713:"Walloon historians not unnaturally wish to believe that so early and considerable an artist was of French-speaking origin. They note that the name Campin is not uncommon in Hainault, notably at Valenciennes, where it occurs frequently at this period; and they further, and with obvious force, point out that on a critical occasion our Robert received potent protection from the Duchess of Hainault, when he had been condemned to a year's exile because of his dissolute life. Nevertheless, it is tempting to look elsewhere for his origin. His name suggests the Limbourg Campine in the neighbourhood of Maastricht, whence came the Van Eycks and the de Limbourgs and other famous artists of this generation. At Maastricht was a long-standing and important school of art to which all of these men were debtors. Further, when Robert Campin settled at Tournai he brought with him his wife,
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383:. A very well-documented altarpiece by Daret shows striking similarities with the works of Master of Flémalle, as do early works by Rogier. Therefore, it is tempting to assume that both Daret and Rogier were disciples of the Master of Flémalle, i.e. Robert Campin. Another possibility, however, is that the Flémalle panels were painted by Rogier himself when he was still in his twenties. Some scholars have even attributed the famous
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128:, in today's Belgium, and became that city's leading painter for 30 years. He had attained citizenship by 1410. His fame had spread enough by 1419 that he led a large and profitable workshop. He had an extra-marital affair with a woman named Leurence Pol, led to his imprisonment. Yet he maintained his standing and workshop until his death in 1444.
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observation than any other painter before him. He was one of the first to experiment with the use of oil-based colours, in lieu of egg-based tempera, to achieve the brilliance of color typical for this period. Campin used the new technique to convey strong, rounded characters by modelling light and
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While the existence of a highly successful painter called Robert Campin is relatively well documented for the period, no works can be certainly identified as by him through a signature or contemporary documentation. A group of paintings, none dated, have been long attributed to him, and a further
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Between 1423 and 1429, the city government was dominated by the guilds. Campin was the deputy dean of the guild of goldsmiths and painters in 1423–24 and 1425. In 1427 he represented the guild on the city council. Between 1926-1928, during his time at the guild, Campin employed four different
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apprentices
Rogelet de le Pasture, Haquin de Blandain, Jaquelotte Daret, Willemet. After restoration of the oligarchy of full citizens, the leaders of the guild regime, including Robert Campin, were brought to court. Campin was ordered to make a
231:. In 1410, he bought full citizenship. Records show a large number of commissions from individuals and guilds, as well as from ecclesiastical and civic authorities. Campin owned several houses, purchased city bonds and invested in mortgages.
180:, c. 1425. One of two of Campin's surviving triptychs. As an early work, it is highly innovative, especially in its application of oils, but less accomplished and successful (note the flat perspective) than his more mature panels.
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Campin was married to Ysabel de
Stocquain (Elisabeth van Stokkem). The couple was childless. He had an affair with Laurence Polette, for which he was prosecuted in 1432 and sentenced to banishment for a year.
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shade in compositions of complex perspectives. It remains a matter of debate how far the complex symbolism that is generally accepted as existing in the work of Van Eyck also exists in the work of Campin.
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group were once attributed to an unknown "Master of Flémalle". It is now usually thought that both groupings are by Campin, but this has been a matter of some controversy for decades.
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428:, London) is dated to around 1425. The central panel shows his debt to the sculpture of the time (Campin was known to have polychromed several statues). After this, he painted the
408:. This, which excludes the best known works usually attributed to him, which are then assigned to his workshop or followers, is the position taken by Lorne Campbell.
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is shown approaching Mary, who sits reading. She is depicted in a well-kept middle-class
Flemish home. Several works attributed to Robert Campin may be seen in the
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223:, and there has been a lot of speculation about his origin and birthplace which is actually unknown, although he is sometimes listed as having been born in
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990:, a fully digitized text from The Metropolitan Museum of Art Libraries, which contains material on The Campin Room located in The Cloisters (pgs 33–39).
