Altar of Philip the Bold, Duke of Burgundy, left wing: Annunciation and Visitation 1399

This panel, ‘Annunciation and Visitation,’ was painted around 1400 by Melchior Broederlam, using tempera on wood. Not just any wood, but a carefully prepared panel – likely several pieces joined together, then gessoed to create an immaculate, absorbent surface. It's fascinating to consider tempera itself: pigment ground and mixed with egg yolk, applied in thin, careful layers. The gold leaf, too, would have been painstakingly applied, burnished to a reflective sheen. The ultramarine blue was derived from lapis lazuli, a semi-precious stone, communicating wealth and status. What’s striking is the contrast between the naturalistic landscape and the architectural settings, which are both highly ornamented. Everything about this painting speaks of craft, skill, and the material world, transforming a devotional scene into a display of extraordinary workmanship. The meticulous nature of the production underscores the value placed on both artistic excellence and religious narrative. By emphasizing materiality and process, we can appreciate how this work transcends conventional distinctions between art and craft.