Robert Campin, now usually identified with the Master of Flémalle, 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.
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.
The Annunciation is an oil painting by the Early Netherlandish master Jan van Eyck, from around 1434–1436. The panel is housed in the National Gallery of Art in Washington, D.C. It was originally on panel but has been transferred to canvas. It is thought that it was the left (inner) wing of a triptych; there has been no sighting of the other wings since before 1817. The Annunciation is a highly complex work whose iconography is still debated by art historians. It was bought by the Tsar of Russia for the Hermitage Museum, but was sold by Stalin's government in 1930.
The Master of the Legend of St. Ursula (1436–1505) was a Flemish painter active in the fifteenth century. His name is derived from a polyptych depicting scenes from the life of Saint Ursula painted for the convent of the Black Sisters of Bruges. The city appears in the background of a number of the paintings, in which the belfry and tower of the Church of Notre-Dame are visible. Consequently, it is possible, given the stages of construction of the belfry, to determine that the altarpiece was painted either before 1483 or somewhere between 1493 and 1499. The Netherlands Institute for Art History hold his birth and death dates to be those of Pieter Casenbroot, who was registered in the Bruges guild of saddlemakers and sculptors in 1460. Today the panels have been dispersed to a number of museums around the world.
The Braque Triptych is a c. 1452 oil-on-oak altarpiece by the Early Netherlandish painter Rogier van der Weyden. When open, its three half-length panels reveal, from left to right, John the Baptist, The Virgin Mary with Jesus and Saint John the Evangelist, and on the right, Mary Magdalene. When the wings are closed, the work shows a vanitas motif of a skull and cross.
The Annunciation has been one of the most frequent subjects of Christian art. Depictions of the Annunciation go back to early Christianity, with the Priscilla catacomb in Rome including the oldest known fresco of the Annunciation, dating to the 4th century.
The Aix Annunciation is a painting attributed to the Barthélemy d'Eyck or the so-called Master of the Annunciation of Aix-en-Provence. Executed in 1443-1445, it was originally placed in the Cathédrale Saint-Sauveur, Aix-en-Provence, southern France. Now it is divided between the Église de la Madeleine in the same city, the Museum Boijmans Van Beuningen at Rotterdam, the Rijksmuseum of Amsterdam, while the right panel is in the Royal Museum of Fine Arts of Belgium in Brussels. Side panels are painted on both sides, showing Christ on the right and Mary Magdalene on the left ; together they used to form a Noli me tangere scene when the triptych was folded shut.
The Annunciation with St. Margaret and St. Ansanus is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.
The Dresden Triptych is a very small hinged-triptych altarpiece by the Early Netherlandish painter Jan van Eyck. It consists of five individual panel paintings: a central inner panel, and two double-sided wings. It is signed and dated 1437, and in a permanent collection of the Gemäldegalerie Alte Meister, Dresden, with the panels still in their original frames. The only extant triptych attributed to van Eyck, and the only non-portrait signed with his personal motto, ALC IXH XAN, the triptych can be placed at the midpoint of his known works. It echoes a number of the motifs of his earlier works while marking an advancement in his ability in handling depth of space, and establishes iconographic elements of Marian portraiture that were to become widespread by the latter half of the 15th century. Elisabeth Dhanens describes it as "the most charming, delicate and appealing work by Jan van Eyck that has survived".
The Crucifixion and Last Judgement diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
Rebecca and Eliezer at the Well is an oil painting by Italian artist Carlo Maratta, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It shows the story of Abraham's servant Eliezer giving Rebecca jewels to seal her betrothal to Isaac, after she had demonstrated the kindness foreseen by Abraham in offering water to Eliezer's camels.
Crucifixion is a 1375 panel painting by Italian artist Barnaba da Modena, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts the crucifixion of Jesus in tempera and gold.
The Holy Family with Saint John the Baptist is an oil painting by Italian artist Giovanni Francesco Bezzi, also known as Nosadella, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Painted roughly 1550-1560, it depicts Jesus, Mary, Joseph, and John in a powerful, Mannerist style.
Aert van den Bossche or the Master of the Crispinus and Crispinianus-Legend was an Early Netherlandish painter of altarpieces, active in Brussels and Bruges in the late 15th century. There is still doubt as to whether he should be identified with the Master of the legend of St. Barbara or was only one of the artists active in a workshop responsible for the works of that master.
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.
The Annunciation is an oil on wood in grisaille painting by the Early Netherlandish artist Jan van Eyck, dated by art historians as between 1434 and 1436. The panels form a diptych, and are currently in the collection of the Museo Thyssen-Bornemisza, Madrid.
The Triptych with the Virgin and Child, Saints and Donors is a triptych depicting the Virgin Mary and Child Jesus, with several saints and an unidentified donor couple by the Master of Delft, created c. 1500-1510. It belongs to the Rijksmuseum, in Amsterdam, but is on long-term loan to the Museum Catharijneconvent, in Utrecht. The iconography of the central panel is unusual, and its meaning disputed.
