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CAMPIN, ROBERT.   Term Paper ID:19722 Click to get this paper

Essay Subject: "The Merode Masterpiece" by the Master of Flemalle. Description, area, plane, perspective, proportion, scale, religious theme.... More...

6 Pages / 1350 Words 2 sources, 3 Citations, MLA Format $24.00 Return to List of Papers

Paper Abstract: "The Merode Masterpiece" by the Master of Flemalle. Description, area, plane, perspective, proportion, scale, religious theme. Paper Introduction: The Merode Altarpiece -By The Master of Flemalle- This paper will be a discussion and critical analysis of "The Merode Altarpiece" by Robert Campin, also known as The Master of Flemalle. The paper will give a description of the painting according to area and plane, perspective, proportion and scale. The art will be placed in the general development of Campin's artistic career and the main bulk of the paper will focus on how this work illustrates religious themes that are representative of the Flemish Society during the early 15th Century of the Renaissance. A conclusion will discuss how art and society become enmeshed with one another. The plane of "The Merode Altarpiece" is two dimensional. Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. Campin lived from 1378 to 1444 which means "The Merode Altarpiece"was painted during his mature years as a painter since he was in his lateforties. With or without sacred figures, this worth remains in man's art today. A middle class house, courtyard and carpenter's shop totallyhumanizes this religious event. For example, in the central sectionthe front of the room, where the Virgin sits, is by far much wider than theback of the room. Aconclusion will discuss how art and society become enmeshed with oneanother. This painting is probably most significant for its representation of theway art became more and more humanized, and the distance between thesecular and the sacred dissolved entirely. We are seeing here in Campin's work the traces of how peoplewanted religion to be a part of their daily lives and actions. The tone of Flemish society was basically sedate and grave. This is because as much as the commonplace hasbeen elevated to the sacred, the sacred must necessarily lose its loftyposition. Thepaper will give a description of the painting according to area and plane,perspective, proportion and scale. This adds much depth to the painting and is moreformalized proportion than if say noses and ears were disproportionatelysized such as in a Picasso. For theologians, this symbolizes Christas bait set in the world as trap to catch Satan. This combination of man and his possessions with holyfigures elevated man and his possessions to worthy artistic subject matter. The International painters with their aristocratic taste, romanticmood and ornamental style were replaced by the basically direct, unadornedrealism of setting and characterization visible in "The Merode Altarpiece". The painting hangs in theCloisters Collection at the Metropolitan Museum of Art in New York City.The painting can be said to be representative of Campin's ability to fusethe religious with the secular and for his mastery of instilling Flemishsocial influences into his work. "The Merode Altarpiece"uses distortion of proportion not in the human or sacred forms apparent,but in the settings and background. Added to this, the event takes placein an everyday middle-class Flemish interior. Tansey. Even the carpenter's shopis complete down to the last detail, and we are even given a view into adistant city street. The overall theme is the Annunciation, occupyingthe central panel, and in this first panel the Donors kneel in a littlecourtyard watching through the door at this mystery that's taking place.They accept the mystery of the Annunciation and there is a factualnessabout their unostentatious and quietly garbed demeanor. Art Through the Ages. 8th ed. The art will be placed in the generaldevelopment of Campin's artistic career and the main bulk of the paper willfocus on how this work illustrates religious themes that are representativeof the Flemish Society during the early 15th Century of the Renaissance. This creates three separate verticalareas for the tempera and oil painting depicting the Donors, theAnnunciation and Joseph, the carpenter respectively in the three panels.The perspective creates an illusion of depth with the centerpoint being themark where lines converge and diminishing size of forms as they recede inthe distance. "Formalized proportion is the mathematical relationship in size ofone part of a work of art to the other parts within the work, as well as tothe totality of the parts; it implies the use of a denominator that iscommon to the various parts." (De la Croix 9). However,it's wood framed three-tiered panel offers a third dimension of depth to aminor degree. The center portion of the three panels measuresapproximately 2 feet in height and 2 feet in width. In another way, these objects and their completeness represent theVirgin's purity and her divine mission. Howeverit is now known that Robert Campin is the painter responsible for thiswork. This systematic ordering of pictorial space in terms of asingle point is representative of Renaissance perspective. All life was saturated with religion to such an extent that the