#robert campin

[artthatgivesmefeelings]

Robert Campin, workshop (Netherlandish/French, c.1373-1444) Annunciation Triptych (Merode Altarpiece), ca.1427-32 The Cloisters Museum and Gardens, New York The kneeling donor appears to witness the central scene through the open door. His wife kneels behind him, and a town messenger stands at the garden gate. The owners would have purchased the triptych to use in private prayer.

[granstromjulius]

Robert Campin

[leitoracomcompanhia]

Entre a espada e a parede

"João Carneiro estava com a pupila desvairada, a pálpebra trêmula, o peito ofegante. Os olhares que deitava a Sinhá Rita eram de súplica, mesclados de um tênue raio de censura. Por que lhe não pedia outra cousa?"

Machado de Assis, "O Caso da Vara"; pintura atribuída a Robert Campin.

[nancydrewwouldnever]

Robert Campin, The Merode Altarpiece, ca. 1427-1432, oil/panel (Met Museum, NYC)

[oncanvas]

The Madonna of Humility, after Robert Campin, circa 1450–1470

Oil on panel 48.6 x 37.8 cm (19 ⅛ x 14 ⅞ in.) J. Paul Getty Museum, Los Angeles, CA, USA

[byneddiedingo]

 granstromjulius

Robert Campin

[visual-sandwich]

Annunciation Triptych (Merode Altarpiece), c.1427-32 (oil on oak)

Master of Flémalle (Robert Campin)

1427

[okanb]

Holy Virgin in Glory by Robert Campin - 1430

[artinthedetails]

A mousetrap and tools appear before Joseph in Robert Campin's Merode Altarpiece, which depicts the angel telling Mary she is pregnant with Jesus. These tools seem like a logical addition, given the fact that Joseph was a carpenter by trade, but they have a deeper meaning. When this Netherlandish masterpiece was completed during the 1420s, people often called Joseph a mousetrap for the devil. This refers to the fact that he was Mary's cover story. The devil would assume Jesus was Joe's son and leave the kid alone. I see what you did there, Campin.

Complete image:

Annunciation Triptych (Merode Altarpiece) Robert Campin and workshop c. 1428 In the collection of The Met Cloisters, New York City, USA

[themuseumwithoutwalls]

MWW Artwork of the Day (2/6/23) Robert Campin (Flemish, c. 1375-1444) Left panel: Saint John the Baptist and the Franciscan Heinrich von Werl (1438) Right panel: Saint Barbara (1438) Oil on oak panel, 101 x 94 cm. Museo del Prado, Madrid

Campin's painting shows a clear influence of Roger van der Weyden in the great slenderness, elegant expression and curved figure of Saint John. The van Eyck brothers are also clearly echoed here in the landscape visible through the window, and the use of a convex mirror that reflects two Franciscans and the Baptist.   Saint Barbara reads by the light of a fireplace in a richly appointed room. The key to her identity lies outside the window that opens onto a landscape with a tower, her customary attribute. That is where her father, Dioscoro, imprisoned her to avoid her conversion to Christianity.

For more of this artist's work see this MWW exhibit/gallery: https://www.facebook.com/media/set/?set=a.419007544871287&type=3

[paintingstoremember]

Triptyque de la mise au tombeau - Robert Campin. 1410 - Paint and gilding on wood

[thewestern]

[granstromjulius]

Robert Campin

[whencyclopedia]

Jan van Eyck

Jan van Eyck (c. 1390-1441 CE) was a Netherlandish Renaissance painter who was famous in his own lifetime for his mastery of oil painting, colouring, naturalistic scenes, and eye for detail. Amongst his masterpieces are the 1432 CE Ghent Altarpiece, otherwise known as The Adoration of the Mystic Lamb, and the Arnolfini Wedding Portrait, a tour de force in optical illusions. A pioneer of using oils for realistic effects, his work was influential on Renaissance art but especially on Italian artists in the second half of the 15th century CE.

