Transcript Chapter10:1 - Professorklein

Renaissance in the North
The Renaissance spread across all of Europe, but the visual
style of Northern artists during the 1400s and 1500s was very
different from their Italian counterparts. Artists working in
Belgium and Holland used everyday objects as religious
symbols, creating sharply focused pictures filled with great
detail. Hard edge realism was generally an important element,
with an emphasis on tangible textures.
Later, in the sixteenth century, Germany became the Northern
European art center.
The greatest innovation was the new medium of oil paint, which
replaced tempera and fresco. Oil paint can be applied in
transparent layers, called glazes, which allows the color to glow
vividly. Colors could also be blended more easily with these
slow drying paints.
FLEMISH and DUTCH ARTISTS
Robert Campin/Master of Flemalle (1378-1444)
Jan van Eyck (1390-1441)
Rogier van der Weyden (1399-1464)
Hans Memling (1440-1494)
Hieronymus Bosch (1450-1516)
Pieter Bruegel (1525-1569)
Robert Campin/ Master of Flemalle (1378-1444)
Merode Altarpiece/ Oil on wood, ca.1425
This is a Bible scene painted in the setting of a contemporary Flemish dwelling. The two
people depicted in the left panel paid for this painting project. Notice awkward use of
perspective and abrupt shifts in scale; the people on the left are too big for the doorway.
See detail on next slide...
Robert Campin/ Master of Flemalle (1378-1444)
Merode Altarpiece detail “Anunciation” Oil on wood, ca.1425
The objects are all symbols; for example, the vase of lilies stands for
purity.
Robert Campin
Master of Flemalle
(1378-1444)
Merode Altarpiece detail
“Annunciation”
Oil on wood, ca.1425
The objects are all
symbols; for example, the
vase of lilies stands for
purity.
Robert Campin
Master of Flemalle (13781444)
Merode Altarpiece detail
Oil on wood, ca.1425
Here we see Joseph, the father
of Jesus, in his carpentry shop.
He has made a mousetrap, to
symbolize Christ’s appearance
in the world in human form as a
means of fooling and catching
the Devil.
Robert Campin/Master of Flemalle (1378-1444)
Portrait in Oil
Robert Campin/ Master of Flemalle (1378-1444)
Portrait in Oil
Jan van Eyck (1390-1441) Ghent Altarpiece Oil on panel 11.5 x 15’,
1432
Notice a great amount of rendered detail and a close attention to the
effects of light as it describes form. Detail follows...
Jan van Eyck (13901441)
Ghent Altarpiece,
1432
detail: Adam & Eve
Oil on panel
Jan van Eyck (1390-1441)
“Arnolfini Wedding,” 1434
Oil on panel, 32 x 23”
Light enters through the
window on the left and
illuminates all the objects
which are rendered in great
detail. The objects are
symbolic; the man’s raised
right hand and dog are
symbolic of fidelity, the cast
aside shoes indicate that the
couple stand on holy ground,
the peaches ripening on the
table behind the man on the
left represent fertility.
On the next slide we see the
details of the reflection in the
rear mirror...
Jan van Eyck (1390-1441)
“Arnolfini Wedding,” detail 1434
Oil on panel, 32 x 23”
Jan van Eyck (13901441)
“Annunciation”
Oil on panel
The artist has taken
an unusual viewpoint,
showing this religious
scene from above.
Jan van Eyck
(1390-1441)
Possible SelfPortrait
Oil on panel
Jan van Eyck
(1390-1441)
Virgin and
Christ Baby
Oil on panel
Jan van Eyck
(1390-1441)
“Crucifixion and
Last Judgement”
Altarpiece in
Metropolitan
Museum of Art,
NYC
Oil on panel
1430
Jan van Eyck
(1390-1441)
“Man in a Blue
Turban”
Oil on wood
Rogier van der
Weyden
(1399-1464)
“Portrait of a Lady”
Oil on panel
14.4” x 10.5”
Notice the delicate
handling of the
transparent fabric
which covers the
woman’s forehead,
the strong, bold
shapes and the
intense contrast which
give this image its
graphic power.
