Renaissance Painting in Northern Europe Chapter 17.
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Transcript of Renaissance Painting in Northern Europe Chapter 17.
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Renaissance Painting in Northern Europe
Chapter 17
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International StylePaintings show concern for accurate and precise details
Symbolism more importantsingle burning candle = the presence of God
dog = symbol of loyalty
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Development of New Paint Techniques
Previously, used temperaTempera: dry pigments mixed with a binder, usually egg yolk
Tempera applied to surface prepared with smooth coat of gesso.
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Paint Techniques (cont.)
Gesso: mixture of glue and a white pigment such as plaster, chalk, or white clay
Produced a hard, brilliant surface
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Oil Paints developed in FlandersOil paint: mixture of dry pigments with oils, turpentine, and sometimes varnish
Allowed artists to create various surface textures: Transparent smooth glaze Thick richly textured surfaceLine, form, & color controlled to create subtle, varied, 3-D works
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Oil Paints (cont.)More brilliant colors Allowed blending of color areas
Aerial perspective refined: hazy appearance of objects farthest from viewer.
Help achieve realistic light and shadow = consistent shadow = realistic picture
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Oil Paints (cont.)Remained wet and could work on it for extended length of time Able to include more details & make corrections
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Robert Campin“The Master of Flémalle”Style characterized by naturalistic and sculptural conceptions
Replaced the decorative International Style of the late Middle Ages.
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Robert Campin
Known for:Attention to detailUse of familiar contemporary settings
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Merode AltarpieceThree panels from left to
right Donors kneel in garden
Annunciation: Mary and Angel Gabriel
Joseph working in his carpentry shop
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Holy Spirit
Miraculous insemination
purity
God’s Presence
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Joseph in His WorkshopJoseph depicted constructing mouse traps
Symbolic of belief that Christ was the bait with which Satan would be trapped
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Jan van EyckThe Arnolfini Wedding Symbolism:
dog: loyalty; single burning candle: presence of God
fruit: InnocenceShoes off: holy event
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Figure on bedhead = St. Margaret
Mirror and inscription: “artist was here” and witnesses in reflection
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The Ghent Altarpiece
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The Ghent AltarpieceCentral lower panel: Adoration of the Lamb Lamb (Christ) on altar of sacrifice
Controls flow of light: light is crystal clear
Atmospheric perspective to create illusion of deep space.
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Martyrs Cross
Pigeon = Holy Spirit
Angels carry 4 symbols of the Passion
Eternal Life
Old Testament figures Church
AuthoritiesApostles
Virgins
Pillar of flagellation
Spear of Vinegar Spear of piercing
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St Jerome in His Study
NatureSensitive use of light and color
Variety of textures
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Realism and Emotionalism
Chapter 17 Section 2
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Rogier van der Weyden
Combined concern for detail with emphasis on emotional impact of his subject matter
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Dignity suggested by: lowered eyes, locked fingers, frail build
Wealth suggested by: gold belt buckle and rings
Portrait of a Lady
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The Descent from the CrossHuman EmotionEach face expresses different emotion
Space between Christ’s right and Mary’s left = void between living and dead
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The Descent from the Cross (cont.)
Organization: use of repeating curved axis linesTwo figures at each side bend inward to direct attention to Christ and Mary
Christ’s body forms an S curve (repeated in the curve of his fainting mother)
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The Descent from the Cross (cont.)
Use of emphasis: no deep spaceFigures placed in shallow space but not crowded
Placed on a narrow stage with no landscape behind
Faces differ from each other
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Hugo van der GoesCombined emotionalism of van der Weyden w/realistic detail of Jan van EyckAltered nature & proportions of people/objects when those changes added to emotional impact of his pictures
Took liberties with space to increase emotional appeal
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Portinari Altarpiece
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The Adoration of the Shepherds
Tipped floor of stable upwards to provide better view & bring viewer into it
Sad & withdrawn figures of Mary and Joseph bring to mind Christ’s future death
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Adoration of the Shepherds (cont.)
Shepherds: expressions show the piety of the ordinary, uneducated people of the world based on blind faith;
First artist to represent peasants in a painting
Use of proportion and movement
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Wheat = Communion Bread
Purple columbine = Mary’s sorrows
Shoe = Holy Event
Ox = Faithful Christians
Donkey = Fail to see Savior
White lilies = Purity
Orange lilies = The Passion
Castle = House of David