Late Gothic
The key to much 15th-century painting in northern Europe lies in the Low Countries. The influence of Paris and Dijon decreased, partly because of the renewal of the Hundred Years’ War between England and France and partly because of the removal of the Burgundian court, after the mid-1420s, from Dijon to Brussels, which subsequently became the centre of an extensive court patronage.
The founder of the Flemish school of painting seems to have been Robert Campin of Tournai. The works of Campin, his pupil Rogier van der Weyden, and Jan van Eyck remained influential for the whole century. One of the most important discoveries of the period of about 1430—especially in the work of van Eyck—was the multifarious effects a painter can achieve by observing the action of light. These early Flemish artists found that light can define form, shape, and texture and that, when captured in a landscape, it can help convey a mood. Rogier van der Weyden also explored the problems of conveying emotion. A development in the rendering of the drapery—the so-called crumpled style of hard angular folds—is particularly clear in the paintings of Campin. Portraiture made dramatic progress during this period. Portraits were obviously not new; sculptors were already experimenting in the 14th century with life—and death—masks. But the brilliant use of lighting gives the portraits of Jan van Eyck, for instance, a vivid life hitherto quite unknown.
A great deal of later 15th- and 16th-century Flemish painting seems to play variations on these themes. Although there were painters with distinctly individual styles, such as Hugo van der Goes, with his highly accomplished technique and somewhat contemplative depictions, Hans Memling was more typical (despite having been born in the Rhineland).
The influence of van Eyck’s paintings was felt to a limited extent outside the Low Countries—for example, by Konrad Witz of Basel, Switz., by the Master of the Aix Annunciation (1442) of Aix-en-Provence, Fr., and by the Neapolitan artist Colantonio and his illustrious pupil Antonello da Messina. In the course of the century, however, the style of Rogier van der Weyden and his immediate successors, such as Dirck Bouts, became more influential, being felt in Germany, England, Spain, and Portugal. Evidence of Rogier van der Weyden’s influence can be seen in the works of Hans Pleydenwurff of Nürnberg, in the wall paintings in Eton College Chapel (c. 1480), and in the paintings of Nuno Gonçalves in Portugal. This new “international style” also influenced the great German engraver Martin Schongauer and, ultimately, the outstanding representative of the German Renaissance school of painting, Albrecht Dürer.
Any individualists at this time were usually painters who chose to go to the extreme of emphasizing the bizarre or the horrifying. Hugo van der Goes veered in this direction. Much more disquieting is the painting of Hiëronymus Bosch, whose strange scenes still puzzle and perplex (see photograph). The work of Matthias Grünewald, whose main surviving work is the altarpiece for a monastery at Isenheim, Ger. (Unterlinden Museum, Colmar, Fr.; see
photograph), is grotesque and horrifying.
A very different sort of extreme individuality is found in the work of the Tirolean painter and sculptor Michael Pacher. His pictorial work is so strongly marked by a concern with the structure of the composition and with effects of perspective—particularly foreshortening—that it seems clear he knew the work of Andrea Mantegna of Padua. Although virtually free of antique motifs, Pacher’s painting demonstrates the growing fascination of Italian Renaissance art for northern artists.
Rather different were the French painters of the 15th century. Court art revived, especially during the reign of Louis XI (1461–83), as exemplified by the illuminated manuscript Le Livre du coeur d’amours éspris (1465; Österreichische Nationalbibliothek, Vienna). The most interesting painter was probably Jean Fouquet, who, apparently early in his career, visited Italy. Italian details certainly appear in his work, but, as is evident in the Hours of Étienne Chevalier (Condé Museum, Chantilly) and the “Melun Diptych” (now divided between the Staatliche Museen Preussischer Kulturbesitz, Berlin, and the Museum of Fine Arts, Antwerp), he still painted within the northern tradition. The restrained and somewhat reticent character of much French painting is interestingly similar to much of the sculpture.