In the context of the Ghent Christ's overdone Boschianism, the National Gallery and Palacio Real paintings reveal Bosch not so much as a grotesque painter, but as a master of human expression in the vein of predecessors like Robert Campin
and Jan van Eyck.
He was delighted when historical evidence later corroborated his hypothesis and showed that Robert Campin
was indeed the individual who produced the canvasses that bore a singular, distinctive, realistic style.
Stork discussed a number of paintings by Jan van Eyck, Robert Campin
, Hans Holbein the Younger, and others to show how optical science and sophisticated image processing techniques can help reconstruct the original setting and light conditions in the Renaissance studios.
While we don't know very much about the artist's life, we do know that he became an apprentice to the painter Robert Campin
in 1427 and was received into the painters' guild in 1432.
These books are lavish presentations of material that is usually marginalized in the study of northern Renaissance art: mid-fifteenth-century Flemish manuscript illumination done after the establishment of the great early Netherlandish panel painting tradition (exemplified by the work of Jan van Eyck, Robert Campin
, and Roger van der Weyden); and stained glass paintings and drawings done during the height of late fifteenth-and early sixteenth-century Germany Renaissance painting and drawing (the era of Albrecht Durer, Matthias Grunewald and Hans Holbein).
In that sense, detailed objects in paintings by Petrus Christus or Robert Campin
or the verdure of a Giovanni di Paolo panel come to mind because they too embody the delight that comes from looking closely.
A dainty miniature from the School of Robert Campin
in the National Gallery depicts the Madonna as she dries and caresses her newly bathed child.
In an early 15th-century Flemish Nativity by Robert Campin
, the exquisitely dressed woman on the right is Salome, showing her cured right hand as she looks outward with an injured expression.
1425-30) by the still enigmatic "Maitre de Flemalle," Robert Campin
Strohm's argument that the sitter for a mid-15th-century portrait attributed to the school of Robert Campin
was Ockeghem (see IAMS newsletter, no.
4), for instance--three oil paintings depicting a Saint Veronica, Madonna with Child, and Mercy Seat from an otherwise lost altarpiece--which were once attributed to the Master of Flemalle, but are now thought to be by several hands, including Rogier van der Weyden, in the workshop of Robert Campin
Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin