Roger van der Weyden-Justus van Ghent(FLEMISH PAINTING)

Little is known of the personal history of either of the Van Eycks. They left an influence and had many followers, but whether these were direct pupils or not is an open question. Peter Cristus (1400?-1472) was perhaps a pupil of Jan, though more likely a follower of his methods in color and general technic. Roger van der Weyden(1400?-1464), whether a pupil of the Van Eycks or a rival, produced a similar style of art. His first master was an obscure Robert Campin. He was afterward at Bruges, and from there went to Brussels and founded a school of his own called the oil painting for sale
SCHOOL OF BRABANT: He was more emotional and dramatic than Jan van Eyck, giving much excited action and pathetic expression to his figures in scenes from the passion of Christ. He had not Van Eyck's skill, nor his detail, nor his color. More of a draughtsman than a colorist,oil painting on canvas, he was angular in figure and drapery, but had honesty, pathos, and sincerity, and was very charming in bright background landscapes. Though spending some time in Italy, he was never influenced by Italian art. He was always Flemish in type, subject, and method, a trifle repulsive at first through angularity and emotional exaggeration, but a man to be studied. abstract oil painting on canvas
By Van der Goes (1430?-1482) there are but few good examples, the chief one being an altar-piece in the Uffizi at Florence. It is angular in drawing but full of character, and in beauty of detail and ornamentation is a remarkable picture. He probably followed Van der Weyden, as did also Justus van Ghent (last half of fifteenth century). Contemporary with these men Dierick Bouts (1410-1475) established a school at Haarlem. He was Dutch by birth, but after 1450 settled in Louvain, and in his art belongs to the Flemish school. He was influenced by Van der Weyden, and shows it in his detail of hands and melancholy face, though he differed from him in dramatic action and in type. His figure was awkward, his color warm and rich, and in landscape backgrounds he greatly advanced the painting of the time. art oil painting reproduction
Memling (1425?-1495?), one of the greatest of the school, is another man about whose life little is known. He was probably associated with Van der Weyden in some way. His art is founded on the Van Eyck school, and is remarkable for sincerity, purity, and frankness of attitude. As a religious painter, he was perhaps beyond all his contemporaries in tenderness and pathos. In portraiture he was exceedingly strong in characterization,original oil paintings wholesale, and in his figures very graceful. His flesh painting was excellent, but in textures or landscape work he was not remarkable. His best followers were Van der Meire (1427?-1474?) and Gheeraert David (1450?-1523). The latter was famous for the fine, broad landscapes in the backgrounds of his pictures, said, however, by critics to have been painted by Joachim Patinir. He was realistically horrible in many subjects, and though a close recorder of detail he was much broader than any of his predecessors. hand painted oil paintings

FLEMISH SCHOOLS OF THE SIXTEENTH CENTURY: In this century Flemish painting became rather widely diffused. The schools of Bruges and Ghent gave place to the schools in the large commercial cities like Antwerp and Brussels, and the commercial relations between the Low Countries and Italy finally led to the dissipation of national characteristics in art and the imitation of the Italian Renaissance painters. There is no sharp line of demarcation between those painters who clung to Flemish methods and those who adopted Italian methods. The change was gradual. dog oil painting