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The study of underdrawing in the Van der Weyden/Master of Flemalle groups first of all confirms the validity of the division into three groups: Master of Flemalle, Rogier van der Weyden and Daret. The boundaries separating them can be established on the basis of a stylistic evaluation of the underdrawing. They do not overlap. Some paintings could be transferred from the Flemalle to the Van der Weyden Group. There is a far greater complexity within both the Master of Flemalle and Rogier van der Weyden groups than has generally been assumed. In the Master of Flemalle group only the Salting Madonna and the Berlin Madonna ofHumility can be aligned unhesitatingly with the Frankfurt Virgin and Child, from which the master received his name. The underdrawing is sculptural in indicating volumes. There is some point in adhering to Campbell's Master of the Merode Triptych as a separate artist who followed the Master ofFlemalle. There are also arguments for associating the draughtsman of the Merode Triptychwith the above three paintings. In the latter hypothesis, comparison with the Brussels Annunciation then leads to the almost inevitable conclusion that the Master of Flemalle was following another artist in the Merode Triptych. One
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online – Brill
Published: Jan 1, 1990
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