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173:, Gros and Moor families. The couple intended to be buried in the church building, in a chapel they had paid for and dedicated to saints Gills and Maurus, with space left before the altar as burial space for two people. To the same end, they commissioned the triptych from Memling, then a highly prominent, prestigious and sought-after painter, to be placed on the chapel altar, and only interred in the chapel in 1504, at the request of their son John. Barbara died in 1499, he followed in 1501.
22:
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363:, slaying the dragon (right wing) with a lance. The panels may have been completed after the deaths of Willem and Barbara, and dated as c 1504 by a number of art historians, probably commissioned by two of their sons, Jan (John) and Jaris (George), as the final, successful, effort to have their parents interred within the chapel space.
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has been identified as Maria from her name written in her headband, their second-born daughter, given her linear position in the painting. Genealogical research notes that the couple has two daughters named Marie, but it is assumed one died in infancy, and the second was named after her. Efforts to
196:
The inner panels share a continuous overcast skyline and broad landscape, which contains two city-scapes, cottages and a meadow with a variety of trees, animals and wild strawberries, daisies, daffodils and other recognisable flowers and plants. Adding to the sense of harmony, both wing panels are
338:
Not all of the daughters were painted by
Memling; examination by the art historian Dirk De Vos identifies at least six that are later additions layered over the original landscape. Some of these additions can be explained by daughters born after the 1484 completion date and were probably added by
285:, a very fashionable outfit in the 1480s. Behind him are his five male children, who are also shown kneeling. Of the sons, two are known to have died in infancy. Willem was the oldest, while John and George are thought to have commissioned the outer panels after their parents' death (see below).
229:
on his shoulders. He is presented with his attributes, including a large staff, a symbol of Christ's miraculous presence, and is intended as a protector against sudden death. Christopher is dressed in a blue coat, covered with a long red cape folded over his right shoulder. He closely resembles
104:
to his left and Saint Gills to his right. In the left-hand panel, Willem Moreel kneels in prayer and venerates the saints with their five sons. Barbara kneels with eleven of their daughters on the right panel. The exterior panels are probably an early 16th-century addition, completed after the
200:
The figures were identified in the mid-19th century by James H. Weale through their facial characteristics and extant established portraits, through the commonality of
Christian names from family names to some of the saints, city records, and the examination of headstones in the Saint James
188:. Willem was a prominent adversary of Maximilian and was imprisoned in October 1481 for six months. On their deaths, they were each buried on exterior church grounds. They were not moved to their intended resting places in front of the chapel altar until 1504.
288:
The
Moreels are presented by Saint Wilhemus van Maleval, who stands among them, dressed in a fur-lined black coat over army clothing. He places his hand on Willem's shoulder as he guides and presents him to Christopher in the centre panel.
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Saint James's Church was his family's burial ground and was founded in the 12th century. It underwent a major reconstruction in the late 15th century, which Willem Moreel partly financed along with members of the prominent
197:
identically composed, excepting the number of children. Sixteen of the couple's eighteen children are shown in total. However, some of the figures are later additions, painted over the first layers of oil and pigment.
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The family of Willem Moreel are known to have lived in Bruges since the 13th century. Willem inherited land and the title "lord of
Oostcleyhem" from his father. During his career, he was twice appointed both
204:
The inner panels are in relatively good condition for late 15th-century oil paintings but have suffered some damage and paint loss and have been depreciated by ill-advised restorations and touch-up work.
161:. He was named one of the fortieth richest men in the city in a 1490 tax list. The couple has eighteen children. Memling earlier portrayed the couple in 1482, with a pair of panel portraits now in the
225:, patron saint of travellers, who shares his feast day, July 25, with Saint James, after whom the containing church is named. He is shown standing in water as he crosses a river or inlet, carrying the
330:. The eldest daughter, shown directly behind Barbra, and also in a black dress, is known to have become a Dominican nun. The girl in the light brown clothing, black v-neck and transparent
1104:
921:
77:
by the prominent Bruges politician, merchant and banker Willem Moreel (d. 1501) and his wife
Barbara van Vlaenderberch, nÊe van Hertsvelde (d. 1499). It was intended as their
305:
The right interior wing presents
Barbara Moreel with eleven of her thirteen daughters, who all also kneel in prayer before an open book. Barbara wears a truncated
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The
Moreels did not at first get their wishes as to their burial places. Their standing and political security was hampered by the struggles after the deaths of
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The triptych was installed on the altar of St. James's Church in 1484. It is in its original frames, which are each inscribed with the words
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The left interior wing shows Willem Moreel kneeling, his hands clasped in prayer, before an open prayer book. His hair is short in a
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silk dress with a white collar, and a wide red belt with a golden buckle. They are presented by
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members of
Memling's workshop. The left-hand panel containing sons underwent a similar update.
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Center panel with Saint
Christopher, and Saint Maurus to his left and Saint Giles to the right
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and St Giles, the latter a
Benedictine hermit. Today the work is located in the
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order; three of the figures are Benedictine monks or saints. It is dedicated to
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Blum, Shirley Neilsen. "Early Netherlandish Triptychs: A Study in Patronage".
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Left panel, with Willem Moreel, sons, and Saint Wilhemus van Maleval
661:
Early Netherlandish Paintings: Rediscovery, Reception and Research
642:. University Park, PA: Pennsylvania State University Press, 2011.
