The Visitation (from Altar of Philip the Bold) 1399

Melchior Broederlam painted this panel of the Visitation around 1395 in what is now France, likely using tempera paint on wood panel. Consider the time and labor involved in such a piece. Pigments had to be painstakingly sourced and ground. Panels were prepared with gesso, and each layer of paint carefully applied. Gold leaf, too, was meticulously laid to create the halos. These were all skilled trades, often involving workshop collaboration. The opulence of the materials—particularly the ultramarine blue, derived from lapis lazuli—signals wealth and patronage, and also reflects a sophisticated understanding of material properties. Broederlam’s skill wasn't just in representation; it was in harnessing the inherent qualities of his chosen media to convey meaning. The smooth surface and gem-like colors contribute to an overall effect of otherworldly beauty, and the texture of the applied gold leaf further elevates this image. Recognizing the labor and the value of these raw materials is key to understanding the social context of this artwork, challenging any notion that it is solely a product of individual genius, removed from the world of craft and commerce.