346:. By the end of the 19th century it became clear, however, that Van Eyck was the contemporary of an artist who painted a number of works, including the
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143:(c. 1350 – c.1409), but display a more realistic observation than any earlier artists, which he achieved through innovations in the use of
984:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Campin (see index)
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in the 19th century after three religious panels said to have come from a monastery in Flémalle. They are each assumed to be wings of
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In the 20th century, several scholars suggested that the Master of Flémalle may be Robert Campin, documented as a master painter in
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T.-H. Borchert, Masterpieces in Detail. Early
Netherlandish Art from van Eyck to Bosch (Prestel, Munich, 2014), pp. 68–79.
368:. It was argued that these works belong to one "Master of Flémalle", whose identity at that time could not be established.
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intervened on his behalf, and this was reduced to a fine. A short time after the verdict Campin's apprentices
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Centre for the Study of
Fifteenth-Century Painting in the Southern Netherlands and the Principality of Liège
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147:. He was successful in his lifetime, and the recipient of a number of civic commissions. Campin taught both
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Fragments remain probably from some wall-paintings for which he was paid in 1406-7. See
Campbell (1998), 72
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from 1406. The argument turns around a paper mentioning two pupils entering his studio in 1427 –
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was the first painter to make full use of the innovations apparent in manuscript illumination in
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The tightest definition of the works from his own hand includes only the "Flémalle" panels, a
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in creating (presumably painting) two wooden sculptures of the
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Campbell, Lorne. "Robert Campin, the Master of Flémalle and the Master of Mérode".
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928:. "Thoughts, Old and New, on the Sources of Early Netherlandish Painting".
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A corpus of work is attached to the unidentified "Master of Flémalle,"
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Art historians have long been keen to trace the beginnings of the
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University Park, PA: Pennsylvania State
University Press, 2011.
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A & A art & archtitecture, 2013. Retrieved 24 May 2013.
780:"Robert Campin, the Master of Flémalle and the Master of Mérode"
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p.111/112 in MARTIN CONWAY "The Van Eycks and their followers"
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The John G. Johnson
Collection: A History and Selected Works
453:(three paneled paintings) commissioned for private use. The
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in the Prado (Madrid) to Campin rather than Van der Weyden.
68:(c. 1375 – 26 April 1444), now usually identified with the
944:
Robert Campin: A Monographic Study with Critical Catalogue
481:. Campin also collaborated with other artists, e.g. with
159:, and they met in 1427. Campin's best known work is the
1006:, a Philadelphia Museum of Art free digital publication
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Gerard David: purity of vision in an age of transition
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Simiolus: Netherlands Quarterly for the History of Art
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from the archives of 1405–06, as a free master of the
193:, attributed to the Master of Flémalle or workshop,
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673:Reuterswärd, Patrik. "New light on Robert Campin".
379:and Rogelet de la Pasture. The latter was probably
131:The early Campin panels shows the influence of the
124:Campin was active by 1406 as a master painter in
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315:aesthetics, Campin displayed greater powers of
311:Although heavily indebted to late 14th-century
988:Period Rooms in the Metropolitan Museum of Art
352:. Dated to about 1428, the altarpiece (now in
115:in Frankfurt, and the Brussels version of the
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1025:
888:The Fifteenth Century Netherlandish Paintings
609:Rousseau, Theodore. "The Merode Altarpiece".
8:
906:Robert Campin: new directions in scholarship
211:, probable workshop copy of a lost triptych.
