Look at the merode altarpiece by robert campin. in what way did this painting make art history

The Merode Altarpiece (1427-1432) consists of a triptych that narrates the Virgin Mary’s Assumption when the Archangel Gabriel announces that she’ll carry the son of God, which is depicted in the middle painting. The painting on the left shows two donors, a man and his servant, which critics believe were part of Merode elite. And the painting on the right depicts Saint John working in his workshop, surrounded by carpenter’s tools.

This painting is important by virtue of its realism and naturalism, which were elements of the Renaissance, but this painting is dated many years before the Italian movement apex. There’re also many unconcluded findings of this triptych, which some experts believe weren’t performed by Robert Campin himself, but by a pupil.

Explanation:

Robert Campin (1375-1444) is considered by some art critics as the father of the Flemish Pre-Renaissantist Painting, which some titled to the Van Eyck brothers. In fact, the three personalities were contemporary, but some researchers found that Campin production preceded Jan Van Eyck.

He was influenced by many illumination masters, Robert Campin has reached a naturalism level that would be noticed in Italy Renaissance.  

The Merode Altarpiece is marked by its verisimilitude, which we can note in there scene, and also by its naturalism. It narrates the Virgin Mary’s Assumption, who’s reading and hasn’t noticed the presence of Archangel Gabriel. He’s about to tell her that she’ll give birth to God’s son, depicted as a small image of Jesus entering through the window.

There are also donors coming through the door, probably the figures commissioned the triptych. Saint John is depicted in the third part of the artwork, working in his workshop. There’s a lot of mystery behind the triptych that’s now part of the Metropolitan Museum collection. Some believe that’s a copy of another painting located in Brussels, that has the Assumption as the theme, and Mary is positioned in a different way, looking at the angel instead of reading.

The two donors are still unknown, as the triptych passed to many owners' hands, until being acquired by the museum. Mary is painted as a wise woman and John as a craftsman, something that would be returned by the Italian painters only a few years ahead.