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12 Cards in this Set
- Front
- Back
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Merode Alterpiece, 1420. By Robert Campin. Excellent light and shade. cloth folds suggest gravity. the picture plane is tilted up so you get a birds eye view. flemish, oil paint. light and shadow usage, details suggest here and now. the homonculus enters through the window as the spirit of christ
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The Merode Alter piece, 1420
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The Salting Madonna, Campin 1425. one point persepctive, all spatial indicating in represented space. all diagonals reconciled in single vanishing point. ultimate new weapon of naturalism. out the window--attention to detail, the here and now..
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Robert Campin, The Salting Madonna
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1402.
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anonymous florentine artist, around 1402.
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Deposition. Rogier Van Der Weyden. 1435.
lies in mionds eye., rerference to color not christ not to suggest poor, but suggest that our enemy would see life of christ. |
deposition. Rogier Van Der Weyden
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last judgment altarpiece, rogier van der weyden. 1444-1448.
mystical spirituality that can only happen in your mind. gave the alter piecde to a hostpital in attempts for them to serve as means of salvation. naturalistic. |
Last Judgement Altar Piece
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when closed.. here they have mastered light and shade so well that they can make a statue look like a statue.
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the altar piece when closed. 1444-1448
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there is also a representative from teh medici bank-economy of salvation..
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repsonse toa msytic, st brigit of sweden, symbolic opf christs' death, premonitions. angels fressed in dobes of priests officially the eucharist. conflation., floweres. tilted ground plane, characteristic of flemsih periord. irises, blood, purity, sorrows. wehat, a visual metaphor. growing internationalization of economy
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back--amazing
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back
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back--amazing
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back
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Rolin Madonna, 1435.
artist depicted as more privelaged. concept of genius to decorate hyis funerary chapel, as enternally praying. Orb represents control of the unvierse. |
Jan Van Eyck
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took over rep of medici bank, lent money to duke of bergundy, lent money at interest. documebnti of union of two familties, with a potential witness. the mirropr is distorting reality while at teh same time it is ...
play of light and shade. aristocracy had mottos. the mirror-saying that there was somone else in the room, but he isn't depicted in it.. |
poprtrait of giovanni arnolfini and his wife giovanna. 1434
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self portrati 1432.
court painter. adopts an aristodrtatic mottow, endowed mission no longer an artisan and can call attention to miracle of produciton. No convention. as I can. |
Jan Van Eyck
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