Early Netherlandish painting refers to the work of artists, also known as the Flemish Primitives, active in the Low Countries during the 15th- and 16th-century Northern Renaissance, especially in the flourishing Burgundian cities of Bruges and Ghent. The period begins approximately with the careers of Robert Campin and Jan van Eyck. It lasts at least to the death of Gerard David in 1523; many scholars extend it to the death of Pieter Bruegel the Elder in 1569, or the start of the Dutch Revolt in 1566 or 1568, or to the start of the 17th century. Early Netherlandish painting corresponds to the early and high Italian Renaissance but is seen as an independent artistic culture, separate from the Renaissance humanism that characterised developments in central Italy. Because the art of these painters represent the culmination of the northern European Mediaeval artistic heritage and the incorporation of Renaissance ideals, it is categorised as belonging to both the Early Renaissance and the Late Gothic.
The major artists of this period include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Simon Marmion, Hans Memling, Hugo van der Goes, Geertgen tot Sint Jans, Gerard David, Hieronymus Bosch and Bruegel. Such artists made significant advances in natural representation and illusionism, and their work often features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape, although often lush and well described, was usually relegated to the background. The works of this period are mostly panel paintings, which might comprise single panels or more complex altarpieces, usually in the form of hinged triptychs or polyptychs. Illuminated manuscripts and sculptures were also common, being produced mainly for the higher end of the market.
The Early Netherlandish period coincides with the height of Burgundian influence across Europe. The Low Countries became a political and economic centre, noted for crafts and the production of luxury goods. Driven by the success of the Burgundian empire, the region enjoyed a period of financial prosperity and became an area of intellectual and artistic free thought. The paintings of the Netherlandish masters were often exported for German and Italian merchants and bankers. Aided by the workshop system, high-end panels were mass produced both for sale on the open market (usually through market stalls at fairs) and on commission.
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—Unknown. The Thousand and One Nights.
AWP. Anthology of World Poetry, An. Mark Van Doren, ed. (Rev. and enl. Ed., 1936)
“Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called “silent poetry,” and poetry “speaking painting.” The laws of each art are convertible into the laws of every other.”
—Ralph Waldo Emerson (1803–1882)