The Virgin fills all the room in the painting. There is not enough space for her and the child. We can say that she is too big for the picture. Van der Wayden's Madonna is different from maidens of Van Eyck and Robert Campin. Van Eyck portrayed the Virgin as a frail, dainty princess, Campin gave her character of hoarse peasant, and Rogier van der Weyden portrays her as "the good Flemish wife of a noble background" (Snyder pg.127). Also, van der Weyden painting is much simpler in comparison to van Eyck. There is lack of secondary details in Rogier's painting, but the artist emphasized feelings, which are expressed in faces of the figures.
The second Northern Renaissance painting, which I saw was "Virgin and Child" by Jan Gossaert, called Mabuse. He was a Flemish painter, draughtsman, and engraver. He was born in 1478, most probably in Maubege (now in France), in the Burgundian province of Hainaut. He received a title of a master of the Guild of St. Luke at Antwerp in 1503. The composition and nature of certain of his religious paintings suggest he may have trained in Bruges, perhaps with Gerard David. He is also one of the first representatives of what is called Antwerp mannerism. He was traveling to Italy where Italian artists influenced him. He alternated many compositions featuring Italian architecture with acutely observed portraits. The artist worked on this painting from 1520 to 1523. He used oils on panel. The painting represents Virgin Mary holding baby Jesus. The Virgin classicizing draperies and the Child's athletic figure, show Goassert's command of the new style. The child is stylized on Italian model, taken from Michael Angelo sculpture "David". His little body is muscular and strong. The Virgin is stylized as an affectionate and loving mother. She holds her baby very delicately with her strong and long fingers. Her face is turned downward toward the baby. Her eyes are half closed like she is absorbed in praying or meditating the infant.