Robert Campin The Master of Flemalle and the master of Merode PDF

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Robert Campin The Master of Flemalle and the master of Merode

Personal Style of Artist Merode Altarpiece Groupings- Passavant a curator, in 1840s he bought a group of painters two he said was Rogier van der Weyden the younger, thought heere was a Rogier younger and older

The Flemalle Panels 1430 - Said to have come from the Abbey of Flamelle - but this place didn’t exist - props not even from Flamelle, nevertheless they still keep this name - They are parts of an altarpiece - Virgin - Veronica holds a virtuoso of transparent cloth, hard to paint, realism with head of christ on it, shows what is important about the relic - Fictive sculpture the trinity

The bad thief/ the frankfurt theif - thought to be a fragment from a descent from the cross,as it looks like a crop from another descent from the cross -

The Liverpool, second crop talking about is thought to be a copy of Robert Compin

Another work linked is a women 1435 and a man 1435 - companion piece All these Passavant thought were buy the same artist

The next person to look at these group of paintings was Bode - he thought a group of works by this sort were simialr to a group that were stemmed from the master of Merode - The merode triptych comes from the Merode collection. - For Bode he saw a group of pictures the styles are similar - The Virgin, Annunciation scene - Bode though it was similar to the Madonna of the Firescreen - 1440 - based on style alone, not documents thought same painter A third intervention was Hugo Van Tschudi , after P He created a person called the master of flemalle - he created the identity P only collected the paintings, together and though it was Robert. - Hugo grouped them all - He also thought they were created by the Merode master - He brings both together, he thinks the master of Merode was the same person as the master of Flemalle - there was an agreement that the panels an merode triptych was

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by the same artist At this point the frankfurt theif and the man and women were moved around to match up with this group or not, but there was a fundamental understanding that Hugo had been right that - the Master of Flemalle did the panels and triptych

Lorne Campbell -then comes along and wrote an article on the master of flemalle and the master of merde 1974 - He argued that in fact the flemalle panel and the Merode triptych are by two different artists - the master of flemalle and the master of Merode. - He separates them back out

Early Netherlandish painting - lot of anonymous material that is of high quality, and want to match to an identity that already exists. Impulse is to create another master of the work, rather than in the workshop of or like so and so. Instead people create masters.

If it doesn’t fit with what works now, then create a master - intellectual exercise based on peoples expert understanding, can only understand the paintings if you know who painted them. Campbell - around master of Flemalle saw similar lies that P did, he thought the flemalle panels and the theif were by the same artist and brought in another work, the nativity, in DIjon and the marriage of the Virgin and other … the stout man in Berlin. He is interested in documentary archival work and good at knowing style, meticulous painting, he had no title, not documentary evidence, he had to use style to investigate groupings

Style - we see as a side issue, analysis of artistic style is rarely a whole unit. Could se a progression of style - greater realism, better effects, more accomplished way of painting. Works get better as a painter... Progresion? Sometimes work done later is actually worse than earlier pieces or less successful Campbell sees the entombment as earlier works and the nativity is later - better work For Cambell the master of Flemalle didn’t paint the Merode Triptych, he suggests a separate person - the Merode Master who he felt was a pupil of assistant of the master of Flemalle very closely related in style to the Flemalle group but not the same. He created another group created by the master of the merode - also painted the firescreen madonna and the werl triptych wings. Similarities could be because from the same time and looking at the same objects, h/ever artists known also to use the same elements.

For Campbell - the Master of Flemalle he says is Robert Compin as they are similar to his works known by him and therefore the master of flemalle doesn’t exist.

Style and authorship - what hoping to uncover, relationship between idea and argument Compare and contrast- diffs and sims between two works. If merode is assistant or pupil of Compin then why? Master of the Merode separate person - the annunciation and the firescreen Can look at underdrawings, material, objects in room When similar - does it have to be the same had, could it not just be from the same workshop One painting by not one hand anyway Or underdrawing by the same artist but the painter of each might be different And public trying to paint like master.

Lions - throne of solomon - christ second solomon - second wise king, christ is new king Virgin is on throne

Pages flipping, moment of dynamism, the word was made flesh, word animates in book and made flesh - animal skin pages not paper, contemporary ideas copied and played with by these artists. Candle grey only around for the first few seconds after it has been blown out Eyes changed looking noticed him arrive 2009 exhibitions - could look at the works together....