DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0183
FLEMISH PAINTING
Flemish Painting in the Fourteenth Century was based on
the miniature-painting that illustrated the Mediaeval manu-
scripts: indeed, many of the early paintings look like en-
larged versions of the little pictures that adorn the vellum
pages of missals and old romans. The early painters were influenced
by the School of Cologne until the two Van Eycks (Hubert, 1366-1426,
and Jan, 1380-1441), by their marvellous painting and by the followers
they attracted, raised Flemish Art into importance and gave it a
standing by itself as the School of Bruges.
Little is known of the lives of these painters except that they stood
high in the favor of Philip the Good, Duke of Burgundy, who frequently
sent Jan on missions to foreign countries, and that the brothers painted
the great and famous altar-piece, the Adoration of the Lamb, for the
Cathedral of St. Bavon in Ghent. This great work, which is one of
the most celebrated of all altar-pieces, is a landmark in the history of
painting. It may be said to have inaugurated the Flemish School; and
it marks an innovation as well. This Adoration of the Lamb was
ordered by Jodocus Vydts, a burgomaster of Ghent, and his wife,
Isabella Borluut, for their mortuary chapel in the Cathedral of St.
Bavon; and Van Mander relates that when it was finished “swarms
of people” came to gaze upon it; but, as the wings were closed except
on special festivals, “few but the high-born and those who could
afford to pay the custos saw it.” It must be remembered that at this
period changes were also taking place in Italy under Gentile de Fabri-
ano, Pisanello, and Masaccio. Whether the Van Eycks invented oil-
painting or not, they had much to do with perfecting the process and
influencing others to the use of the new method.
The Van Eycks had as pupils and followers all the Flemish and Ger-
man painters of the day and their influence was even felt in Italy,
where their pictures sold for their weight in gold.
157
Flemish Painting in the Fourteenth Century was based on
the miniature-painting that illustrated the Mediaeval manu-
scripts: indeed, many of the early paintings look like en-
larged versions of the little pictures that adorn the vellum
pages of missals and old romans. The early painters were influenced
by the School of Cologne until the two Van Eycks (Hubert, 1366-1426,
and Jan, 1380-1441), by their marvellous painting and by the followers
they attracted, raised Flemish Art into importance and gave it a
standing by itself as the School of Bruges.
Little is known of the lives of these painters except that they stood
high in the favor of Philip the Good, Duke of Burgundy, who frequently
sent Jan on missions to foreign countries, and that the brothers painted
the great and famous altar-piece, the Adoration of the Lamb, for the
Cathedral of St. Bavon in Ghent. This great work, which is one of
the most celebrated of all altar-pieces, is a landmark in the history of
painting. It may be said to have inaugurated the Flemish School; and
it marks an innovation as well. This Adoration of the Lamb was
ordered by Jodocus Vydts, a burgomaster of Ghent, and his wife,
Isabella Borluut, for their mortuary chapel in the Cathedral of St.
Bavon; and Van Mander relates that when it was finished “swarms
of people” came to gaze upon it; but, as the wings were closed except
on special festivals, “few but the high-born and those who could
afford to pay the custos saw it.” It must be remembered that at this
period changes were also taking place in Italy under Gentile de Fabri-
ano, Pisanello, and Masaccio. Whether the Van Eycks invented oil-
painting or not, they had much to do with perfecting the process and
influencing others to the use of the new method.
The Van Eycks had as pupils and followers all the Flemish and Ger-
man painters of the day and their influence was even felt in Italy,
where their pictures sold for their weight in gold.
157