Jan van Eyck’s THE ANNUNCIATION [1434-36] and the MERODE ALTARPIECE [1425-28] by Robert Campin [with the help of an unknown assistant] have many similarities in both subject and content, yet there are several other aspects of the paintings which are unique.

The subject in both works is essentially the same: the Annunciation from the biblical tale and in both works, the Virgin Mary is the primary focus. Both depict the angel Gabriel appearing to Mary with brightly colored wings and long lavishly flowing robes.

The scenes take place in very different settings, however.

Whereas van Eyck’s scene takes place inside an immaculate and rather grandiose looking church, Campin places the Virgin inside a very middle class home in a typical Flemish dining room of the period. The composition of THE ANNUNCIATION and the MERODE ALTARPIECE are similar in that Gabriel is on the left [Mary’s right], raising one hand in a solemn gesture, with a plaintive look on his face.

In the ALTARPIECE, the ignudi Christ-baby flies into Mary’s womb through a window – the un-broken glass signifying the pure, virgin, ‘unblemished’ birth.

Christ is symbolized by a dove in THE ANNUNCIATION: flying through the window followed by what can only be described as ‘streak lines’ pointing up towards the heavens: the light of God shining through.

Other than the fact that Campin painted on panel – a tryptic – and van Eyck composed his work on canvas, there are many other subtle differences in context between the two. While van Eyck places his subjects in a traditional church-like setting, Robert Campin has chosen to place this ‘holy story’ into the vernacular of the times, utilizing images that his more common, middle-class patrons could easily relate to.

Campin’s scene could be taking place in virtually any Flemish household of his day. The kettle; the towels, and the fireplace are all images that would be familiar to his patrons, although in this case steeped in religious iconography. Campin takes these everyday objects and placed deep religious symbolism upon them – to the point where virtually everything depicted in the scene can be construed as a symbol for something in a religious context. In this way, the artist secularizes a sacred theme while at the same time he experiments heavily with the subject matter.

This aspect of the MERODE ALTARPIECE is certainly the most revolutionary and truly “proto-Renaissance” in concept and execution. The very idea of placing this deep religiously significant scene – the Madonna and the Annunciation – in such a typical, everyday setting must have been utterly mind-blowing to people at the time! Campin’s portrayal of the ‘Madonna of humility’ sitting on the floor; her substantial frame covered by a long, flowing gown of red is symbolically quite compelling.

Van Eyck’s depiction is more mundane, perhaps, but very richly textured and minutely detailed. Gabriel’s robes are beautifully rendered. Mary, in a dark blue gown with a red sash, raises her arms in shock and surprise at what is happening. All of this is rendered with absolute fidelity, down to the tiniest detail. The photographic realism of the Flemish style is what makes these illusions so believable and fascinating to behold.