Claus Sluter was a Dutch sculptor, living in the Duchy of Burgundy from about 1380. He was the most important northern European sculptor of his age and is considered a pioneer of the "northern realism" of the Early Netherlandish painting that came into full flower with the work of Jan van Eyck and others in the next generation.
Year 1430 (MCDXXX) was a common year starting on Sunday of the Julian calendar.
Rogier van der Weyden or Roger de la Pasture was an early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits. He was highly successful in his lifetime; his paintings were exported to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign princes. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the 200 years that followed; today he is known, with Robert Campin and van Eyck, as the third of the three great Early Flemish artists, and widely as the most influential Northern painter of the 15th century.
The Duke of Brabant was the ruler of the Duchy of Brabant since 1183/1184. The title was created by the Holy Roman Emperor Frederick Barbarossa in favor of Henry I of the House of Reginar, son of Godfrey III of Leuven. The Duchy of Brabant was a feudal elevation of the existing title of landgrave of Brabant. This was an Imperial fief which was assigned to Count Henry III of Leuven shortly after the death of the preceding count of Brabant, Herman II of Lotharingia. Although the corresponding county was quite small its name was applied to the entire country under control of the dukes from the 13th century on. In 1190, after the death of Godfrey III, Henry I also became duke of Lotharingia. Formerly Lower Lotharingia, this title was now practically without territorial authority, but was borne by the later dukes of Brabant as an honorific title.
Isabella of Portugal was Duchess of Burgundy from 1430 to 1467 as the third wife of Duke Philip the Good. Their son was Charles the Bold, the last Valois Duke of Burgundy.
Philip III the Good ruled as Duke of Burgundy from 1419 until his death. He was a member of a cadet line of the Valois dynasty, to which all 15th-century kings of France belonged. During his reign, the Burgundian State reached the apex of its prosperity and prestige, and became a leading centre of the arts.
Isabella of Bourbon, Countess of Charolais was the second wife of Charles the Bold, Count of Charolais and future Duke of Burgundy. She was a daughter of Charles I, Duke of Bourbon and Agnes of Burgundy, and the mother of Mary of Burgundy, heiress of Burgundy.
Joanna, Duchess of Brabant, also known as Jeanne, was a ruling Duchess (Duke) of Brabant from 1355 until her death. She was duchess of Brabant until the occupation of the duchy by her brother-in-law Louis II of Flanders. Following her death, the rights to the duchy of Brabant went to her great-nephew Anthony of Burgundy, son of Philip the Bold.
Margaret of England was the tenth child and seventh daughter of King Edward I of England and his first wife, Eleanor of Castile. Her husband was John II, Duke of Brabant, whom she married in 1290, the year of her mother's death. Margaret and John had one child, John III, Duke of Brabant.
Philippe Pot (1428–1493) was a Burgundian nobleman, military leader, and diplomat. He was the seigneur of La Roche and Thorey-sur-Ouche, a Knight of the Golden Fleece, and the Grand Seneschal of Burgundy.
The Chartreuse de Champmol, formally the Chartreuse de la Sainte-Trinité de Champmol, was a Carthusian monastery on the outskirts of Dijon, which is now in France, but in the 15th century was the capital of the Duchy of Burgundy. The monastery was founded in 1383 by Duke Philip the Bold to provide a dynastic burial place for the Valois Dukes of Burgundy, and operated until it was dissolved in 1791, during the French Revolution.
A tomb effigy is a sculpted effigy of a deceased person usually shown lying recumbent on a rectangular slab. Although these funerary and commemorative reliefs were first developed in Ancient Egyptian and Etruscan cultures, they appear most numerously in Western Europe tombs from the later 11th century, in a style that continued in use through the Renaissance and early modern period, and are still sometimes used. They typically represent the deceased in a state of "eternal repose", with hands folded in prayer, lying on a pillow, awaiting resurrection. A husband and wife may be depicted lying side by side.