Rogier van der Weyden (13991464)
“Annunciation” Oil on panel
Rogier van der Weyden (13991464)
Crucifixion Triptych, Oil on panel
Rogier van der Weyden
“Descent from the Cross” Oil on panel 7’x8’ 1435
Rogier van der Weyden (1399-1464)
Detail from Altarpiece, Oil on panel
Rogier van der Weyden (13991464)
Man’s Portrait, Oil on panel
Rogier van der Weyden (1399-1464)
Woman’s Portrait, Oil on panel
Hans Memling
(1440-1494)
Annunciation
Oil on panel
Memling was born in
Germany but lived in
Bruges, Belgium. He had
studied under Rogier van
der Weyden.
Notice his interest in
natural light, rigorous
perspective, textures.
and patterns both in the
clothing and the floor
tiles.
Hans Memling
(1440-1494)
The Beheading of St.
John the Baptist
Oil on panel
Hans Memling (1440-1494) Crucifixion, Oil on panel
Hans Memling
(1440-1494)
Man’s Portrait
Oil on panel
Hieronymus Bosch (1450-1516)
Bosch was a Dutch painter with a vivid imagination; he
presents a world full of weird images and puzzling symbols.
His paintings are usually packed with tiny people, mostly
naked, who are engaged in dozens of strange activities.
Probably his most complex work is “The Garden of Earthly
Delights,” seen in the next slide. It is a large triptych...
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510
Triptych Oil on panel 86” x 76”
Hieronymus Bosch
(1450-1516)
“The Garden of Eden”
1505-1510
Left panel of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510, Middle panel of triptych
Hieronymus Bosch
(1450-1516)
“Garden of Satan”
1505-1510
Right panel of
triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510, Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510
Detail of triptych
Hieronymus Bosch (1450-1516)
“Garden of Delights” 1505-1510 Detail of triptych
Pieter Bruegel (1525-1569)
Bruegel’s early work shows the influence of Hieronymus
Bosch, but he developed his own style to became the greatest
Low Country master of the 16th century.
Bruegel’s paintings are rich in narrative story-telling, frequently
depicting the everyday lives of local, ordinary people.
This artist’s inclusion of mountain landscapes in his pictures is
quite unusual for painters living in the lowlands of Belgium and
Holland. Bruegel had travelled to Italy and apparently saw the
Alps; he put this imagery to use later on...
Pieter Bruegel (1525-1569)
“The Triumph of Death” 1562 Oil on wood panel 46” x 63”
The influence of Bosch is evident in this work.
Pieter Bruegel (1525-1569)
“Hunters in the Snow” 1565 Oil on wood panel 46 x 64”
Placing figures in a very deep, complex landscape was typical for
Bruegel. Notice the dramatic mountains, which do not exist in
Belgium.
Pieter Bruegel (1525-1569)
“The Corn Harvest” Oil on wood panel 46” x 63”
Metropolitan Museum of Art, NYC
Pieter Bruegel (1525-1569)
“Peasant Wedding” 1567 Oil on wood panel 45 x 64”
Pieter Bruegel (1525-1569)
“ Landscape with the Fall of Icarus” 1567 Oil on wood panel 29” x 45”
Pieter Bruegel (1525-1569)
“The Massacre of the Innocents” 1567 Oil on wood panel 43” x 61”
This image is an allegory showing the cruelties of Spanish troops
subduing a rebellion. The lowlands had recently broken away from
Spanish rule.
Pieter Bruegel (1525-1569)
“Peasant Dance” 1567 Oil on wood panel 45” x 65”
Pieter Bruegel (1525-1569)
“The Parable of the Blind” 1568 Oil on wood panel 34” x 61”
This picture symbolizes the declining fortunes of the country.
Pieter Bruegel (1525-1569)