Diptych of John the Baptist and St. Veronica, St. John the Baptist, the left wing 1470

Hans Memling’s ‘John the Baptist’ was painted in the late fifteenth century, likely in Bruges, using oil paint on a wood panel. Memling was part of a generation that mastered the possibilities of this medium. His genius was to create the illusion of seamless enamel, by carefully layering thin glazes of pigment. It’s a labor-intensive process. He had to build up the composition gradually, each layer demanding precision and time. The smoothness and controlled handling of the oil paint creates a striking contrast with the subject: John the Baptist, a figure associated with asceticism. Yet, here, the sensuous rendering of his skin, and the precisely articulated folds of his drapery, elevate John into an object of devotional luxury. Memling was clearly attuned to the tastes of his wealthy clientele. The meticulous craftsmanship and precious materials speak to the high value placed on both artistic skill and religious piety in the late medieval period. Understanding the making of the artwork shows us how it embodies the complex social and economic relationships of its time.