Robert Campin, ‘Von Werl Altarpiece: John the Baptist and the Franciscan Theologian Heinrich von Werl, and Saint Barbara’, 1438, Painting, Oil on wood, Erich Lessing Culture and Fine Arts Archive
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Robert Campin

Von Werl Altarpiece: John the Baptist and the Franciscan Theologian Heinrich von Werl, and Saint Barbara, 1438

Oil on wood
39 4/5 × 18 1/2 in
101 × 47 cm
ELC
Erich Lessing Culture and Fine Arts Archive

Measurements are for each individual panel

Medium
Image rights
Erich Lessing / Art Resource, NY
Robert Campin
Netherlandish, 1375-1379–1444
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One of the greatest masters of Netherlandish art and a pioneer of realism in early-15th-century Netherlandish painting (along with Jan van Eyck), Robert Campin is now widely acknowledged to be the so-called Master of Flémalle, a previously unknown Flemish painter of the Renaissance period noted for his naturalism. Based in the Flemish town of Tournai, where he held the post of dean of the painters’ guild, Campin helped to shift the Netherlandish school from Gothic to Renaissance, humanizing his subject matter and subverting aristocratic taste by painting meticulously observed detail imbued with symbolic meaning. Producing biblical scenes set in contemporary interiors, such as the Annunciation (c.1415-25), Campin was widely influential, in part by way of his pupil, the painter Rogier van der Wyden. His work is considered to be indebted to the art of manuscript illumination.

Robert Campin, ‘Von Werl Altarpiece: John the Baptist and the Franciscan Theologian Heinrich von Werl, and Saint Barbara’, 1438, Painting, Oil on wood, Erich Lessing Culture and Fine Arts Archive
Save
Save
View
View in room
Share
Share
ELC
Erich Lessing Culture and Fine Arts Archive

Measurements are for each individual panel

Medium
Image rights
Erich Lessing / Art Resource, NY
Robert Campin
Netherlandish, 1375-1379–1444
Follow

One of the greatest masters of Netherlandish art and a pioneer of realism in early-15th-century Netherlandish painting (along with Jan van Eyck), Robert Campin is now widely acknowledged to be the so-called Master of Flémalle, a previously unknown Flemish painter of the Renaissance period noted for his naturalism. Based in the Flemish town of Tournai, where he held the post of dean of the painters’ guild, Campin helped to shift the Netherlandish school from Gothic to Renaissance, humanizing his subject matter and subverting aristocratic taste by painting meticulously observed detail imbued with symbolic meaning. Producing biblical scenes set in contemporary interiors, such as the Annunciation (c.1415-25), Campin was widely influential, in part by way of his pupil, the painter Rogier van der Wyden. His work is considered to be indebted to the art of manuscript illumination.

Robert Campin

Von Werl Altarpiece: John the Baptist and the Franciscan Theologian Heinrich von Werl, and Saint Barbara, 1438

Oil on wood
39 4/5 × 18 1/2 in
101 × 47 cm
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