Melchior Broederlam

Background

Melchior Broederlam was born circa 1350 in Ypres, Belgium.

Career

Broederlam's early career included a lengthy stay in Italy.

From 1381 he was court painter to Louis II, Count of Flanders, and from Louis's death in 1384 worked for his son-in-law and successor, Philip the Bold, although he remained based in Ypres, doing much work, mostly decorative, at Philip's now vanished chateau at Hesdin, which was full of elaborate mechanical devices which needed painting.

Like many court artists, Broederlam was appointed valet de chambre to the Duke in 1387, and in 1391 promoted to court painter. He continued to work for Philip's successor John the Fearless, but last appeared in the Ducal accounts in 1409.

It is known that for the Carthusian cloister in Champmol near Dijon, in collaboration with the sculptor Jacob de Baerze from Dendermonde, he completes two works: the "Crucifixion Altarpiece" and the "Retable of the Saints and Martyrs".

Probably his only surviving paintings (as opposed to painted carvings) are the two outsides of the wings for a well-documented carved altarpiece by Jacques de Baerze commissioned by Philip for the charterhouse of Champmol near Dijon, which Broederlam completed in 1399, also gilding and painting the wood carvings inside.

He died after 1409 near Ypres, Belgium.

Achievements

• Broederlam was one of the earliest Early Netherlandish painters to whom surviving works can be confidently attributed. Although only a single large pair of panel paintings can confidently be attributed to him, no history of Western painting can neglect his contribution.
  
  Besides, Broederlam's use of oil paint had a strong impact on the painters of the following generation, including Robert Campin and Jan van Eyck.

Works

More photos

• painting

  • Altar of Philip the Bold, Duke of Burgundy, right wing: The presentation in the temple and the Flight to Egypt

  • The Visitation (from Altar of Philip the Bold)

  • Altar of Philip the Bold, Duke of Burgundy, left wing: Annunciation and Visitation

  • The Annunciation (from Altar of Philip the Bold)

  • God the Father (from Altar of Philip the Bold)

  • The Presentation of Christ (from Altar of Philip the Bold)

  • Angel (from Altar of Philip the Bold)

  • The Flight into Egypt (from Altar of Philip the Bold)

Views

Broederlam is partially indebted to the tradition of the time, but he also distinguishes himself as a progressive artist. While staying in Italy, Broederlam adopted a sense of space and use of modelling influenced by Trecento painting.

Connections

employer:

Louis Louis II, Count of Flanders

employer:

Philip the Bold

employer:

John the Fearless

colleague:

Jacob de Baerze