Early Northern Renaissance Slides

Chapter 20

Piety, Passion, and Politics:

15th Century Art in Northern Europe and Spain

Gardner’s Art Through the Ages,12e

Europe in the 15th Century

The Early Northern Renaissance key date: 1450 (15th C)

Flanders = present day Belgium and the Netherlands (Flemish)

*Art historians refer to developments in Flanders, the Netherlandsand Germany during the 15th and 16th centuries as the NorthernRenaissance.

*The Northern Renaissance has its roots in the International GothicStyle, which is also sometimes called International Style

*International Style = A style of 14th and 15 century painting begunby Simone Martini, who adapted the French Gothic manner toSienese art fused with the influences from the North. This styleappealed to the aristocracy because of its brilliant color, lavishcostume, intricate ornament, and themes involving splendidprocessions of knights and ladies.

The Early Northern Renaissance key date: 1450 (15th C)

Historical Context……………………….Effect on the Art

*secularization =*new subject matter in North-

ern Renaissance painting

“humanization of religious themes

*capitalism/banking=*New patrons for the arts

urbanization/growth of

new markets

*invention of oil painting=*attention to luxurious surfaces

The Early Northern Renaissance key date: 1450 (15th C)

Humanism:

•In the Renaissance, an emphasis on education and of expandingknowledge (especially of classical antiquity), the exploration ofindividual potential and a desire to excel, and a commitment tocivic responsibility and moral duty

as opposed to:

Scholasticism

•In Medieval times, education focused on preparing men to bedoctors, lawyers or professional theologians, and was taughtfrom approved textbooks in logic, natural philosophy, medicine,law and theology

Figure 20-4 MELCHIOR BROEDERLAM, outer wings of the Retable de Champmol.Annunciation and Visitation (above) and Presentation and Flight into Egypt (right), fromChapel of the Chartreuse de Champmol, Dijon, France, installed 1399. Panels, each 5’ 53/4” x 4’ 1 1/4”. Musée de la Ville, Dijon.

International Gothic Style

Figure 20-22 VEIT STOSS, The Death and Assumption of the Virgin (wings open),altar of the Virgin Mary, church of Saint Mary, Kraków, Poland, 1477–1489. Paintedand gilded wood, 43’ x 35’.

International Gothic Style

Figure 20-20 STEPHANLOCHNER, Madonna in theRose Garden, ca. 1430–1435.Tempera on wood, approx. 1’ 8"x 1’ 4". Wallraf-RichartzMuseum, Cologne.

International Gothic Style

Figure 20-3 CLAUS SLUTER,Well of Moses, Chartreuse deChampmol, Dijon, France, 1395–1406. Limestone with traces ofpaint, figures approx. 6’ high.

International Gothic Style

Figure 20-23 TILMANRIEMENSCHNEIDER, The Assumptionof the Virgin, center panel of theCreglingen Altarpiece, parish church,Creglingen, Germany, ca. 1495–1499.Carved lindenwood, 6’ 1" wide.

International Gothic Style

Figure 20-13 JAN VAN EYCK,Giovanni Arnolfini and His Bride, 1434.Oil on wood, approx. 2’ 8" x 1’ 11 1/2".National Gallery, London.

Jan van Eyck

Arnolfini Marriage Portrait

•Giovanni Arnolfini was anItalian merchant, arepresentative of the Medicifamily, living in the Flemish(of Flanders) city of Bruges

•Bruges was a hugecommercial center inNorthern Europe

•Giovanni and Giovanna areextremely rich…

Figure 20-13 JAN VAN EYCK,Giovanni Arnolfini and His Bride, 1434.Oil on wood, approx. 2’ 8" x 1’ 11 1/2".National Gallery, London.

Jan van Eyck

Arnolfini Marriage Portrait

•Serious 15th century bling:beaver fur coat for him, dresswith enough fabric to tarp theroof for her, orientalcarpeting, a huge bed

•This painting is full of hiddensymbols:

•The dog represents fidelity

•Wooden clogs were acommon wedding gift

Figure 20-13 JAN VAN EYCK,Giovanni Arnolfini and His Bride, 1434.Oil on wood, approx. 2’ 8" x 1’ 11 1/2".National Gallery, London.

Jan van Eyck

Arnolfini Marriage Portrait

•Both have their shoes off(see red pair in background)which symbolizes the sanctityof marriage

•Oranges on the windowsillbecause the couple was fromItaly (oranges do not grow inFlanders)

•Oranges can also allude tofidelity as well

Figure 20-13 JAN VAN EYCK,Giovanni Arnolfini and His Bride, 1434.Oil on wood, approx. 2’ 8" x 1’ 11 1/2".National Gallery, London.

Jan van Eyck

Arnolfini Marriage Portrait

•The solitary lit candlerepresents the presence of G-din the sacrament of holymatrimony and was part ofthe Flemish wedding custom

•The green of her dress issymbolic of her fertility

•She is not pregnant, it is thehigh fashion of the times…

Figure 20-14 JAN VAN EYCK, detail ofGiovanni Arnolfini and His Bride, 1434.

•The convex mirror in the backhas carefully carved medallionsof the Passion of the Christ

•It also reflects Giovanni andGiovanna and two witnesses (oneof whom is probably the artist)in keeping with Flemishmarriage law

Figure 20-13 JANVAN EYCK,Giovanni Arnolfiniand His Bride, 1434.Oil on wood, approx.2’ 8" x 1’ 11 1/2".National Gallery,London.

Jan van Eyck

Arnolfini Marriage Portrait

•This wedding portrait has incredible detail

•Note the fine hairs of the dog and the highlydeveloped textures of every object and surface inthe room

•Oil paint had two advantages for artists: 1) itdries slowly, allowing the artist time to addtremendous detail and 2) oil gives paint alustrous appearance unmatched by other paints

•Flemish artists then shared oils paints withVenetian artists during their excursions to Italy

•The Venetians then became famous forpoplarizing the medium in Italy

Figure 20-13 JANVAN EYCK,Giovanni Arnolfiniand His Bride, 1434.Oil on wood, approx.2’ 8" x 1’ 11 1/2".National Gallery,London.

Jan van Eyck

Arnolfini Marriage Portrait

•Van Eyck signs the wall above the mirror,“Johannes of Eyck made this”

•This painting is contemporaneous withMasaccio’s Holy Trinity and Donatello’s David

which are masterpieces of the Early ItalianRenaissance

Remember: Northern Renaissance paintings arefamous for their hidden symbols (often withreligious connotation), exquisite detail and theuse of oil as a medium to create lustrouspaintings…

Figure 20-1 Limbourg brothers (Pol,Hennequin, Herman), January, from Les TrèsRiches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2" x 5 1/2".Musée Condé, Chantilly.

Limbourg Brothers and the Duc de Berry

•This is a page from a very famousBook of Hours, or a book ofprayers to be recited at various“hours” of the day

•A famous component was itscalendar pages illustrating thelabors to be performed each month

•Jean, the Duke of Berry, was abrother to the king of France

Figure 20-1 Limbourg brothers (Pol,Hennequin, Herman), January, from Les TrèsRiches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2" x 5 1/2".Musée Condé, Chantilly.

Limbourg Brothers and the Duc de Berry

•Jean like to collect things likecastles, jewels, wild animals andbooks---he had a huge library

•Art Historians see him as one ofthe greatest connoisseurs of thevisual arts in 15th century Europe

•Jean commissioned the threeLimbourg brothers to paint him aBook of Hours in the InternationalStyle

Figure 20-1 Limbourg brothers (Pol,Hennequin, Herman), January, from Les TrèsRiches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2" x 5 1/2".Musée Condé, Chantilly.

Limbourg Brothers and the Duc de Berry

•In this page, the Duc de Berry isseated at the right at a great feast

•The painting includes exquisitedetail and fabulous facialexpressions

•The guests are in a procession forthe Duke, whose attendant says,“Approach, approach.”

Figure 20-1 Limbourg brothers (Pol,Hennequin, Herman), January, from Les TrèsRiches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2" x 5 1/2".Musée Condé, Chantilly.

Limbourg Brothers and the Duc de Berry

•The procession is painted in apattern based on the splendidprocessions of The InternationalGothic Style

•The clothing styles also conform tothe patterns of the period

•The Duke is painted as a gracioushost with a fire screen behind hishead which looks like a halo

Figure 20-2 LIMBOURG BROTHERS (POL,HENNEQUIN, HERMAN), October, from LesTrès Riches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2” x 5 1/2”. MuséeCondé, Chantilly.

Limbourg Brothers and the Duc de Berry

•Like the Italians, Northern artistwere also interested in revivingClassical aesthetics, and wereinterested in creating 3 dimensionalspace in their paintings

•Althought the Limbourg Brothersdid not use one-point perspectiveaccurately, their efforts dodemonstrate the desire to bring thereal world into their art

Figure 20-2 LIMBOURG BROTHERS (POL,HENNEQUIN, HERMAN), October, from LesTrès Riches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2” x 5 1/2”. MuséeCondé, Chantilly.

Limbourg Brothers and the Duc de Berry

•The calendar pages alternatebetween scenes of nobility and thescenes of peasants who worked forthe duke.

•The top of each page includes azodiac and a chariot pulling the sun

•So the Limborg Brothersdemonstrate a balance between theprevalent International Gothic Styleand the growing interest innaturalism

Figure 20-2 LIMBOURG BROTHERS (POL,HENNEQUIN, HERMAN), October, from LesTrès Riches Heures du Duc de Berry, 1413–1416.Ink on vellum, approx. 8 1/2” x 5 1/2”. MuséeCondé, Chantilly.

Limbourg Brothers and the Duc de Berry

•The Book of Hous is one of themost famous illuminatedmanuscripts in history, on par withthe Book of Kells

Figure 20-5 JAN VAN EYCK, GhentAltarpiece (closed), Saint Bavo Cathedral,Ghent, Belgium, completed 1432. Oil onwood, approx. 11’ 6" x 7’ 6".

Jan van Eyck and the GhentAltarpiece

•This commission was actuallybefore the Arnolfini marriageportrait

•As the court painter for Philipthe Good, Van Eyck had astrong reputation

•This work (a polyptych, ormultiple panel, alterpiece) wascommissioned by Jodocus Vydand his wife, Isabella Borluut

Figure 20-5 JAN VAN EYCK, GhentAltarpiece (closed), Saint Bavo Cathedral,Ghent, Belgium, completed 1432. Oil onwood, approx. 11’ 6" x 7’ 6".

Jan van Eyck and the GhentAltarpiece

•Polyptych alterpieces werepopular during the 15th centurybecause they conveyed didacticnarratives to a mostly illiteratecongregation

•Polyptychs have hinges and canbe viewed opened or closed

•When closed, as seen here, theGhent alterpiece features keystyles of the NorthernRenaissance

Figure 20-5 JAN VAN EYCK, GhentAltarpiece (closed), Saint Bavo Cathedral,Ghent, Belgium, completed 1432. Oil onwood, approx. 11’ 6" x 7’ 6".

Jan van Eyck and the GhentAltarpiece

•Notice the annunciation scenein the middle, the costuming isincredibly detailed

•It has hidden symbols, like thevase of white lillies representingMary’s purity

•A shining wash basin in theback is a reference to the holywomb

Figure 20-5 JAN VAN EYCK, GhentAltarpiece (closed), Saint Bavo Cathedral,Ghent, Belgium, completed 1432. Oil onwood, approx. 11’ 6" x 7’ 6".

Jan van Eyck and the GhentAltarpiece

• the white dove above her headrepresents the Holy Spirit

•The single candle behind Maryrefers to the presence of G-d atthe incarnation of Christ

•In the lower panels, he paintsthe patrons next to images of St.John the Baptist and St. Johnthe Evangelist

Figure 20-5 JAN VAN EYCK, GhentAltarpiece (closed), Saint Bavo Cathedral,Ghent, Belgium, completed 1432. Oil onwood, approx. 11’ 6" x 7’ 6".

