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Saint John the Baptist and the Franciscan Heinrich von Werl
Oil on oak panel. 1438
Campin, Robert
Saint John the Baptist and the Franciscan Heinrich von Werl
Oil on oak panel. 1438
Campin, Robert

An inscription in gothic letters identifies the sitter and dates the work: "In the year 1438, I painted this effigy of Master Heinrich von Werl, Doctor of Cologne". A Provincial of the Franciscan Order in that German city beginning in 1432, Werl was full Professor of Theology and quite a famous preacher. On a trip to Tournai, he was able to contact the painter and have himself portrayed inside a r

The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der
The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der

The panel has been trimmed on all four sides but little of the painted surface can have been lost. It is made from two boards of Baltic oak, both from the same tree; the last ring was formed in 1372. Black overpaint conceals areas of damage on our left of the Virgin`s face and on our left of the Child`s head and torso. On our right of the Virgin, a similar area of black overpaint may hide a shadow

Pietà
Oil on panel. 1440 - 1450
Weyden, Rogier Van Der (Workshop Of)
Pietà
Oil on panel. 1440 - 1450
Weyden, Rogier Van Der (Workshop Of)

The panel has been extended at the top: the original part is one board of Baltic oak, horizontal in grain and about 27 cm high. Sections of the unpainted edges survive on all four sides. The last ring in this original part of the panel was formed in 1418. Above is an addition, also of oak; it is cut into an arched shape fashionable in the late fifteenth and early sixteenth centuries. Dendrochronol

Saint Barbara
Oil on oak panel. 1438
Campin, Robert
Saint Barbara
Oil on oak panel. 1438
Campin, Robert

Saint Barbara reads by the light of a fireplace in a richly appointed room. The key to her identity lies outside the window that opens onto a landscape with a tower, her customary attribute. That is where her father, Dioscoro, imprisoned her to avoid her conversion to Christianity. Campin´s painting is one of the finest examples of primitive Flemish artists´ skill at representing indoor scenes and

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