Download Ch. 18 - HCC Learning Web

AH 2 Ch. 18 (2011)
15th Century Art in
Northern Europe
Humanism – a set of values separate
from, but not opposed to religion…
a human oriented worldview, the
power and potential of human
beings… a late 19th century term
used more narrowly to designate
the revival of classical learning
and education…
Renaissance – “rebirth [of
classical learning]”
Spawned by the new
merchants and bankers
within the “3rd Estate”
around 1400 Europe.
(first estate: clergy,
second estate: nobility,
4th estate?)
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Emperor Justinian and
Attendants, c. 547, mosaic
Not in Art History II (just a
backdrop for us)
Byzantine style example
San Vitale, Ravenna, Italy
Write the Byzantine traits
here:
Fig. 17-6, Giotto, Madonna
Enthroned, c. 1305-10
Tempera and gold on panel
 Late Gothic or early
Renaissance
 Italo-Byzantine example
 Write It.-Byz. traits here:
Art for the French Ducal
Courts, c. 1400
Ducal = royal nobles (sub kings
w/ territory)
Court = monarchy
The International Gothic Style
originated in Avignon
France
- graceful poses, sweet
expressions
- naturalistic details, bright
colors and gold details
Fig. 18-3 Claus Sluter, Well of
Moses (and David) C.D.C.,
Dijon, France, 1395-1406,
Limestone
 Symbolic well for a
"monastery," hermit-like
monks
 Philip the Bold, the Duke of
Burgundy, was the patron
(his family buried in this
monastery)
 originally supported a
crucifixion scene
 life size old testament
prophets and heroes (6)
 outstanding textures
 progressive Renaissance is
not the same as Intl. Gothic
style
Women were limited in the arts
because apprenticeships were
not open to them. Despite this,
some women still flourished as
artists. See p. 566
18-6 Limbourg Bros.,
February, Life in the
Country,Tres Riches Heures
(of the Duke of Berry) 1411-16
 manuscript illumination
(color book illustrations,
hand made)
 book of hours: prayers,
readings and rituals
 showed peasants happily
working for the duke
 no disease, no filth
 good wintry effects
 Intl. Gothic conventions:
high horizon, cutaway house
view, humans animals and
architecture in a landscape
Tip: try a thumbnail sketch
and/or write your first word
and/or feeling that the images
give you. For example, in this
case: "fire warming hut," "barn
painting," "winter cozy" or
"missing wall." Scribble your
thoughts as we go. This
helps you to remember the
image. Try it!
Flemish Art (Flanders) today's
Belgium, the Netherlands and
Luxembourg. Bruges was the
"Florence of the North" (15th
cent.)
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
wool trade, fabrics and banking
powerful guilds add direction and
quality to art
 diverse patrons including the
merchant class, the church, town
councils, civic groups, guilds and
business associations
18-9 Robert Campin /
Workshop of the master of
Flemalle, Merode Altarpiece,
1425-28, oil/panel
 the "supposed" inventor of
oil paint (I was mistakenly
taught that the inventor of oil
paint was Jan van Eyck.)
 annunciation scene
 Merode is the name of the
19th century family that
owned this triptych painting.
P. 577 open position
Addl. slide closed position, P. 576
Jan and Hubert van Eyck, The
Ghent Altarpiece,
1432
 ancient sibyls and Old
Testament prophets at the
top
 Donors flank St. John the
Baptist and St. John the
Evangelist
 polyptych
 tromp-l’oeil: “fool the eye” (in
grisaille)
 smooth surface betrays no
brushstroke
 a “machined’ look, laser
sharp details
 additional notes here:
18-1 Jan van Eyck, Double
Portrait, Traditionally known as
Giovanni (?) Arnolfini and his
Wife, Giovanna Cenami (?),
1434, oil/panel, 33” high
 the most famous wedding
portrait ever
 Weddings were rare in the
15th century. Couples would
sign a contract before two
witnesses, pay the dowry
and exchange gifts.
 legal document? Giovanna’s
power of attorney?
 "Jan van Eyck was here,
1434"
 Arnolfini (a Medici banker)
 A newly discovered
document shows that
Arnolfini was married 6
years after Jan van Eyck’s
death.
 Write secondary symbolism
here:
Addl. Jan van Eyck, Madonna
of Chancellor Rolin, oil and
tempera on wood, 1433-34
18-13 Rogier van der Weyden,
Deposition, c. 1435-38, o/p,
7'3" high
 Intense human emotion
(humanistic)
 mysterious, like a tableau
vivant (live drama)
 John the Evangelist at left,
Mary Magdalene at right
 The Virgin Mother and
Christ parallel one another.
 Cite the Italo-Byzantine
remnants here:
18-16 Hugo van der Goes,
Portinari Altarpiece, 1474-76,
temp. & oil on panel, 8'3½"
high
 patron: Portinari, a Medici
banker in Bruges
 nativity of Christ, incarnation
- a god in earthly form
 STRANGE! the odd sizes
and proportions
"supercharge" the image
 floral and glass symbolism
 wheat sheaf = Bethlehem,
communion, and the Body of
Christ
 Hugo's art influenced
Florentine Italian painters
Movable-type printing made
the intellectual and spiritual
life of Europe change
forever. Johann Gutenberg,
c. 1455 Gutenberg Bible,
Mainz Germany
 Spreads knowledge
 Fuels the Reformation of the
early 1500s
 De-segregates educational
classes
 creates a wider audience for
the graphic arts
18-18 Jean Fouquet, Etienne
Chevalier and Saint Stephen,
1452-55, o/p, 36.5” high
 left half of Melum Diptych
 French w/ Flemish influence
 Chevalier, treasurer of
France
 The inscription says the
painting was made to fulfill a
vow (?) by Chevalier to his
mistress, Agnes Sorel.
Fouquet probably used a
plaster death mask of Sorel
as a model for the right
panel (the Virgin Mary) p.
608, volume, perspective,
humanity
A long way since Byzantine
art! Compare!
18-26 Martin Schongauer, The
Temptation of St. Anthony,
engraving c. 1480-90
 Armorers developed
engraving during the mid15th century in Italy.
 one of his best known
prints
 a physical assault, not a
subtle inducement
 St. Anthony’s faith leads
him away from the vortex
of torment.
2 Addl. Slides of woodcut and
engraving diagrams