The tomb of Francis II, Duke of Brittany is a monument located in Nantes, in the Cathedral of St. Peter. The project was commissioned by Anne of Brittany, Queen of France, who was the daughter of Francis and his second wife Margaret of Foix, who is also depicted beside Francis. The tomb was originally located in the chapel of the Carmelites in Nantes. Francis II had wished that his body rest there, to join the remains of his first wife Margaret of Brittany. The tomb eventually received the body of Francis and both his wives, though only his second wife is depicted.
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 three panels are each 71 x 43 cm and show, from left to right, a portrait of the Holy Family, a Pietà and Christ's appearance to Mary—a chronological reading of the birth, death and resurrection of Jesus, with Mary the focus of both wings. The altarpiece examines Mary's relationship with Christ at different stages of his life. It is notable for its use of colour, distinguished by its use of whites, reds and blues, and use of line—notably the line of Christ's body in the central panel—and, typically of van der Weyden, its emotional impact.
The Mourners of Dijon are tomb sculptures made in Burgundy during the late fourteenth and early fifteenth centuries. They are part of a new iconographical tradition led by Claus Sluter that continued until the end of the fifteenth century. In this tradition, free-standing sculptures depict mourners who stand next to a bier or platform that holds a body in state. The figures are cloaked in robes which mostly hide their faces.
Pleurants or weepers are anonymous sculpted figures representing mourners, used to decorate elaborate tomb monuments, mostly in the late Middle Ages in Western Europe. Typically they are relatively small, and a group were placed around the sides of a raised tomb monument, perhaps interspersed with armorial decoration, or carrying shields with this. They may be in relief or free-standing. In English usage the term "weepers" is sometimes extended to cover the small figures of the deceased's children often seen kneeling underneath the tomb effigy in Tudor tomb monuments.
The tomb of Philippe Pot is a life-sized funerary monument, now on display in the Louvre, Paris. It was commissioned by the military leader and diplomat Philippe Pot for his burial at the chapel of Saint-Jean-Baptiste in Cîteaux Abbey, Dijon, France. His effigy shows him recumbent on a slab, his hands raised in prayer, and wearing armour and a heraldic tunic. The eight mourners are dressed in black hoods, and act as pallbearers carrying him towards his grave. Pot commissioned the tomb when he was around 52 years old, some 13 years before his death in 1493. The detailed inscriptions written on the sides of the slab emphasise his achievements and social standing.
The Tomb of Philip the Bold is a funerary monument commissioned in 1378 by the Duke of Burgundy Philip the Bold for his burial at the Chartreuse de Champmol, the Carthusian monastery he built on the outskirts of Dijon, in today's France. The construction was overseen by Jean de Marville, who designed the tomb and oversaw the building of the charterhouse. Marville worked on the tomb from 1384, but progressed slowly until his death in 1389. That year Claus Sluter took over design of Champmol, including the tomb. Philip died in 1404 with his funerary monument still incomplete. After Sluter's death c. 1405/06, his nephew Claus de Werve was hired to complete the project, which he finished in 1410.
The tomb of Isabella of Bourbon was a funeral monument built for Isabella of Bourbon, a member of the House of Valois-Burgundy, then rulers of the Burgundian State. Little is known about her due to her death of tuberculosis in 1465 aged 31. Her monument was commissioned by her daughter Mary of Burgundy and constructed in Brussels sometime between 1475 and 1476 by Jan Borman and Renier van Thienen. Originally placed in the church of St. Michael's Abbey, Antwerp in 1476, it was dismantled in August 1566 during the Iconoclastic Fury when parts were either destroyed or looted. Other elements of the tomb were lost during the French Revolution, when the church itself was destroyed.
The Tomb of Mary of Burgundy is a funeral monument completed in 1501 for Mary of Burgundy's grave in the Church of Our Lady, Bruges. She died in March 1482 aged 25, following injuries sustained during a hunting accident a number of weeks earlier.