Early Influences & Style

Jan van Eyck was likely born in Maaseik, Belgium c. 1390 CE. His family was aristocratic and he may have had an elder brother, Hubert van Eyck (d. 1426 CE), although this figure remains a highly mysterious one in the world of art (see below on the Ghent Altarpiece). Jan van Eyck was first active in art in 1422 CE when he worked for the Bishop of Liège. However, none of Jan's early works can be definitely attributed to him. Works are usually associated with his hand because of a belief (by no means certainly attested either) that he worked as an illuminator of manuscripts as a young man. It is for these stylistic reasons that Jan van Eyck (and/or his brother Hubert) are frequently identified as the creators of the miniatures within the illuminated manuscript known as the Turin-Milan Book of Hours.

Another early influence was the work of Robert Campin (c. 1378-1444 CE) who was active in Tournai, Belgium. The realism and luminosity in van Eyck's work may well have been inspired by Campin's paintings, even if van Eyck overshadowed him during the Renaissance period and beyond. Van Eyck's later works are more securely identifiable and are often signed or carry the inscription: 'Johannes de Eyck'. An additional mark of authorship was the artist's family motto: 'As best I can' or 'As I am able' (Als ik kan or Als Ich Can), perhaps also a pun on his own name. It is in his later works that we can best see his definite and quite unique style of painting.

In the 15th century CE tempera remained the most popular medium for paintings, but Jan van Eyck would master the technique of oil painting, one of the first Renaissance artists to do so, even if it was not a new medium. Oils allowed for greater subtlety in colours and tone, and they permitted the achievement of real depth in a painting that tempera panels or frescoed walls could not match. Consequently, van Eyck's work is typified by its high degree of naturalistic detail, achieved using the very finest of brushes. Everything in his paintings, from the skin of a face to the distant hills seen through a background window, is rendered in minute and utterly convincing detail. Other Eyckian features are the brilliant colours, rich texture and overall finish. Yet another feature of the artist's work is his frequent use of everyday objects in scenes to obliquely signify religious ideas. A shell, for example, signified the resurrection of Jesus Christ while Gothic architecture symbolised the New Covenant.

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[southernprideyall2]

Oh, I'm a good old rebel,

Now thats just what I am,

And for this yankee nation,

I do no give a damn.

I'm glad I fought a ganner,

I only wish we won.

I aint asked any pardon for anything I've done.

I hates the yankee nation and eveything they do.

I hates the declaration of independence, too.

I hates the glorious union, just dripping with our blood.

I hates the striped banner, and fitted all I could

I road with Robert E. Lee,

For three years, thereabout.

Got wounded in four places,

And I starved at point lookout.

I caught the Romatism

Campin' in the snow.

But I killed a chance of Yankees

And I'd like to kill some more.

3 hundred thousand Yankees

Is stiff in southern dust.

We got 3 hundred thousand

Before they conquered us

They died of Southern Fever

And southern steel and shot

I wish there were 3 million

Instead of what we got.

I can't pick up my musket

And fight 'um down no more

But I ain't gonna love 'um

Now that is certain sure

And I don't want no pardon

For what I was and am

I won't be reconstruted

And I do not give a damn

Oh, I'm a good old rebel,

Now thats just what I am,

And for this yankee nation,

I do no give a damn.

I'm glad I fought a ganner,

I only wish we won.

I aint asked any pardon for anything I've done.

I aint asked any pardon for anything I've done.

I see this from the perspective of a Southerner who knew and believed in the opening lines of the Declaration of Independence, yet saw his foe denying those rights to the South. A Southerner coming to the realization that the constitution was only a paper document that could not stop a tyrant.

[ourstaturestouchtheskies]

charlotte's art history tarot - four of swords

Art: Madonna and Child with Saints in the Enclosed Garden – Follower of Robert Campin

pull this card

info on the suit of swords in general

after the sudden sorrow of the three, the four of of swords is a card of withdrawal. this card encourages us to cast our focus inwards and find out what we need to do for ourselves to begin the process of recovery. the four welcomes us to rest and gather our strength for whatever may lay ahead