In the 15th century, International Gothic styles furthered in 2 different directions:
* Florence in the South, leading to the Italian Renaissance;
* Netherlands in the North, leading to the Northern Renaissance.
The Early Netherlandish period begins approximately with Robert Campin and Jan van Eyck in the 1420s, and lasts at least until the death of Gerard Davidin 1523, although many scholars extend it to the start of the Dutch Revolt (1566 or 1568).
Early Netherlandish painters (aka the Flemish Primitives) are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
Robert Campin (c.1375–1444, Netherlandish)
 |
| La Nativité - Robert Campin - oil on panel (85 x 71 cm) c.1425 - Musée des Beaux-Arts (de Dijon) |
 |
| The Virgin and Child before a Firescreen - Robert Campin - oil and tempera on oak panel (63 x 49 cm) c.1440 - National Gallery (London) |
 |
| Portrait of a Woman - Robert Campin - oil with tempera on oak (40 x 28 cm) c.1420s - National Gallery (London) |
 |
| Madonna and Child in a Garden with Saints in the Enclosed Garden - Robert Campin - oil on panel (120 x 148 cm) C.1440/1460 - National Gallery of Art (Washington) |
 |
The Shield of Parade (depicts knight in Italian armour of c.1470, kneeling before lady) - British Museum (London) |
Jan van Eyck (c.1390–1441, Netherlandish)
 |
| The Annunciation - Jan van Eyck - oil on canvas (90 x 34 cm) c.1434-1436 - National Gallery of Art (Washington, D.C.) |
Enguerrand Quarton (1411–1466, French)
aka Master of the Pietà of Avignon
 |
| The Pietà of Villeneuve-lès-Avignon - Enguerrand Quarton - tempera and gold on walnut wood (162 x 218 cm) 1457 - Louvre (Paris) |
Petrus Christus (c.1410/20-c.1475/76, Netherlandish)
 |
| The Man of Sorrows - Petrus Christus - oil on panel (12 x 9 cm) c.1445 - Birmingham Museum and Art Gallery (Birmingham) |
Rogier van der Weyden (1399/1400–1464, Netherlandish)
 |
| The Descent from the Cross - Rogier van der Weyden - oil on oak panel (220 x 262 cm) c.1435 - Museo Nacional del Prado (Madrid) |
 |
| Portrait of a Lady - Rogier van der Weyden - oil on panel (37 x 28 cm) c.1460 - Gallery of Art (Washington, D.C.) |
Hugo van der Goes (c.1440–1482, Flemish)
Dieric Bouts (circa 1420 –1475, Netherlandish)
Hans Memling (c.1430–1494, Netherlandish)
Saint Ursula led 11,000 virgins on pilgrimage from England to Rome, and on the return trip they were killed by pagans.
Guild of Saint Luke
The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries.
They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.
In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public.
 |
| Portinari Altarpiece - Hugo van der Goes - color on wood triptych (254 × 140+305+140 cm) c.1467 - Galleria degli Uffizi (Florence) |
Dieric Bouts (circa 1420 –1475, Netherlandish)
 |
| Portrait of a Man - Dieric Bouts - oil with tempera on oak (32 x 20 cm) 1462 - National Gallery (London) |
Hans Memling (c.1430–1494, Netherlandish)
 |
| Portrait of a Man with an Arrow - Hans Memling - oil on panel (31 x 25 cm) c.1470/5 - National Gallery of Art (Washington, D.C.) |
 |
| St. Ursula Shrine - Hans Memling - carved and gilded wooden reliquary containing oil on panel inserts (87 x 33 x 91 cm) c.1489 - Hans Memling Museum (Bruges, Belgium) |
Guild of Saint Luke
The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries.
They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.
In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public.
Source: Wikipedia
