Chapter 20: Late Medieval & Early Renaissance Northern Europe
Works of Art
Artist
Medium Date Page
20-1: Merode Altarpiece
20-2: Well of Moses
20-4, 20-5: The Ghent Altarpiece exterior/interior panels
20-6: Giovanni Arnolfini and Hid Bride
20-7: Man in a Red Turban
20-8: Deposition
20-10: A Goldsmith in His Shop, Possibly St. Egliguis
20-11: Last Supper(central panel of altarpiece)
20-12: Portinari Altarpiece
20-13: Virgin with Saints and Angels
20-16: Les Tres Riches Heures du Duc de Berry
Robert Campin
Claus Sluter
Jan van Eyck
Jan van Eyck
Jan van Eyck
Van der Weyden
Petrus Christus
Dirk Bouts
Van der Goes
Hans Memling
Limbourg Brothers
Painting
Sculpture
Painting
Painting
Painting
Painting
Painting
Painting
Painting
Painting
Painting
CONEXT: Painting IDEA:
1. Secularization of culture
2.
3.
4.
Capitalism/banking/urbanization
(growth of market economies)
“sanctification of sight” Mico vs Macro
Invention of the oil painting technique
(changes the look of painting in 3 ways)
1425
1440
1432
1434
1430
1435
1449
1468
1476
1480
1416
434
537
541-542
542
543
544
546
547
547
548
551
= variety of subject matter in Northern Renaissance painting
= “humanization of religious themes”
= new patrons for the arts
= intense detail and the miniaturist traditions, expand subjects
1. More detail possible because of slow drying time of oil
2. Attention to surface textures and reflected light effects
3. intense, saturated color and subtle value gradations possible
An Explanation of the concept of “sanctification of sight”
“The exaltation of sight to divine status and the astonishing assertion that the essence of God is sight – not being, as St. Thomas
tells us – are entirely in harmony with the new vision in painting. As sight and being in God are essentially the same, so the
painter’s sight, which is instrumental in making likenesses, brings them into being… God sees everything, great and small
alike… God [is] present in the greatest and in the smallest, in the macrocosm and in the microcosm, in the whole earth and in a
drop of water… [the] sanctification of the faculty of sight provides Flemish painters with a religious warrant to apply sight in
the investigation of the given world.” – Gardner
-
“Glorification of the faculty of sight” (see above quote)
Artist’s approach subject matter reflects an analytical approach to the world
Every object and details of each object is treated with equal emphasis
CONTEXT – History: 15th Century in Northern Europe:
1337-1435
100 Years War France and England at war – with Flanders caught in the middle
1305-1217
Great Schism – two popes claim authority – one in Avignon and the other in Rome, pitting France against Italy
c.1400>
Emerging Power of Royal Houses throughout Europe, but especially England an d France
c.1400>
Court of Burgundy (northeastern France and the Netherlands, with capitals in Bruges, Antwerp and Bourges) powerful
financial and trading center. Dukes of Burgundy the most powerful rulers in northern Europe
1456
Gutenberg develops printing press and publishes Bible
Vocabulary: Book of Hours, Christian Humanism, Secondary symbolism
Terms/Technique: Oil painting: pigment, impasto, Glazes, Alla prima technique, Linen canvas
Strategies for Analyzing Painting:
1.
Content:
What the painting is about – is there a story, narrative, or episode from literature?
What is in the painting? – its subject matter
What type of painting is it? Is it a… portrait, still life, icon, landscape, genre, fantasy, historical narrative,
religious narrative?
What you can discuss:
What is the theme of the painting?
Why or how is the subject matter significant?
What is the special significance or meaning in the iconography?
2.
Style:
How the artist “builds” the painting
Chapter 20: Late Medieval & Early Renaissance Northern Europe
3.
4.
The artist’s choice of painting techniques
How does the artist use the elements of art and principles of deisgn?
Figure/ground relationships
Principles of design:
Depth/illusionary space
unity
Color/value
balance
Picture plane
rhythm/repetition
Diagonal/vertical/horizontal
scale/proportion
Movement within picture
emphasis/focal point
Balance/unity
axis/plane
Relationship to viewer/artist
movement
What you can discuss:
How they interpret their subject matter?
How they use the paint materials – their technique?
How they use the principles of design and elements of art?
Identify the stylistic movement – the shared characteristics of a group of art works from eh same period, place,
and/or group of artists
Context: The outside elements influencing the artist’s choice of content and style
What you can discuss:
Who is the artist? (as an individual)
Who is the patron? (motives/agenda in commissioning the artist)?
What are the historical events that shape the content of the painting?
What are the philosophical beliefs of the artist that influence the artist?
Function: what is the painting supposed to do – what is its function?
What you can discuss:
What effect did the artist hope to achieve on the viewer?
What outcome did the patron hope to achieve by commissioning the work of art?
Ways of Creating Convincing Illusionary Space
1.
2.
3.
Light (light source within the painting)
a. Atmospheric perspective
b. Cast shadows
Depth (devices used to create illusionary space)
a. Overlapping
b. Position on the picture plane
c. Diagonals
d. Size
e. Intensity/value
f. Detail
Perspective (also called linear perspective)
a. One-point perspective
b. Two-point perspective
Ways of creating Illusionary Form
1. Modeling using highlights and shades
2. foreshortening
3. Charoscuro