Robert Campin - the Flemish Style of Art

Called by some today, the Master of Flémalle, Robert Campin is considered the greatest artist of early Netherladnish painting. He appears in history as a free master of a guild of painters. He went on to reach the office of dean of the guild, become the warden of a local church, and was also running a large workshop. He lost some of this power later because of political reasons, but throughout his life, Robert Campin was painting beautiful works of art.

Flemish Style

One of the largest markings of the Flemish style, at least in religious art, is the innovative idea of crafting famous scenes from the Bible in modern Dutch settings. In this way, the viewer would be able to appreciate the strength of the message while simultaneously admiring the skill of the artist in capturing the beauty of the period. Flemish style is also known for its excellent use of shadows to create depth and complex iconography in the objects of the painting. Many paintings will have small items in the background which correspond to some greater meaning. Art historians have tried to understand these paintings through research, but many meanings of symbols are simply lost today.

The Mérode Altarpiece

Center Panel

Perhaps the most famous of Robert Campin's work is an altarpiece that he painted from 1425-28. Because of its small size, it was probably intended for a small chapel, which was not uncommon for that time. The center panel of the altarpiece depicts the Annunciation, meaning the moment that the angel Gabriel tells Mary that she is to have a child. The setting is the interior of a Dutch home, heavily decorated and detailed with hidden symbolism. The lilies on the pitcher near Mary, for example, represent her virginity. A white towel hanging in the background represents her purity. Most interpretations says that the moment captured is Gabriel telling Mary about her child, but another interpretations states that this is just after Mary has accepted her destiny. The artists uses many techniques to increase drama, from the rush of wind that has flipped the pages of Mary's book, to the candle just extinguished. Campin creates multiple sources of light in this piece. The angel Gabriel himself is a source as well as the open windows. The table is not rendered realistically, demonstrating that this is not yet to realism in style. The artist felt that the symbolism of the painting trumped the need to create a perfectly rendered three dimensional environment.

Right Panel

To the right of Mary and Gabriel we see Joseph working in his carpentry shop. He is dressed as a Dutch worker in a shop high above a prosperous Flemish city. When we look closely, we see that he is making mouse traps, an allusion to Saint Augustine's statement that Christ was a mousetrap to catch Satan. He is working diligently, without knowing what is happening in his house and could serve as a representation of all Dutch men.

Left Panel

Outside of Joseph and Mary's house we see a rosebush, which could be alluding to the Virgin or to Christ's suffering on the cross. Some people suggest that the man standing behind the entrance gate with his hat in his hand is the artist, Robert Campin himself--others call him the prophet Isaiah. Kneeling in front of the door are the donors of the altarpiece, Peter Inghelbrecht and his wife. Their eyes remain unfocused, though they seem to be observing the Annunciation, perhaps as symbolism of it being a vision within their minds.

Robert Campin is an excellent example of the early art of the Netherlands. Though many art historians put a focus on the art of Italy before and after the Renaissance, it is a shame to overlook the fantastic and interesting art of the Flemish period.

Source: http://en.wikipedia.org/wiki/Robert_Campin