Having just entered the room, the angel Gabriel is about to tell the Virgin Mary that she will be the mother of Jesus. The golden rays pouring in through the left oculus carry a miniature figure with a cross. On the right wing, Joseph, who is betrothed to the Virgin, works in his carpenter’s shop, drilling holes in a board. The mousetraps on the bench and in the shop window opening onto the street are thought to allude to references in the writings of Saint Augustine identifying the cross as the devil’s mousetrap. On the left wing, the kneeling donor appears to witness the central scene through the open door. His wife kneels behind him, and a town messenger stands at the garden gate. The owners would have purchased the triptych to use in private prayer. An image of Christ’s conception in an interior not unlike the one in which they lived also may have reinforced their hope for their own children. One of the most celebrated early Netherlandish paintings—particularly for its detailed observation, rich imagery, and superb condition—this triptych belongs to a group of paintings associated with the Tournai workshop of Robert Campin (ca. 1375–1444), sometimes called the Master of Flémalle. Documents indicate that he hired at least two assistants, the young Rogier van der Weyden (ca. 1400–1464) and Jacques Daret (ca. 1404–1468). Stylistic and technical evidence suggests that the altarpiece was executed in phases. The Annunciation, which follows a slightly earlier workshop composition, probably was not commissioned. Shortly thereafter, the male donor ordered the wings, which appear to have been painted by two artists. At a later point, in the 1430s, presumably following the donor’s marriage, the portraits of his wife and of the messenger were added. The windows of the central panel, originally covered with gold leaf, were painted with a blue sky, and the armorial shields were added afterward.
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Artwork Details
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Title:Annunciation Triptych (Merode Altarpiece)
Artist:Workshop of Robert Campin (Netherlandish, ca. 1375–1444 Tournai)
Date:ca. 1427–32
Geography:Made in Tournai, South Netherlands
Culture:South Netherlandish
Medium:Oil on oak
Dimensions:Overall (open): 25 3/8 x 46 3/8 in. (64.5 x 117.8 cm) Central panel: 25 1/4 x 24 7/8 in. (64.1 x 63.2 cm) each wing: 25 3/8 x 10 3/4 in. (64.5 x 27.3 cm)
Classification:Paintings-Panels
Credit Line:The Cloisters Collection, 1956
Accession Number:56.70a–c
Marking: Arms (central panel, left window): D'or au chevron de sable charge sur sa pointe d'une chaine de quatre chainons d'argent elle meme placee en chevron. For Ingelbrechts (Ingelbrechts or Ymbrechts) of Malines and Spain. Arms (central panel, right window): D'or a la fasce de gueules accolee de trois annelets de meme. Possibly for Calcum (Lohausen) family, Germany. Arms on shield of figure behind the donors): D'or aux trois pals de gueles.
Pierre d'Alcantara Charles Marie d'Arenberg, prince d'Arenberg, Paris (1820–1849) ; presented as a wedding gift to his daughter, comtesse Marie-Nicolette de Merode, Westerloo-Tongerloo and Brussels (1849–d. 1905) ; by descent to her daughter, comtesse Jeanne de Merode, Westerloo-Tongerloo and Brussels (1905–d. 1944) ; by descent to her niece, comtesse Jeanne de Grunne (1944–1956) ; [ Rosenberg & Stiebel, New York (sold 1956)]
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Châtelet, Albert. Rogier van der Weyden: Problèmes de la vie et de l'oeuvre. Strasbourg: Presses Universitaires de Strasbourg, 1999. pp. 94, 97.
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Wilmering, Antoine M. The Gubbio Studiolo and Its Conservation: Volume 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo. New York: The Metropolitan Museum of Art, 1999. pp. 56–57, fig. 1.64.
Liess, Reinhard. Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London. Vol. 1. Münster: Lit Verlag, 2000. pp. 8, 17–19, 36–40, 52, 60, 66–71, 80, 86–88, 96, 99–102, 163, 171, 241, 255, 267–68, 365.
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Belozerskaya, Marina. Rethinking the Renaissance: Burgundian Arts Across Europe. Cambridge: Cambridge University Press, 2002. p. 227, fig. 52.
Borchert, Till-Holger. The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530. Ghent: Groeninge Museum, 2002. pp. 12, 249.
De Vos, Dirk. The Flemish Primitives: The Masterpieces. Antwerp: Mercatorfonds, 2002. pp. 27–34.
Hollander, Martha. An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art. Berkeley: University of California Press, 2002. pp. 159, 161–62, 185, 223 n. 13, fig. 72.
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Williamson, Beth. "Altarpieces, Liturgy, and Devotion." Speculum 79, no. 2 (April 2004). p. 389.
Ainsworth, Maryan W. "Intentional Alterations of Early Netherlandish Paintings." Metropolitan Museum Journal 40 (2005). pp. 56, 58, fig. 11.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 89, pp. 125–26, 197.
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Harbison, Craig. "Iconography and Iconology." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 392–94, 396, 398–99, 402.
Ketelsen, Thomas, and Uta Neidhardt, ed. Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden. Munich: Residenzschloss Dresden, 2005. pp. 136, 173 n. 2.
Krul, Wessel. "Realism, Renaissance and Nationalism." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 289, 428 n. 92.
Martens, Maximiliaan P. J. "Patronage." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. p. 364.
Ridderbos, Bernhard. "Objects and Questions." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 13, 16–23, 83, 409 nn. 31, 33, p. 410 nn. 46–48, fig. 7, 9, ill. on back cover.