1502:Master of the Amsterdam Death of the Virgin
1410:Master of the Legend of St. Ursula (Bruges)
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830:10.1093/gao/9781884446054.article.T021971
638:, Volume 116, No. 860, Nov. 1974. 634–646
111:now in London, a panel fragment with the
574:The Virgin and Child before a Firescreen
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725:, now called Stokkem, forms a part of
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611:The Metropolitan Museum of Art Bulletin
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330:, attributed to Robert Campin workshop
801:The Seilern Triptych – The Entombment
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465:, including diptych panels depicting
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1583:Arts in the court of Philip the Good
1573:Works by Early Netherlandish masters
1415:Master of the Legend of the Magdalen
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473:. Other works are displayed in the
443:Around 1425–1428 Campin painted the
1400:Master of the Legend of St. Barbara
613:, Vol. 16, No. 4, 1957. pp. 117–129
215:Campin first appears as settled in
1593:Members of the Guild of Saint Luke
1405:Master of the Legend of Saint Lucy
271:were accepted as masters into the
109:Virgin and Child with a Firescreen
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1395:Master of the Embroidered Foliage
84:, a key development in the early
1445:Master of the View of Ste-Gudule
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908:. London: National Gallery, 1996
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487:Church of Saint Quentin, Tournai
457:occupies the central panel. The
221:guild of goldsmiths and painters
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16:Belgian painter (c. 1375 – 1444)
1507:Master of the Figdor Deposition
1435:Master of the Morrison Triptych
1390:Master of the Antwerp Adoration
80:, initiated the development of
729:on the left bank of the river
432:(Museo del Prado, Madrid) and
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1492:Jacob Cornelisz van Oostsanen
1420:Master of the Lille Adoration
790:(860): 637 – via JSTOR.
545:Musée des Beaux-Arts de Dijon
438:Musée des Beaux-Arts de Dijon
297:Right hand panel of the 1438
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74:Master of the Merode Triptych
1664:Early Netherlandish painters
1568:Early Netherlandish painting
1430:Master of the Mansi Magdalen
932:, volume 16, No. 2/3, 1986.
82:Early Netherlandish painting
55:, c. 1435. 40.6cm x 28.1cm.
35:, c. 1435. 40.7cm x 28.1cm.
998:by Robert Campin (cat. 332)
993:Christopher D. M. Atkins, “
824:. Oxford University Press.
622:Hagopian (1986), pp. 93–112
155:. He was a contemporary of
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1440:Master of the Prodigal Son
1425:Master of the LĂĽbeck Bible
890:. National Gallery, 1998.
358:Metropolitan Museum of Art
1684:Artists from Valenciennes
1613:Netherlandish Renaissance
1643:Nativity of Jesus in art
778:Campbell, Lorne (1974).
675:Konsthistorisk Tidskrift
328:Portrait of St. Veronica
1148:Early Netherlandish art
784:The Burlington Magazine
636:The Burlington Magazine
313:manuscript illumination
1477:Geertgen tot Sint Jans
1335:Vrancke van der Stockt
1072:Marriage of the Virgin
430:Marriage of the Virgin
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209:Descent from the Cross
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1638:Adoration of the Magi
1345:Rogier van der Weyden
1340:Goswin van der Weyden
1080:Portrait of a Fat Man
996:Christ and the Virgin
816:Steyaert, J. (2003).
381:Rogier van der Weyden
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275:. However, the dated
265:Rogier van der Weyden
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190:The MĂ©rode Altarpiece
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149:Rogier van der Weyden
1608:Northern Renaissance
1603:International Gothic
1482:Jan Joest van Calcar
1457:Northern Netherlands
1454:Active mainly in the
1325:Aert van den Bossche
1170:Southern Netherlands
1167:Active mainly in the
972:at Wikimedia Commons
715:Isabella of Stockhem
508:The Marriage of Mary
471:The Virgin and Child
440:) around 1420–1425.
336:Northern Renaissance
253:the Count of Holland
249:Margaret of Burgundy
177:The Seilern Triptych
133:International Gothic
86:Northern Renaissance
1633:Ghent-Bruges school
1588:Guild of Saint Luke
1460:(mostly present-day
1220:Melchior Broederlam
1173:(mostly present-day
1157:Early Netherlandish
942:ThĂĽrlemann, Felix.
