During the 15th century, Northern Europe and Italy witnessed a serious revival of drawing accompanied by sculpture, painting, and architecture. This awakening was called the Renaissance. The revival brought important changes to the representation of pictorial space in these two regions. These changes that occurred in the representation of pictorial space were mostly driven by the new idea of ​​“Humanism”. The philosophy of humanism has practically outsmarted religious and secular beliefs. As a result, philosophy has shifted much emphasis towards the dignity and value of the individual (Prescott, 2005; Fuga, 2006). The changes witnessed in art in Northern Europe during the 15th century Although it was thought that during the 15th century, Northern Europe underwent numerous alterations in the representation of pictorial space, this article will only address two of the major changes. They include “THE MAN WITH A RED TURBAN” developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, sculptors used colored pigments, drying oils such as walnut, flax and poop seed oil. The tools included wooden panels, canvases, walls, brushes and palette knives (Pearson, 2005; Fuga, 2006).MAARTEN CAN NIEUWENHOVE DIPTYCHThe “Maarten can Nieuwenhove Diptych” was designed and developed in 1487 by Hans Memling. This portrait is one of the best intact diptychs witnessed in Northern Europe during the 15th century. Han's work introduced a new concept in the devotional diptych. Unlike portraits existing before the 15th century, Han ones show the figures in a spatially coherent space. The figures can then be seen clearly (Pearson, 2005). The characters in the portrait are the Virgin and Child on a... center of the card......tism. The dove, positioned discreetly above Christ's head, symbolizes the Holy Spirit. The other characters are angels who believed they were attending the baptism. Christ's nakedness instead symbolizes humility. The overall landscape in this image shows extraordinary naturalism. Francesca's work also marked the era of the excessive antiquarian style of sculpture and the discreet use of oil in painting (Prescott, 2005). Works Cited Fuga, A. (2006). Artists' techniques and materials. Los Angeles; J. Paul Getty Museum. Pearson, A. G. (2005). Imagining gender in Burgundian devotional art, 1350-1530: experience, authority, resistance. Aldershot: Ashgate Pub.Prescott, T.L. (2005). A broken beauty. Grand Rapids: William B. Eerdmans Pub. Co. Souter, G. (2007). Frida Kahlo, Diego Rivera. New York: Parkstone International.