Altar “Trinity. Madonna with a baby by the fireplace, ”Robert Kampen – description

Altar “Trinity. Madonna with a baby by the fireplace, ”Robert Kampen – description
Altar "Trinity. Madonna with a baby by the fireplace, ”Robert Kampen - description - 1

  • Posted by Robert Campen
  • Museum: Hermitage
  • Year: 1430s

Description of the picture :

Trinity. The mother with the baby by the fireplace is Robert Campen. Wood (oak), butter. 34.3 x 24.5 cm

   This small altar is the only work of Robert Kampen, stored in the Hermitage collection. The features of the nascent painting of the Northern Renaissance are already clearly visible in this picture.

   On the diptych (a folding altar consisting of two trunks) two important events from the life of Christ are childhood and resurrection.

Right sash

   On the right side there is an ordinary living room. A merry fire burns in the fireplace. Open wooden shutters of the riddled window are allowed into the room of daylight. Long gold is played by glare on a brass tray and jug. Warm honey-brown shades of wooden legs of a small table. A large white towel decorated with embroidery hangs on a light gray wall.

   A young woman in a blue dress with a scarlet cloak sits near the fireplace. Thick waves of copper-red hair decorated with a small diadem frame a tender face. With love and bright sorrow, she looks at the baby lying on her lap. With her left hand, she gently presses him to her, and with her right, extended to the fire, carefully checks to see if the baby is warm enough.

   A familiar home picture from which it blows with coziness and quiet happiness. And only the neighboring altar sash and the robes of the mother tell us that this is an image of Madonna.

Left sash

   On the left sash, God the Father also carefully holds the crucified son in his arms. He sits on a marble throne under the open canopy of the celestial blue silk canopy. Amber glare plays on a golden tiara, crowned with a cross and decorated with precious stones and pearls. Almost completely sown hair and beard, a calm face is covered with wrinkles. Strict eyes full of wisdom and sorrow look a little distant.

   Traces of suffering and pain are visible on the exhausted frozen face of Christ, dark shadows emphasize covered eyes and mournful folds at the mouth. The left hand is involuntarily lowered, the right clamps the wound on the chest. Wounds from nails are visible, and the crown of thorns are still on his head. On the shoulder of Jesus sits a white dove, spreading its wings, a symbol of the holy spirit.

   There is no wide variety of colors in the altar, the artist uses many cool shades of blue, red and brown colors. Both images combine the blue-red robes of God the father and the Mother of God into one whole, emphasizing the double essence of Christ – divine and human. The purity and holiness symbolizes the white color with which the master writes the plumage of a dove, diaper and bedspread of Jesus.

   The artist carefully prescribes many details: nail caps in wooden shutters, jugs, carved bas-reliefs on the throne and fireplace. The texture of the fabric is very accurately transmitted – a heavy gloss of silk and the softness of baby blankets.

   Each sculpture in the picture bears its own meaning: so the lioness, who brought the cub back to life with her growl, symbolizes the resurrection, and the pelican, feeding the chicks with his blood, is a sign of communion.

   Looking at this altar, you never cease to admire the master’s skill, connecting church canons with the details of everyday life.