Norris, Michael. Medieval Art: A Resource for Educators. New York: The Metropolitan Museum of Art, 2005. no. 32, pp. 126–29.
Falkenburg, Reindert L. "Hans Memling's Van Nieuwenhove Diptych: The Place of Prayer in Early Netherlandish Devotional Painting." In Essays in Context: Unfolding the Netherlandish Diptych, edited by John Oliver Hand, and Ron Spronk. Cambridge, Mass.: Harvard University Art Museums, 2006. pp. 101–2, [published in conjunction with the 2006 exh. cat., "Prayers and Portraits: Unfolding the Netherlandish Diptych"].
Rosenberg, Pierre. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan: Skira, 2006. pp. 26–27, 228–29.
Châtelet, Albert. "Robert Campin et le Hainaut." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. p. 187.
Ekserdjian, David. Alle origini della natura morta. Milan: Electa, 2007. pp. 148–51.
Kemperdick, Stephan. "The Flémalle—Campin—Van der Weyden Problem: Still Existing." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. pp. 3–4, 7.
Rohlmann, Michael. "The Annunciation by Joos Ammann in Genoa: Context, Function and Metapictorial Quality." In Cultural Exchange Between the Low Countries and Italy (1400–1600), edited by Ingrid Alexander-Skipnes. Turnhout, Belgium: Brepols, 2007. p. 40 n. 57.
Vanwijnsberghe, Dominique. "Robert Campin and Tournaisian Manuscript Painting." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. pp. 132, 136.
Laemers, Suzanne. "'A Matter of Character': Max J. Friedländer et ses relations avec Émile Renders et Jef van der Veken." In Autour de la "Madeleine Renders": Un aspect de l'histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècle, edited by Dominique Vanwijnsberghe. Brussels: Koninklijk Instituut voor het Kunstpatrimonium, 2008. pp. 166–67 n. 68, pp. 170, 175.
LeZotte, Annette. The Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- and Early Sixteenth-Century Domestic Imagery. Lewiston, N.Y.: Edwin Mellen Press, 2008. pp. 20, 26–32, 38, 44, 72–75, 109–12, 133–37.
Liedtke, Walter A. Vermeer: The Complete Paintings. Antwerp: Ludion Press, 2008. p. 165.
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Frinta, Mojmír. "Observation on Michel Sittow." Artibus et Historiae 30, no. 60 (2009). p. 155 n. 18.
Kemperdick, Stephan. "I tableau à hysseoires – A Panel with Two Wings: Altarpieces with and without Foldable Wings at the Time of Rogier van der Weyden." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. pp. 118, 126–27.
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Kemperdick, Stephan, and Jochen Sander, ed. The Master of Flémalle and Rogier van der Weyden. Frankfurt: Städel Museum, 2009. no. 4, pp. 139, 171–72 nn. 53 and 91, pp. 188, 192–201, 205, 229, 232–33, 236-37, 289-90, 326, fig. 97, 113, 115-116, 118.
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Borchert, Till-Holger, ed. Van Eyck to Dürer: Early Netherlandish Painting and Central Europe, 1430–1530. Tielt, Belgium: Groeninge Museum, 2010. pp. 167, 175, 471, fig. a.
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Gertsman, Elina. "The Pilgrim's Progress: Devotional Journey Through the Holy Womb." In Push Me, Pull You: Physical and Spatial Interaction in Late Medieval and Early Renaissance Art, edited by Sarah Blick, and Laura D. Gelfand. Studies in Medieval and Reformation Traditions 156, Vol. 2. Leiden: Brill, 2011. p. 235, fig. 8.2.
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Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. pp. 130–31.
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Dandridge, Pete, and Lisa Ellis. "Making." In Small Wonders: Gothic Boxwood Miniatures, edited by Lisa Ellis, and Alexandra Suda. Toronto: Art Gallery of Ontario, 2016. ill. p. 25.
Dandridge, Pete, and Lisa Ellis. "Workshop Practices." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten. Amsterdam: Rijksmuseum, 2016. pp. 514–15, 572, fig. 222.
Falkenburg, Reindert. "Prayer Nuts Seen Through the 'Eyes of the Heart'." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten. Amsterdam: Rijksmuseum, 2016. pp. 124–27, 129, fig. 72.
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Syson, Luke. "Italian Maiolica Painting: Composing for Context." In Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art, edited by Timothy Wilson. Highlights of the Collection. New York: The Metropolitan Museum of Art, 2016. p. 14.
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Bolton, Andrew, ed. Heavenly Bodies: Fashion and the Catholic Imagination. Vol. 2. New York: The Metropolitan Museum of Art, 2018. pp. 274, 280.
Publishing and Marketing Assistant Rachel High sits down with How to Read Medieval Art author Wendy Stein to learn some of the meaning behind art of the Middle Ages and uncover the value of looking closely.
The Monuments Men were a group of men and women who risked their lives to preserve Europe's cultural treasures during World War II. Archivists Melissa Bowling and James Moske tell their story using a wealth of material in the Metropolitan's archives.
Eighty-five years ago today, on June 12, 1925, The Metropolitan Museum of Art purchased a collection of medieval sculpture and architectural fragments from George Grey Barnard (1863–1938), a prominent American sculptor and collector. This acquisition formed the nucleus of what would become The Cloisters, the branch of the Museum located in Northern Manhattan and devoted to the art and architecture of medieval Europe.
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