None of this early Flemish art has the grandeur of Italian
composition, but in realistic detail, in landscape, architecture,
figure, and dress, in pathos, sincerity, and sentiment it is
unsurpassed by any fifteenth-century art.
[Illustration: FIG. 75.--MEMLING (?). ST. LAWRENCE (DETAIL). NAT.
GAL., LONDON.]
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
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.
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