people were in constant danger of losing sight of the distinction between things spiritual and things temporal. New York: Harcourt Brace Jovanovich, 1986.Huizinga, Johan A. All of the objectsdepicted in the Annunciation scene are painted with careful attention totheir actual appearance and detail. Thehumanization which occurred was so great in works like "The MerodeAltarpiece" that the distance between the sacred and the secular becameindistinguishable, in fact they became intermixed. The oil colors are rich in texture and hue, and valuecontrasts are used between light and dark colors to add even more depth.Modelling is therefore effected in the robes and facial features of thefigures depicted through this chiaroscuro. The wings on eitherside of the center panel measure approximately 2 feet in height but only 11inches in width. The triptych panel to the rightshows Joseph building a mousetrap. The shape is basically a rectangle divided into threevertical rectangular wooden panels. What could be more revealing of this inCampin's piece than the fact that the Virgin does not even appear with ahalo? This is donethrough the combination of the temporal and the spiritual, but it is alsodone more subtly by the inclusion of a myriad of everyday objects used inFlemish middle-class homes. However, we must not forget theopposite and equal is that we were de sanctifying religion, and reducing itto the level of the ordinary. There is not an object nor an action, however trivial, that is not constantly correlated with Christ or salvation.... The texture is soft, shiny andsmooth aided by the qualities of enhanced surface light. The Waning of the Middle Ages. The plane of "The Merode Altarpiece" is two dimensional. But forthe most part, it presents the unostentatious style and subject matterrepresentative of the Flemish middle class. In terms of time and place, Campin's worktransports a 15th century city of Flanders into the setting for theAnnunciation. We see the early traces of a socioreligious combination in society,yet we also see, perhaps more importantly, the origins of the separation ofthe godhead from the state. Beforethis, religion was held too sacred and was seen as some lofty objectdeserving worship rather than a useful tool in day-to-day life. By making this distinction, we are able tosee the roots of our own society's dilemma of how to peacefully combine thespiritual with the temporal. Perhaps the most importanteffect it has upon the observer is the fact that it shows man in the early14 s surrounded by his possessions - possessions which intermingle withthe holy figures. The Merode Altarpiece -By The Master of Flemalle- This paper will be a discussion and critical analysis of "The MerodeAltarpiece" by Robert Campin, also known as The Master of Flemalle. We seethis depicted in the first panel of the triptych which sets the tone forthe rest of the piece. If, on the one hand, all details of ordinary life may be raised to a sacred level, on the other hand, all that is holy sinks to the commonplace, by the fact of being blended with everyday life...the demarcation of the spheres of religious thought and that of worldly concerns was nearly obliterated (Huizinga 154).In other words, we have seen the social movement during the early 14 s ofblending the sacred with the ordinary. In this way, as De laCroix (662) notes, "commonplace objects in Flemish painting became suffusedwith religious significance and as such take on the nature of sacramentalthings. It would beanother 5 years at least, until near the end of the 15th century, beforeItaly would see this type of humanized religious representation. Showing even more how following Flemish society's common place valueswas considered living in an austere and devout way is the fact that thisinterior shows all accessories, furniture and utensils. "The Merode Altarpiece" was created during a four year period from1425 to 1428. With this justification for their existence in art, the ordinarythings that surround man -and man himself - share the realm of the saints;conversely, the saints now occupy the realm of man." The remarks of Johan Huizinga basically show that life is guided byphysics much more than most people are aware: Individual and social life, in all their manifestations, are imbued with the conception of faith. The sacred figures are so reduced to thehuman level that they do not even appear painted with haloes. Theywere an unostentatious, conventionally dressed, devout society. The triptych "The Merode Altarpiece" retains something of theInternational painters in the sense of it's decorative line play. There are books,candles, flowers, a sink, firescreen, polished pot, towels and a bench -all of which make the setting complete as every Flemish household shouldbe. Garden City, NY: Doubleday, 1954----------------------- 8 We see a transformation in completely human terms ofa fundamentally religious theme. "The Merode Altarpiece" was for a while a mystery where it's creatorwas concerned because he was known only as the Master of Flemalle. The influence, then, of middle-class Flemish society is obvious inthe religious theme depicted in "The Merode Altarpiece". Works CitedDe la Croix, Horst, and Richard G. This factualnessrepresents Campin's entire approach to the painting. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.