query: movement beaune altarpiece
supports: Rogier van der Weyden or Roger de la Pasture (1399 or 1400  18 June 1464) was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. He was highly successful and internationally famous in his lifetime; his paintings were exported  or taken  to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility and foreign princes. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin and van Eyck, as the third (by birth date) of the three great Early Flemish artists ('Vlaamse Primitieven' or 'Flemish Primitives'), and widely as the most influential Northern painter of the 15th century. Karel van Mander wrote that the great artistic contribution of Rogier van der Weyden lies in his ideas, his composition and rendering of the soul's expression through pain, happiness or anger, and the tempering of this emotional testimony to the subject matter of his work. Robert Campin (c. 1375  26 April 1444), now usually identified as the artist known as the Master of Flémalle, is usually considered the first great master of Flemish and Early Netherlandish painting. His identity and the attribution of the paintings in the "Campin group" has been a matter of controversy for decades. His life is relatively well documented for the period, but he did not sign his paintings, and none could be securely connected with him, whilst a corpus of work attached to the unidentified "Master of Flémalle". Karel van Mander (I) or Carel van Mander I (alternative name spellings: Carel van Mandere, Karel Van Mander and Carel Van Mander) (May 1548  2 September 1606) was a Flemish painter, poet, art historian and art theoretician, who established himself in the Dutch Republic in the latter part of his life. He is mainly remembered as a biographer of Early Netherlandish painters and Northern Renaissance artists in his "Schilder-boeck". As an artist and art theoretician he played a significant role in the spread and development of Northern Mannerism in the Dutch Republic. The Beaune Altarpiece ( c. 1445 -- 50 ) , often called The Last Judgement , is a large polyptych altarpiece by the Flemish artist Rogier van der Weyden . It was painted in oil on oak panels , with parts later transferred to canvas . It consists of fifteen paintings on nine panels ; six of these are painted on both sides . It retains some of its original frames . Six outer panels ( or shutters ) are hinged , when folded they show an exterior view of saints and the donors . The inner panels contain scenes from the Last Judgement and are arranged across two registers . The large central panel that spans both registers shows Christ seated on a rainbow in judgement , with his feet resting on a golden globe . Below him the Archangel Michael holds scales as he weighs souls . The panel on Christ 's far right shows the gates of Heaven , that to his far left the entrance to Hell . The panels of the lower register form a continuous landscape , with figures depicted moving from the central panel to their final destinations after receiving judgement . The altarpiece was commissioned in 1443 for the Hospices de Beaune by Nicolas Rolin , Chancellor of the Duchy of Burgundy , and his wife Guigone de Salins , who is buried in front of the altarpiece 's original location in the hospice . It is one of van der Weyden 's most ambitious works , equal to his Prado Deposition and lost Justice of Trajan and Herkinbald . It remains in the hospice today , although not in its original position . It is in poor condition and was moved in the 20th century to shield it from sunlight and better protect it from the almost 300,000 visitors it receives annually . It has suffered from extensive paint loss , the wearing and darkening of its colours , and an accumulation of dirt . In addition , a heavy layer of over-paint was applied during restoration . The two painted sides of the outer panels have been separated so both can be shown simultaneously ; traditionally , the shutters would have been opened only on selected Sundays or church holidays . Jan van Eyck (before c. 1390  9 July 1441) was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school and one of the most significant representatives of Northern Renaissance art. The few surviving records of his early life indicate that he was born c. 13801390, most likely in Maaseik. He took employment in the Hague as painter and "Valet de chambre" with John III the Pitiless, ruler of Holland and Hainaut in the Hague around 1422, when he was already a master painter with workshop assistants. After John's death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. He was highly regarded by Philip, and undertook a number of diplomatic visits abroad, including to Lisbon in 1428 to explore the possibility of a marriage contract between the duke and Isabella of Portugal.
candidates: early netherlandish painting northern mannerism northern renaissance renaissance
answer: early netherlandish painting