Robert Campin ( Dutch: Robert Campin ; c. 1378 - April 26, 1444 , Tournai ) is a Flemish painter, the alleged founder of the tradition of early Dutch painting . Mentor of Rogier van der Weyden and Jacques Dare . One of the first portrait painters in European painting. Kampen is identified with the Flemish master .
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Content
Biography
Quite a lot is known about the artist Robert Kampen, to whom the paintings of the Flemal master are attributed. It is believed that Robert Kampen was born in the city of Valenciennes - the once thriving capital of the county of Hainaut ( Gennegau ). Researchers disagree on the dating of this event, naming various dates between 1375 and 1380 . The name Kampen appears in documents from 1406 . In 1410, he received citizenship rights in the large Flemish city of Tournai and became a city painter there. In the documents of the city archive, information was preserved that he owned several houses in Tournai, which indicates a certain material well-being of Kampen. Sources indicate that the artist owned a large workshop with many students (this workshop was first mentioned in 1418 ), among which were subsequently known painters Roger van der Weyden (the document on the student’s admission contains the name Rogel de la Pastore, but researchers believe that this Rogier van der Weyden ) and Jacques Dare , who are referred to as his students from 1427 to 1432 . It is believed that in 1427, Jan van Eyck visited the Tour, who came to the city, apparently, to get acquainted with the art of Kampen. Kampen then played an important role in the public life of the city, undertook the most diverse work, from murals to cardboard for trellis, not to mention smaller orders. The only accurately dated work attributed to Kampen - “Altar of Verlé” - dates back to 1438 (now located in Prado , Madrid ). In 1423, Kampen took part in a speech by the townspeople against the patriarch ruling in Tours, after becoming a member of the new city administration. Soon, however, the patricians again returned to power, and the artist was persecuted. It is believed that this was due to the political sympathies of Campin to the French king in an era of intense rivalry between the Duchy of Burgundy and the French kingdom.
Style of writing
Being a contemporary of miniaturists who worked on the illumination of manuscripts , Kampen, however, was able to achieve such a level of realism and observation as no other painter before him. Yet his works are more archaic than the work of his younger contemporaries. In everyday details, democracy is noticeable, sometimes there is a domestic interpretation of religious subjects, which will later be characteristic of Dutch painting.
Founder of the Northern Renaissance
Art historians have long tried to find the origins of the Northern Renaissance , to find out who was the first master to establish this manner. For a long time it was believed that the first artist, slightly departed from the traditions of Gothic , was Jan van Eyck . But by the end of the 19th century, it became clear that van Eyck was preceded by another artist, whose brush belongs to the triptych of the Annunciation, previously owned by Countess Merode (the so-called “ Altar of Merode ”), as well as the so-called. Flemish altar. It was assumed that both of these works belong to the hand of the Flemal master , whose identity at that time had not yet been established.
Name Search
In the 20th century, some scholars suggested that the Flemish master could be none other than Robert Kampen, who is mentioned in documents as a master painter in Tournai from 1406 . This version was first mentioned by Julien de Loo in 1909.
The proof was a document mentioning that two students - Jacques Dare and Rogel de la Pastore - were taken to his studio in 1427 . The last was most likely the great Rogier van der Weyden . In the only triptych that has survived to this day, similar traits are traced with the works of the Flemal master. The same features are found in the works of van der Weyden. Thus, we can assume that they were both students of the Flemish master, that is, Robert Kampen. Another version says that the works of the Flemal master were written by van der Weyden when he was not even thirty. Some art historians still consider them the early works of van der Weyden.
Difference from van der Weyden
The works of the Flemal master are somewhat rougher in technique than the works of van der Weyden. They differ in more contrasting black and white modeling. In addition, they are not so subtle and aristocratic in the nature of their images.
Works
In addition to the Flemal Altar and the Altar to Merode, dozens of works are attributed to Kampen’s brushes, including a diptych-fold from the collection of D.P. Tatishchev in the Hermitage , two shutters from the exceptionally high- quality altar of Verl in Prado , the early "Position in the grave" from the Courto Art Institute , paired portrait at the National Gallery of London and the Nativity of Christ (1420) from the museum in Dijon . The attribution of all works to Kampenu is controversial; it is possible that certain works belong to one of his students (for example, Jacques Dare ).
Flemish Altar
Currently located in the Shtedelevskogo Art Institute ( Frankfurt ). Got its name from Flemish Abbey, near Liège - before it was mistakenly believed that it was from there that it originated. 4 sashes have been preserved, 3 of them belong to the Flemish master: “Holy Trinity”, “Virgin Mary with a Baby” and “Saint Veronica”. (c. 1410).
Altar of Merode
The altar of Merode, or the Triptych of the Annunciation dates from about 1427-1432. He is currently at the Cloisters Museum in New York . Kampen's authorship is being challenged by art critics; perhaps it was painted (as a copy of the original altar painting) by a talented student of the master. Another version of the central panel of the same triptych is exhibited in Brussels and, possibly, represents the original brush by Kampen. The altar triptych on the plot of the Annunciation (with donors ), exhibited in Cloisters, was for a long time owned by the noble Flemish (Belgian) family Mérode, hence its common name.
Hermitage Warehouse
The picture is a two- fold folding , the image is written on two oak boards of the same size 34.3 × 24.5. The work is devoted to two main dogmas of Christianity - embodiment and redemption . On the right are the Virgin Mary and the childhood of Christ (incarnation), on the left is the body of Christ lifted from the cross (redemption); also on the left wing shows the third dogma of Christianity - the Trinity . Creation time - 1430s; both wings are framed by the same pictorial ornament; this ornament was painted much later.
See also
- Jorge Ingles is a Spanish follower of Robert Campen, possibly his direct student
Notes
- ↑ German National Library , Berlin State Library , Bavarian State Library , etc. Record # 118840436 // General regulatory control (GND) - 2012—2016.
- ↑ Robert Campin
- ↑ 1 2 Robert Campin - 2006. - ISBN 978-0-19-977378-7 , 978-0-19-989991-3
- ↑ BNF ID : 2011 Open Data Platform .
- ↑ Encyclopædia Britannica
Literature
- Nikulin N. N. The Golden Age of Dutch Painting. M., 1981
- Erwin Panofsky. Early Netherlandish painting: its origins and character. New York: Harper & Row, 1971. ISBN 0-06-430002-1
- Martin Davies. Rogier van der Weyden: an essay, with a critical catalog of paintings assigned to him and to Robert Campin. London: Phaidon, 1972 ISBN 0-7148-1516-0
- Albert Châtelet. Robert Campin. Le Maître de Flémalle. La fascination du quotidien. Antwerpen: Mercatorfonds, 1996 ISBN 90-6153-364-3
- Stephan Kemperdick. Der Meister von Flémalle: Die Werkstatt Robert Campins und Rogier van der Weydens. Tournhout: Brepols, 1997 ISBN 2-503-50566-X
- Felix Thürlemann. Robert Campin. Monografie und Werkkatalog. München: Prestel Verlag, 2002. ISBN 3-7913-2807-7
- Felix Thürlemann. Robert Campin. A Monographic Study with Critical Catalog. München: Prestel Verlag, 2002. ISBN 3-7913-2778-X