Search results
Results from the WOW.Com Content Network
Nativity is a panel painting of c. 1420 by the Early Netherlandish painter Robert Campin, now in the Musée des Beaux-Arts de Dijon, France. As often, the moment shown is the Adoration of the Shepherds. Harshly realistic, the Child Jesus and his parents are shown in poverty, the figures crowded in a small structure, with broken-down walls, and ...
Paintings by Robert Campin (c.1375−1444) — a notable Flemish Early Netherlandish painter ... Nativity (Campin) P. Portrait of a Fat Man; S. Seilern Triptych; W.
Robert Campin (c. 1375 – 26 April 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych, before the discovery of three other similar panels), [1] was a master painter who, along with Jan van Eyck, initiated the development of early Netherlandish painting, a key development in the early Northern Renaissance.
The composition draws much from the 1420 Nativity of van der Weyden's master, Robert Campin, in Dijon. The stable is a half-ruined thatched Romanesque building, rather than the traditional wooden hut, with stone walls and arched windows, and one prominent classical pillar, uniquely in van der Weyden's work shown in an oblique perspective view.
Nativity of Jesus in art, any depiction of the nativity scene Nativity, a 1420 panel painting by Robert Campin; Nativity, a devotional mid-1450s oil-on-wood panel painting by Petrus Christus; Nativity, a painting finished around 1529–1530 by Antonio da Correggio; Nativity, c. 1603-1605
His Nativity is somber and subdued, an embodiment of the "austere calm of timeless worship." [23] Robert Campin's c. 1420 Nativity depicts the scene in accordance with St Bridget's visions. The Nativity conveys both the Old Testament themes of sin and punishment and the New Testament doctrine of sacrifice and redemption. [24]
The Seilern Triptych.Oil on panel, 60 x 48.9 cm (central panel without frame), 60 x 22.5 cm (wing without frame) The Seilern Triptych (also known as Entombment), variously dated c. 1410-15 or c. 1420–25, [1] [2] [3] is a large oil and gold leaf on panel, fixed winged triptych altarpiece generally attributed to the Early Netherlandish painter Robert Campin. [4]
Portrait of St. Veronica, c. 1410, attributed to Robert Campin. Since their rediscovery in the early 19th century, the paintings have at times been attributed Quentin Matsys, and later to Jan van Eyck (given it similarly to his presumed self-portrait, also in the National Gallery, but signed with a date of 1433, that two years earlier).