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Northern Renaissance The Italian renaissance eventually spread throughout Europe, emerging in a movement known as the northern renaissnance Although the orthern European artists were inspired by the Italian renaissance artists, they didn’t base their new developments on the rediscovery of Greco-Roman ideals Instead, they broke away from the gothic style by looking at nature and painting it as it appeared. In a very detailed VERY realistic. Lacking classical sculpture to teach them idealistic proportions, the northern European artists painted such as faithful likenesses of their subjects, that Charles VI of France, it’s said,, sent one of these artists to 3 differnet coursts to paint portraits of prospective brides, and based on the slection of his new wife solely on the portraits. Slide the Annunciation from the merode alterapiece Robert Campin the Master of female It was the artists from the Netherlands, painting in the Flemish mstyle who were considered the best painters of the Northern Renaissance This panel, painted by Robert Campin, exemplifies the styl and technique of those revered Northern Renaissance artists While Italian artists experimented with painting oil on canvas, th northern Renaissance artists preferred to work on wood panels, creating works ranging from small portraits to large alterpieces Sometimes, they would actually glue fine linen over gessoed wood panels as a ground fot their paintings The Merode aLAterpeice is a little over 2 feet tall and 4 feeet long when the wings are open. Rather than beign true to life according to the biblical description in his depiction of this scene, campin painted the Virgin Mary in a contemporary Flemish home, and incorporated common religious symbols as elements of the Annunicaiton imagery. For example, the lilies on the table symbolize Mary’s virginity, while hangthe hanging water pot and white towel symbolize her purity and her role as the vessel for the incarnation of Christ. Most of the paintings of the ANnuniciation portray the angel Gabriel telling Mary that she will be the mother of Christ. This one, however, shows Mary in the moment immediately following her acceptance of her destiny. Some art historiansinterpret the rush of wind in this painting, which is ruffling the pages of the books snuffing the candel, as the impregnation of Mary by the Holy Spirit. In this interpretation, God assumes human form and is represented by the tiny figure in the upper left, descending on a ray of light, and carrying a cross. For a time, it was considered that thisnext apinting was done by Robert Campin, AKA the Master of Femalle Slide: St Luke Drawing the Virgin by Roggier van der Weyden 1440 It is fascinating that Rogier van der Weyden is one of themost mysterious figures from the Northern Renaissance. We’ve pieced together a biography of this artist from various sources, but we have never foundan existing work that actually bears the name of Rogier van der Weyden. For a time, when Robert Camoin was called the Master of Femalle, it was thought that he and Rogier van der Weyden ewre oneand the same. More recently though, it is believed that van der Weyden studied under Campin, which explains the similarity of the painting styles. Another great altarpiece from the Northern Renaissance is the Isenheim Altarpiece by Matthias Grunewald. Isenheim Altar piece by Matthias Grunevald 1510-1515 Scholars and critics consider this sublime work by Grunevald on a par with the Mona Lisa and the frescoes of the Sistine Chapel. Grunwald painted the panels of this altarpiece in the chapel of a hospital and monastery. The hospital was set up to treat those with St. Anthony’s Fire, or ergotism, a disease caused by the poison of a fungus that clung to rye, and was inadvertently ground into flour used to make rye bread. Ergotism causes painful eruptions accompanied by nervous spasms and convulsions. Victims often had to have limbs amputated and many who suffered from this disease died. This altrpiec played a psychological and mystical role in the treatment program at the hospital by glorifying Christ’s suffering in a trerrifying crucificxion scene, the painting offered comfort to those afflicted with the horrible, painful disease. Wedding Dance- Pieter Bruegel 1566 Pieter Bruegel is another famous Northern Renaissance artist. But unlike most others of the time, Bruegel chose peasant life life as his primarysubject matter His paintings, while insightful portraits of peasants, always had a sataric edge, often visible in the eating and drinking scenes in which peasants indulge with gluttonous absorption. Bruegel’s work is known as genre painting, which refers to the painting of scenes of everyday life. The following chart, compiles by Carol Strickland, summarizes the differences between Italian and Northern Renaissance art. Italian Renaissance Northern Renaissance Specialty Ideal Beauty Intense realism Style Simplified forms, measured Lifelike features, unflatering proportions honesty Subject Religious an mythological scenes Religious and domestic scenes Figures Heroic male nudes Prosperous citizens, peasants Portraits Formal, reserved Reveal individual personality Technique Fresco, tempera, and oil painintgs Oil paintings on wood panels Emphasis Underlying anatomical structure Visible appearance Basis of Art Theory Observation Composition Static, balanced Complex, irregular