The Northern Renaissance: 1400s

In the 15th century, the northern European countries we know today as Belgium, the Netherlands and Luxembourg were controlled by the enormously wealthy Dukes of Burgundy (Burgundy is a region in France). Today the 15th century in this region is often referred to today as the Burgundian Netherlands. The court of the Dukes of Burgundy were the most important patrons of the early Northern Renaissance, but newly wealthy private citizens also commissioned art as part of a growing interest in private meditation and prayer. Portraits were also commissioned in growing numbers.

Mary cries and falls into John’s arms. Rogier’s precise observations accentuate the emotional impact of this scene.

Rogier van der Weyden, The Crucifixion, with ...

A center for trade in northern Europe, Flanders was fertile ground for painting, tapestry, goldwork, and sculpture.

Introduction to Fifteenth-century Flanders

Rich in art and ceremony, the short-lived Court of Burgundy was one of the most splendid in Europe.

Introduction to Burgundy in the Fifteenth Century

Limbourg Brothers, May, from Les Très Riches Heures du Duc de Berry, 1413-16, ink on vellum (Musée Condé, Chantilly) — The calendar pages of this sumptuous prayer book depict seasonal life. Above it all, constellations help mark time.

Limbourg brothers, Très Riches Heures du Duc ...

Illustrating a 15th century Netherlandish Altarpiece — The detailed scenes of this multi-layered painting drew worshipers in—and brought them closer to God.

Biblical Storytelling: Illustrating a Fifteenth-Century Netherlandish Altarpiece

Herman, Paul, and Jean de Limbourg, The Belles Heures of Jean de France, Duc de Berry (detail) — Open this astonishing book and see how three brothers invented compositional devices to unite text and image.

Herman, Paul, and Jean de Limbourg, The ...

The Holy Thorn Reliquary of Jean, duc de Berry — This foot-high theatre offers a drama in three acts. A golden thorn claims the starring role.

The Holy Thorn Reliquary of Jean, duc ...

Robert Campin, Merode Altarpiece (detail) — Look closely—not only is the level of detail here astonishing, but these everyday objects embody religious symbols.

Workshop of Robert Campin, Annunciation Triptych (Merode ...

Enguerrand Quarton(?), Pietà of Villeneuve-lès-Avignon, c. 1455, oil on wood, 163 x 219 cm (Musée du Louvre) — This panel has one foot in the medieval tradition, but Christ’s body and the cleric’s face point to a new realism.

Enguerrand Quarton(?), Pietà of Villeneuve-lès-Avignon

Jan van Eyck, Portrait of a Man in a Red Turban- detail — “As I can.” On the frame to this portrait, the painter humblebrags—and establishes his place in history.

Jan van Eyck, Portrait of a Man ...

The Harrowing of Hell, c. 1440-70, carved painted and gilt alabaster, 58.3 x 31.5 cm (Victoria and Albert Museum) — Straight from the monster’s mouth! Christ leads the way as Adam and Eve escape the jaws of Hell.

The Harrowing of Hell

Claus Sluter (with Claus de Werve), Mourners, Tomb of Philip the Bold, Duke of Burgundy, 1410 (Museum of Fine Arts, Dijon) — Monks, or modern dancers? Robes dwarf these hooded men, but outsized drapery befits their monumental expressivity.

Claus Sluter (with Claus de Werve), Mourners

Michael Pacher, St. Wolfgang Altarpiece, c. 1479-81 (Church of St. Wolfgang, St. Wolfgang, Austria) — This “total work of art” unites sculpture, painting, and architecture—and connects real space to a visionary realm.

Michael Pacher, St. Wolfgang Altarpiece

Sluter, The Well of Moses — Grieving angels and individualized prophets once inspired prayers at this well-funded Carthusian monastery.

Claus Sluter (with Claus de Werwe), The Well ...

Rogier van der Weyden Crucifixion-detail — From the ruffled veil around Mary’s face to the lancet windows of a very Gothic Jerusalem, Rogier revels in detail.

Rogier van der Weyden, Crucifixion Triptych

The Unicorn in Captivity (one of seven woven hangings popularly known as the Unicorn Tapestries or the Hunt of the Unicorn)- detail — This is a creature so pure it can’t be caught—maybe that’s why the meaning of the tapestry eludes us.

The Unicorn in Captivity

Robert Campin (also called the Master of Flémalle), Christ and the Virgin, c. 1430-35, oil and gold on panel, 11-1/4 x 17-15/16 inches (28.6 x 45.6 cm) (Philadelphia Museum of Art) — So close, yet so far—face-to-face with Christ, we fail to catch his eye. But what’s that reflected on his chest?

Robert Campin, Christ and the Virgin

Hugo van der Goes, The Adoration of the Kings (detail) — […]

Hugo van der Goes, The Adoration of the ...

Petrus Christus, Portrait of a Young Woman, c. 1470, oil on oak, 29 x 22.50 cm (Gemäldegalerie, Staatliche Museen zu Berlin) — Who’s that girl? We know so little about this portrait, but mystery only adds to its appeal.

Petrus Christus, Portrait of a Young Woman

Jan van Eyck, The Madonna in the Church, c. 1438, oil on oak, 31 x 14 cm (Gemäldegalerie, Staatliche Museen zu Berlin)-detail — Light floods this church from the north. Impossible? That depends on how you see it. To van Eyck, it was visionary.

Jan van Eyck, The Madonna in the ...