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Rogier’s Descent from the Cros s, created for the Archer’s Guild at Leuven, was a monumental and impactful artwork. The Descent from the Cross by Rogier van der Weyden, before 1443 via Museo del Prado, Madrid Even in the engraved portrait of Rogier, designed long after his death, the artist is depicted in front of an emotional portrait of the Virgin cradling a deceased Christ. Most documented throughout the centuries was Rogier’s ability to convey human emotion in his paintings and he was renowned for his sorrowful depictions of Christ’s Passion. Alongside his contemporary, Jan van Eyck, Rogier was greatly praised by Giorgio Vasari in his momentous book, Lives of the Artists.

After, he arguably succeeded his master to become one of the greatest painters of the Northern Renaissance and, in 1435, Rogier van der Weyden was made official painter to the city of Brussels. Rogier van der Weyden (c.1399-1464) served as an apprentice to Robert Campin in Tournai between 14. Rogier Van Der Weyden Engraving of Self-portrait of Rogier van der Weyden by Cornelis Cort, after van der Weyden, 1572, via Museo del Prado, Madrid An esteemed Renaissance painter that started his artistic career as an apprentice to Robert Campin was none other than Rogier van der Weyden. As was the convention for Northern Renaissance painters, Robert Campin did not work alone: he was in charge of a workshop that employed apprentices and journeymen to assist with the work. The extent to which Campin worked on the Merode Triptych himself is unknown. Indeed, the triptych was extremely prolific throughout the fifteenth century, with elements of the painting copied multiple times in panel paintings and manuscripts alike. This would go on to become a staple motif of the Northern Renaissance. It was one of the earliest panel paintings to depict a biblical scene (in this case, the Annunciation) in a naturalistic interior that was not obviously an ecclesiastical space. The Merode Triptych, associated with the Workshop of Robert Campin, is one of the most significant paintings of the Northern Renaissance. The Merode Triptych by the Workshop of Robert Campin, 1427-32, via The Metropolitan Museum of Art, New York Along with Jan van Eyck, Robert Campin is often dubbed the founder of the naturalistic style of panel painting that thrived during the Northern Renaissance, particularly within the Burgundian Netherlands. Campin and the Master of Flémalle once thought to be distinct individuals, are now generally assumed to be one and the same. Robert Campin (1378/9 – 1444) was active as an artist in Tournai from 1406 onwards. Robert Campin Or The “Master of Flémalle” Portrait of a Man by Robert Campin, 1435, via The National Gallery, London (left) with Portrait of a Woman by Robert Campin, 1435, via The National Gallery, London (right) Please check your inbox to activate your subscription Thank you! Nevertheless, artists that followed were greatly influenced by the Limbourg Brothers, with famed Renaissance painters such as Robert Campin and Jan van Eyck drawing from manuscript traditions in their panel paintings. Unfortunately, the Tres Riches Heures was never finished – the brothers may have died from an outbreak of the plague in 1416. Consequently, the naturalistic oil painting that flourished in the Northern Renaissance throughout the fifteenth century owes a great debt to the innovations of the Limbourg Brothers. Before the fifteenth century, manuscript illuminations paid little heed to the laws of nature, with religious symbolism taking precedence over naturalism. This fantastically detailed page illustrates the Limbourg Brothers’ keen observation of the natural world. The above image is taken from the calendar section of the Très Riches Heures, specifically the month of February. Très Riches Heures du Duc de Berry (February), with detail on the right, by The Limbourg Brothers, 1412-40, in the Condé Museum, Château de Chantilly These were the Belles Heures and Très Riches Heures du Duc de Berry – undoubtedly, two of the most lavish manuscripts that survive from the middle ages. However, the brothers’ most famous commissions were for Philip’s brother, Jean de France, Duc de Berry (also brother to King Charles V of France). They were extremely talented illuminators and were even commissioned to illustrate a Bible for the Duke of Burgundy, Philip the Bold. While the other Renaissance painters on this list specialized in oil on wooden panels, the Limbourg Brothers were masters of manuscript illumination. Herman, Paul and Jean de Limbourg – more commonly known as the Limbourg Brothers – were born in Nijmegen sometime between 13. The Original Northern Renaissance Painters: The Limbourg Brothers The Belles Heures of Jean de France, duc de Berry (f.30r: The Annunciation) by The Limbourg Brothers, 1405-09 via The Metropolitan Museum of Art, New York