Barbara van Vlaendenbergh, c. 1480 ꞏ Sibylla Sambetha, c. 1480 ꞏ
Portrait of Folco Portinari, c. 1490

Authority control databases RKD ID

Categories: 1480s paintings Paintings by Hans Memling Paintings depicting the Annunciation
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