The Mérode Altarpiece is an oil on oak panel triptych, now in The Cloisters, in New York City. It is unsigned and undated, but attributed to Early Netherlandish painter Robert Campin and an assistant. The three panels represent, from left to right, the donors kneeling in prayer in a garden, the moment of the Annunciation to Mary, which is set in a contemporary, domestic setting, and Saint Joseph, a carpenter with the tools of his trade. The many elements of religious symbolism include the lily and fountain, and the Holy Spirit represented by the rays of light coming through from the central panel's left hand window.
The Portinari Altarpiece or Portinari Triptych is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.
Jacques Daret was an Early Netherlandish painter born in Tournai, where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture, and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq.
The Beaune Altarpiece is a large polyptych c. 1443–1451 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas. It consists of fifteen paintings on nine panels, of which six are painted on both sides. Unusually for the period, it retains some of its original frames.
The Werl Triptych is a triptych altarpiece completed in Cologne in 1438, of which the centre panel has been lost. The two remaining wings are now in the Prado in Madrid. It was long attributed to the Master of Flémalle, now generally believed to have been Robert Campin, although this identity is not universally accepted. Some art historians believe it may have been painted as a pastiche by either the workshop or a follower of Campin or the Master of Flémalle.
The Miraflores Altarpiece is a c. 1442-5 oil-on-oak wood panel altarpiece by the Early Netherlandish painter Rogier van der Weyden, in the Gemäldegalerie, Berlin since 1850.
The Master of the Prado Adoration of the Magi was a Netherlandish painter active between c. 1475 and 1500 whose identity is now lost. He is thought to have originated from the southern Netherlands and is known for his vibrant colourisation in panels depicting scenes from the infancy of Christ, he is thought to have been a pupil of Rogier van der Weyden, and is named after a copy of the "Adoration of the Magi" panel from that painter's St Columba Altarpiece. Although the Magi became a popular topic for northern painters in the second half of the 15th century and the Columba altarpiece was widely copied, the master is associated with van der Weyden's workshop because the copy is so close, it is believed he must have had access to a reproduction of the underdrawing.
The Monforte Altarpiece is an oil-on-oak-panel painting of the Adoration of the Magi by the Flemish painter Hugo van der Goes, now in the Gemäldegalerie, Berlin, Germany. The altarpiece was originally the central panel of a triptych with movable wings that are now lost; these were probably painted on both sides. This is shown by the hinges remaining in the original frame. Old copies of the work show the Nativity and Circumcision of Jesus on the wing panels. The central panel has been reduced in size at the top. In 2023, a detailed reconstruction of the missing top portion was completed for an exhibition on van der Goes' work at the Gemäldegalerie, Berlin. A detailed description of the process and a photograph of the result are included in an article by museum curator Dr. Stephan Kemperdick.
The Nativity is a devotional mid-1450s oil-on-wood panel painting by the Early Netherlandish painter Petrus Christus. It shows a nativity scene with grisaille archways and trompe-l'œil sculptured reliefs. Christus was influenced by the first generation of Netherlandish artists, especially Jan van Eyck and Rogier van der Weyden, and the panel is characteristic of the simplicity and naturalism of art of that period. Placing archways as a framing device is a typical van der Weyden device, and here likely borrowed from that artist's Saint John Altarpiece and Miraflores Altarpiece. Yet Christus adapts these painterly motifs to a uniquely mid-15th century sensibility, and the unusually large panel – perhaps painted as a central altarpiece panel for a triptych – is nuanced and visually complex. It shows his usual harmonious composition and employment of one-point-perspective, especially evident in the geometric forms of the shed's roof, and his bold use of color. It is one of Christus's most important works. Max Friedländer definitely attributed the panel to Christus in 1930, concluding that "in scope and importance, [it] is superior to all other known creations of this master."
The Triptych with Scenes from the Life of the Virgin is an oil painting on panel by the Early Netherlandish painter Dieric Bouts. It was executed c. 1445 and is in the collection of the Museo del Prado, in Madrid.
The St John Altarpiece is a large oil-on-oak hinged-triptych altarpiece completed around 1479 by the Early Netherlandish master painter Hans Memling. It was commissioned in the mid-1470s in Bruges for the Old St. John's Hospital (Sint-Janshospitaal) during the building of a new apse. It is signed and dated 1479 on the original frame – its date of installation – and is today still at the hospital in the Memling museum.
The Master of the Legend of Saint Catherine is the notname for an unknown late 15th century Early Netherlandish painter. He was named after a painting with Scenes from the Legend of Saint Catherine, now kept in the Royal Museums of Fine Arts of Belgium. He was active between c. 1470 and c. 1500, probably around Brussels.
The Saint John Altarpiece is triptych of c. 1455 in oils on oak panel by the Early Netherlandish painter Rogier van der Weyden, now in the Gemäldegalerie, Berlin. The triptych is linked to the artist's earlier Miraflores Altarpiece in its symbolic motifs, format and intention.
The Annunciation is an oil painting by the Early Netherlandish painter Hans Memling. It depicts the Annunciation, the archangel Gabriel's announcement to the Virgin Mary that she would conceive and become the mother of Jesus, described in the Gospel of Luke. The painting was executed in the 1480s and was transferred to canvas from its original oak panel sometime after 1928; it is today held in the Robert Lehman collection of the Metropolitan Museum of Art in New York.
The Saint Columba Altarpiece is a large c. 1450–1455 oil-on-oak wood panel altarpiece by Early Netherlandish painter Rogier van der Weyden painted during his late period. It was commissioned for the church of St. Columba in Cologne, and is now in the Alte Pinakothek, Munich. It depict scenes from the early life of Jesus. They show, from left to right, the Annunciation, the Adoration of the Magi and the Presentation, when she presents the infant at the Temple in Jerusalem. In each panel, Mary is distinguished by her blue clothes. The reverse of the exterior panels are covered with plain paint and lack indication that they ever contained donor portraits as were typical for the time.
Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm, and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.
The Seilern Triptych, variously dated c. 1410-15 or c. 1420–25, is a large oil and gold leaf on panel, fixed winged triptych altarpiece generally attributed to the Early Netherlandish painter Robert Campin. It is the earliest of two known triptychs attributed to him, although the outer wing panels paintings are lost. The work details the events of Christ's passion; with iconography associated with the liturgy of Holy Week. The panels, which should be read from left to right, detail three stations of the cycle of the Passion of Jesus; the crucifixion, the burial and the resurrection.
The Adoration of the Kings by the Early Netherlandish painter Gerard David is a painting in oil on panel, probably from after 1515, now in the National Gallery in London. The painted surface measures some 60 by 59.2 centimetres, and the panel is about 2 centimetres (0.79 in) larger in both dimensions. The panel comes from a dismantled altarpiece from which one other panel appears to survive, the Lamentation that is also in the National Gallery.
The Crucifixion Triptych is an altarpiece of c. 1443–1445 by Rogier van der Weyden, now in the Kunsthistorisches Museum in Vienna. The central scene shows the Crucifixion of Christ, with the Virgin Mary clinging to the foot of the cross, John the Evangelist comforting her and the painting's two donors kneeling to the right. On the left-hand side panel is Mary Magdalene, while on the right side panel is Saint Veronica. A unified landscape background across all three panels shows Jerusalem in the distance.
Left: vision of Augustus
Centre: birth of Jesus
Right: arrival of the Magi
Outside faces of the side panels: the Annunciation