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One of the daughters, Catherine, earlier posed for Memling's 1480
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stands to the right, standing with his attributes, an arrow and a
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261:. Both are dressed in long black robes and are holding books.
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Opening Doors: The Early Netherlandish Triptych Reinterpreted
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Right panel with Barbara Moreel, daughters, and Saint Barbara
424:
Envisioning Gender in Burgundian Devotional Art, 1350â1530
659:
Ridderbos, Bernhard; Van Buren, Anne; Van Veen, Henk.
1105:
Christ Surrounded by Singing and Music-making Angels
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Madonna and Child with Saint James and Saint Dominic
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name other of the daughters have been unsuccessful.
65:) is the name given to a 1484 panel painting by the
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723:Virgin and Child Enthroned with two Musical Angels
663:. Amsterdam: Amsterdam University Press, 2005.
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140:, 1482. Royal Museums of Fine Arts of Belgium
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379:Shirley Blum considers this "highly likely".
246:, by whom Memling was deeply influenced by.
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249:On the left is Saint Maurus, who holds a
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1221:Portrait of a Man with a Pink Carnation
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163:Royal Museums of Fine Arts of Belgium
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1251:Portrait of a Man with a Roman Medal
872:Christ Surrounded by Musician Angels
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1061:Earthly Vanity and Divine Salvation
1083:Diptych of Maarten van Nieuwenhove
656:. Parkstone, 2008. ASIN B0084FABCA
85:, an extension they had paid for.
14:
1337:Collection of the Groeningemuseum
737:Scenes from the Passion of Christ
321:, she seems to hold in her hand.
621:(ed. Dirk De Vos). Ghent, 1994.
1229:Portrait of Benedetto Portinari
836:Mystic Marriage of St Catherine
1131:Portrait of a Man in a Red Hat
635:, Volume 47, No. 2, April 1972
184:in 1482 and the struggle with
88:The inner centre panel of the
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779:Madonna and Child with Angels
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615:Hans Memling as a Draughtsman
138:Portrait of the family Moreel
105:donor's and artist's deaths.
16:1484 painting by Hans Memling
1206:Portrait of an Elderly Woman
1075:Benedetto Portinari Triptych
971:Diptych of an elderly couple
808:Advent and Triumph of Christ
567:. Retrieved 16 November 2017
550:. Retrieved 16 November 2017
153:of the city, as well as its
62:Saint Christopher Altarpiece
1293:Portrait of Folco Portinari
1176:Portrait of Maria Portinari
253:and looks at an open book.
1353:
1191:Portrait of an Elderly Man
986:Diptych of Jean de Cellier
83:St. James's Church, Bruges
1332:Paintings by Hans Memling
1237:Portrait of Willem Morell
936:
33:-on-wood, 291cm x 121.1cm
1031:Adriaan Reins Altarpiece
1000:Jan Floreins Altarpiece
793:Allegory with a Virgin
548:Flemish Art Collection
302:
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221:The central figure is
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1016:Adoration of the Magi
751:Adoration of the Magi
576:Ridderbos et al., 355
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447:Ridderbos et al., 352
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186:Maximilian of Austria
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81:at the chapel of the
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619:Hans Memling: Essays
588:Ridderbos et al, 360
858:Pagagnotti Triptych
613:Ainsworth, Maryan.
351:representations of
230:depictions in both
67:Early Netherlandish
1008:St John Altarpiece
652:Michiels, Albert.
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73:(d. 1494). It was
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35:
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1146:Portrait of a Man
1091:St. Ursula Shrine
627:978-90-5544-030-6
432:978-07-5465-154-3
426:. Ashgate, 2005.
422:Pearson, Andrea.
243:Saint Christopher
223:Saint Christopher
94:Saint Christopher
92:altarpiece shows
41:Exterior panels;
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237:Ghent Altarpiece
182:Mary of Burgundy
178:Charles the Bold
110:anno Domini 1484
43:John the Baptist
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1327:Funerary art
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118:Saint Maurus
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102:Saint Maurus
98:Christ Child
96:holding the
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75:commissioned
71:Hans Memling
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47:Saint George
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1273: 1480
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830: 1480
816: 1480
801: 1479
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773: 1475
759: 1471
745: 1470
731: 1467
530:Jacobs, 163
319:perspective
293:Right panel
255:Saint Giles
227:Child Jesus
201:graveyard.
151:burgomaster
124:in Bruges.
114:Benedictine
45:(left) and
1316:Categories
948:Polyptychs
713:Individual
387:References
265:Left panel
128:Commission
1123:Portraits
908:Bathsheba
600:Blum, 102
459:Blum, 101
408:Blum, 100
392:Citations
349:grisaille
171:Portinari
159:treasurer
633:Speculum
484:Blum, 98
468:Blum, 97
359:in full
343:Exterior
279:bowl cut
192:Interior
147:alderman
90:triptych
69:painter
59:(or the
29:, 1484.
889:, 1480s
853:, 1480s
607:Sources
283:doublet
251:crosier
155:bailiff
100:, with
79:epitaph
49:(right)
1232:, 1478
1224:, 1475
1086:, 1487
1078:, 1487
1056:, 1484
1034:, 1480
1011:, 1479
1003:, 1479
667:
646:
625:
430:
361:armour
311:damask
307:hennin
1216:â1475
1201:â1475
1186:â1472
1171:â1472
1156:â1472
1141:â1470
1115:â1494
1026:â1480
981:â1472
966:â1471
803:â1480
617:, in
367:Notes
665:ISBN
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