Jan van Eyck and the GhentAltarpiece

•The sculptures of the saints arein grisaille, or graying tonesthat simulate sculpture

•The upper lunettes containprophets and sibyls, whosewritings foretold of the comingof Christ

Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent,Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent,Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

Jan van Eyck and the GhentAltarpiece -open

•The opened alterpiece contains imagesof G-d flanked by the Virgin Mary andJohn the Baptist

•Notice Van Eycks incredible eye fortexture

•Mary’s crown contains 12 jewels, representing the 12 tribes of Isreal

•On the sidelines, a choir of angels sing with a pipe organ

•Adam and Eve are on the outer panel wings

Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent,Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

Jan van Eyck and the GhentAltarpiece -open

•On the bottom, Christians approach ableeding lambs from all four corners ofthe earth

•The blood drips into a chalice,symbolizing his sacrafice for humanity

•The group of knights approaching represents the cardinal virtue offortitude

•Adam and Eve are incredibly naturalistic in detail, yet conform tomore Medieval proportions---Northern artists were interested innaturalism, yes, but they do not include classical references like wewill se in Italian work

The Cloisters: Part of the “Met” (Metropolitan Museum of Art NYC)

The Cloisters: Part of the “Met” (Metropolitan Museum of Art NYC)

The Cloisters: Part of the “Met” (Metropolitan Museum of Art NYC)

Figure 20-12a ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), TheAnnunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956).

Figure 20-12a ROBERT CAMPIN (Master ofFlémalle), Mérode Altarpiece (open), TheAnnunciation (center panel), ca. 1425–1428. Oilon wood, center panel approx. 2’ 1” x 2’ 1”.Metropolitan Museum of Art, New York (TheCloisters Collection, 1956).

The Merode Altarpiece

•This altarpiece was made for private enjoyment and devotion, asindicated by its relatively small size

•Here, the Annunciation is happening in a middle class Flemishhome

•On the left panel are Peter Ingelbrecht and his wife (the patrons)are appearing in the doorway, witnessing the event

Figure 20-12a ROBERT CAMPIN (Master ofFlémalle), Mérode Altarpiece (open), TheAnnunciation (center panel), ca. 1425–1428. Oilon wood, center panel approx. 2’ 1” x 2’ 1”.Metropolitan Museum of Art, New York (TheCloisters Collection, 1956).

The Merode Altarpiece

•Following the Northern tradition, the triptych has hidden symbols

•Lillies = Mary’s purity

•Washbasin = Mary’s holy womb

•single candle = G-d’s presence (but why is it extinguished?)

•Above Gabriel’s head a tiny white figure carrying a cross fliesthrough a window at the left towards the Virgin---it is Jesus---thus,the candle is out because of of the presence of the son of G-d

Figure 20-12b ROBERT CAMPIN (Master ofFlémalle), Mérode Altarpiece (open), The Annunciation(center panel), ca. 1425–1428. Oil on wood, center panelapprox. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, NewYork (The Cloisters Collection, 1956).

The Merode Altarpiece

•In the right panel, Joseph, the earthlyfather of Christ, works in his carpentryshop

•A mousetrap on the table symbolizes howChrist will be used as the bait to trap thedevil

•Strawberries and violets in the garden inthe left panel symbolize Mary’s othervirtues, such as humility

Figure 20-7 ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3" x 8’ 7". Museo del Prado,Madrid.

Figure 20-7 ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3" x 8’ 7". Museo del Prado,Madrid.

Figure 20-7 ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3" x 8’ 7". Museo del Prado,Madrid.

Figure 20-7 ROGIERVAN DER WEYDEN,Deposition, from Notre-Dame hors-les-murs,Louvain, Belgium, ca.1435. Oil on wood,approx. 7’ 3" x 8’ 7".Museo del Prado, Madrid.

Rogier van der Weyden: Flemish Master

•Rogier was a contemporary of Van Eyk

•Rogier’s work not only has all thecharacteristics of Northern Renaissancepainting, but also displays tremendousemotion

•A Deposition scene is when Christ is beingbrought down from the cross by hisfollowers

•Mary has fainted, and the positioning ofher body echoes that of Christ---a posethat is common in Deposition paintings…

Figure 20-7 ROGIERVAN DER WEYDEN,Deposition, from Notre-Dame hors-les-murs,Louvain, Belgium, ca.1435. Oil on wood,approx. 7’ 3" x 8’ 7".Museo del Prado, Madrid.

