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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.
Portrait of a Fat Man, oil on oak wood, 285 mm × 177 mm (11.2 in × 7.0 in).Gemäldegalerie, Berlin Version in the Museo Thyssen-Bornemisza. Portrait of a Fat Man (or Portrait of a Stout Man or Portrait of Robert de Masmines) [1] are names given to two near-identical oil on panel paintings attributed to the Early Netherlandish artist Robert Campin.
Paintings by Robert Campin (c.1375−1444) — a notable Flemish Early Netherlandish painter Pages in category "Paintings by Robert Campin" The following 7 pages are ...
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).
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]
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 ...
Robert Campin and workshop, Mérode Altarpiece. Dimensions: overall (when open), 25 3/8 × 46 3/8 in.; central panel, 25 1/4 × 24 7/8 in.; each wing, 25 3/8 × 10 3/4 in. The Annunciation. The Musée des Beaux-Arts, Brussels, version of the central panel, at one time attributed to Jacques Daret, a pupil of Campin's. This panel was painted ...
Campin's Mérode Altarpiece, painted after 1422, [12] places the donor wing in an exterior setting in a garden below the level of the Virgin, where he is placed in an interior. Although the door in the earlier work connects the space of the donor and Virgin, it is open and seemingly obstructs his view of the Virgin. [ 13 ]