426:Courtauld Institute
418:Entombment Triptych
141:Melchior Broederlam
52:Portrait of a Woman
1618:Northern Mannerism
1578:Flemish Primitives
1385:Master of Affligem
1285:Cornelis Liefrinck
1280:Adriaen Isenbrandt
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289:Identity and style
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113:Thief on the Cross
70:Master of Flémalle
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1598:Netherlandish art
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1497:Master of Alkmaar
1380:Jacob van Utrecht
1375:Bernard van Orley
1370:Lieven van Lathem
1330:Hugo van der Goes
1205:Lancelot Blondeel
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1096:A Man and A Woman
1088:MĂ©rode Altarpiece
968:Media related to
952:978-3-7913-2778-5
946:. Prestel, 2002.
896:978-1-85709-171-7
839:978-1-884446-05-4
822:Oxford Art Online
767:978-3-7913-8109-1
477:, and the London
459:Archangel Gabriel
446:MĂ©rode Altarpiece
349:MĂ©rode Altarpiece
273:guild of painters
257:John the Fearless
229:Tournai Cathedral
161:MĂ©rode Altarpiece
137:Limbourg brothers
118:MĂ©rode Altarpiece
32:Portrait of a Man
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1472:Hieronymus Bosch
1350:Jan van Dornicke
1270:Gerard Horenbout
1200:Ambrosius Benson
1190:Alexander Bening
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1446:
1443:
1441:
1438:
1436:
1433:
1431:
1428:
1426:
1423:
1421:
1418:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1346:
1343:
1341:
1338:
1336:
1333:
1331:
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1310:Jan de Molder
1308:
1306:
1303:
1301:
1298:
1296:
1295:Simon Marmion
1293:
1291:
1288:
1286:
1283:
1281:
1278:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1240:Jacques Daret
1238:
1236:
1233:
1231:
1228:
1226:
1225:Robert Campin
1223:
1221:
1218:
1216:
1213:
1211:
1210:Aelbert Bouts
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1185:LuĂs Alimbrot
1183:
1182:
1180:
1177:
1171:
1165:
1162:
1160:
1154:
1149:
1142:
1137:
1135:
1130:
1128:
1123:
1122:
1119:
1106:
1105:
1104:Werl Triptych
1101:
1098:
1097:
1093:
1090:
1089:
1085:
1082:
1081:
1077:
1074:
1073:
1069:
1066:
1065:
1061:
1058:
1057:
1053:
1052:
1050:
1046:
1042:
1041:Robert Campin
1035:
1030:
1028:
1023:
1021:
1016:
1015:
1012:
1005:
1004:
999:
997:
992:
989:
986:
983:
980:
978:List of works
977:
974:
971:
970:Robert Campin
966:
962:
961:
957:
953:
949:
945:
941:
939:
935:
931:
927:
924:
922:
921:0-271-04840-9
918:
914:
911:Jacobs, Lynn.