Rogier van der Weyden: Flemish Master

•The apostle John, whom Christ asked tocare for his mother, tends to her

•Nicodemus, a wealthy merchant whobecame a secret follower of Christ, holds hislegs as Mary Magdalane, stands to the rightweeping

•Every character is expressing sorrow

•The skull on the ground below John is areference to Adam and the original sin

•The skull is often included in Crucifixionand Deposition scenes to demonstrate thenecessity of Christ’s sacrifice

Figure 20-7 ROGIERVAN DER WEYDEN,Deposition, from Notre-Dame hors-les-murs,Louvain, Belgium, ca.1435. Oil on wood,approx. 7’ 3" x 8’ 7".Museo del Prado, Madrid.

Rogier van der Weyden: Flemish Master

•The decorative crossbow tracery in thecorners represent the donors, the Archer’sGuild of Louvain

•A man holds a jar of ointment, referring towhen Mary Magdalene poured perfume andointment on Christ’s feet

•If viewrs looks closely, incredible detailslike reddish eyes and tear stained cheekscan be observed

Figure 20-7 DetailJoseph with the body of Christ

Figure 20-7 DetailJoseph with the body of Christ

Figure 20-8a ROGIER VAN DER WEYDEN, Last Judgment Altarpiece (open), Hôtel-Dieu, Beaune, France, ca. 1444–1448.Panel, 7’ 4 5/8” x 17’ 11”. Musée de l’Hôtel-Dieu, Beaune.

Figure 20-8b ROGIER VAN DER WEYDEN, Last Judgment Altarpiece (open), Hôtel-Dieu, Beaune, France, ca. 1444–1448.Panel, 7’ 4 5/8” x 17’ 11”. Musée de l’Hôtel-Dieu, Beaune.

Figure 20-18 HIERONYMUS BOSCH, Garden of Earthly Delights. Creation of Eve(left wing), Garden of Earthly Delights (central panel), Hell (right wing), 1505–1510. Oilon wood, center panel 7’ 2 5/8" x 6’ 4 3/4". Museo del Prado, Madrid.

Bosch --- Revolutionary Unusual Imagery

• Hieronymus Boschset the precedent inthe 1500’s forSurrealist artists likeSalvador Dali.

•His most discussedwork of art is a largetriptych called theGarden of EarthlyDelights

Bosch --- Revolutionary Unusual Imagery

• The right panel contains a clothed malefigure between a male and female figure.

• A strange fountain shaped like agrinning face sits in the middle of thepainting.

• A small window in the fountain revealsan owl peering out at the viewer.

•Exotic animals are scattered throughoutthe garden.

Bosch --- Revolutionary Unusual Imagery

• In the center panel, groups ofnude people are involved inunusual activities. Women bathein a pond as men ride horsesaround them, some kiss andembrace in glass spheres andclamshells.

• The people interact in adreamlike landscapesurrounded by strangestructures.

Bosch --- Revolutionary Unusual Imagery

• The third panel is much darker than the rest,we see people being tortured, a man is beingcrucified on a giant harp, demons bite andgrope other humans.

• Another man is being devoured by a birdlikecreature with a pot on its head. The creatureappears to be seated on a toilet.

• Figures in the background burn within adarkened city in the distance.

• But what the heck does this all mean?

Bosch --- Revolutionary Unusual Imagery

• The imagery can beinterpreted as a complexallegory about the fall ofhumankind into depravityand the consequences of sin.(earthly delights now =punishment later on)

• The right panel representsthe Garden of Eden, whereG-d introdues Eve to Adam.The environment ispeaceful, but evil lurks in

the background. (The owl in thefountain a medieval symbol forwitchcraft)

Bosch --- Revolutionary Unusual Imagery

• The middle panelrepresents what would besexual depravity by usingmedieval iconography.

• We then see theconsequence for suchbehavior is torture andpunishment in hell.

• Sinners are punishedaccording to their sin such

as lust, adultery, pride andgluttony.

Bosch --- Revolutionary Unusual Imagery

Figure 20-18 Center PanelTotal, center panel

Figure 20-9 DIRK BOUTS, LastSupper (central panel of the Altarpiece ofthe Holy Sacrament), Saint Peter’s,Louvain, Belgium, 1464–1468. Oil onwood, approx. 6’ x 5’.