910:
907:
903:
899:
897:
893:
889:
885:
882:
881:
877:
868:
856:
841:
835:
831:
827:
823:
819:
812:
809:
806:
802:
797:
794:
789:
785:
781:
774:
771:
768:
764:
758:
756:
754:
752:
750:
748:
744:
740:
736:
732:
728:
724:
720:
716:
710:
707:
704:Campbell, 641
701:
698:
695:Campbell, 637
692:
689:
686:Rousseau, 117
683:
680:
676:
670:
667:
661:
659:
655:
649:
647:
645:
641:
637:
631:
629:
625:
619:
616:
612:
606:
603:
596:
590:
584:
579:
575:
569:
564:
561:, before 1430
560:
554:
549:
546:
542:
541:
534:
529:
525:
519:
514:
510:
509:
502:
497:
492:
490:
488:
484:
480:
476:
472:
468:
464:
460:
456:
452:
448:
447:
441:
439:
435:
431:
427:
423:
419:
411:
409:
407:
403:
399:
395:
394:
388:
386:
382:
378:
377:Jacques Daret
374:
369:
367:
363:
359:
355:
354:the Cloisters
351:
350:
345:
341:
337:
329:
325:
321:
318:
314:
306:
303:, now in the
302:
301:
300:Werl Triptych
295:
288:
286:
284:
280:
279:
274:
270:
269:Jacques Daret
266:
262:
258:
254:
250:
244:
242:
238:
232:
230:
226:
222:
218:
210:
206:
192:
191:
186:
179:
178:
173:
166:
164:
162:
158:
154:
153:Jacques Daret
150:
146:
142:
138:
134:
129:
127:
122:
120:
119:
114:
110:
106:
102:
98:
93:
89:
87:
83:
79:
75:
72:(earlier the
71:
67:
66:Robert Campin
58:
54:
53:
46:
38:
34:
33:
26:
1669:1370s births
1520:Main centres
1360:Jan van Eyck
1320:Jan Provoost
1305:Hans Memling
1265:Jan Gossaert
1250:Jean Delemer
1245:Gerard David
1224:
1215:Dieric Bouts
1195:Simon Bening
1102:
1094:
1086:
1078:
1070:
1062:
1054:
1040:
1001:
995:
943:
929:
912:
905:
887:
843:. Retrieved
821:
811:
796:
787:
783:
773:
735:Maasmechelen
722:
714:
709:
700:
691:
682:
677:, 67:1, 1998
674:
669:
635:
618:
610:
605:
589:Holy Trinity
588:
573:
558:
538:
524:Annunciation
523:
506:
483:Jean Delemer
470:
466:
455:Annunciation
444:
442:
433:
429:
421:
417:
415:
405:
401:
397:
396:at Dijon, a
391:
389:
384:
370:
347:
340:Jan van Eyck
333:
327:
310:
298:
276:
245:
241:Saint-Gilles
233:
225:Valenciennes
214:
208:
188:
175:
160:
157:Jan van Eyck
135:artists the
130:
123:
116:
112:
108:
94:
90:
78:Jan van Eyck
73:
69:
65:
64:
50:
30:
1674:1444 deaths
1463:Netherlands
1255:Jan de Beer
902:Nash, Susie
591:, c.1433-35
543:, c. 1420.
526:, 1420-1425
402:Crucifixion
1658:Categories
845:2 February
731:Maas/Meuse
664:Jacobs, 33
597:References
385:Deposition
251:, wife of
237:pilgrimage
145:oil paints
105:polyptychs
1552:The Hague
1537:Brussels
1099:(c. 1435)
1083:(c. 1425)
1067:(c. 1420)
1048:Paintings
865:ignored (
855:cite book
733:close to
463:Hermitage
393:'Nativity
366:Frankfurt
317:realistic
101:triptychs
1064:Nativity
723:Stockhem
540:Nativity
511:, c 1420
451:triptych
434:Nativity
362:Flémalle
307:, Madrid
97:so named
1561:General
1547:Tournai
1527:Antwerp
1176:Belgium
1159:artists
938:3780631
878:Sources
739:Maaseik
373:Tournai
356:of the
217:Tournai
126:Tournai
1532:Bruges
1107:(1438)
1000:,” in
950:
936:
919:
894:
836:
765:
576:, 1440
1542:Ghent
934:JSTOR
475:Prado
420:(or "
305:Prado
283:Prado
948:ISBN
917:ISBN
892:ISBN
867:help
847:2022
834:ISBN
763:ISBN
737:and
469:and
449:, a
416:The
412:Work
267:and
167:Life
826:doi
788:116
239:to
103:or
1660::
904:.
886:.
859::
857:}}
853:{{
832:.
820:.
786:.
782:.
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657:^
643:^
627:^
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259:,
195:c.
121:.
88:.
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849:.
828::
741:.
436:(
200:.
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