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90 Cards in this Set
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Limburg Brothers, May, Tres Riches Hueres du Duc de Berry, before 1416, manuscript illumination (-emphasis on tall, elegant, figures -landscape and horses are individual -people are not yet individualized at this time -attention to the landscape) |
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Claus Sluter and Shop, Well of Moses, 1395-1406, Chartreuse de Champbol, Dijon, France, limestone with paint traces (originally a fountain -pure white sculpture not ideal -mistranslation gives Moses horns rather than rays of light -strong relationship to Gothic, but weighty figures for a stronger presence -about the prophecy of Christ -Moses and David are visible -Moses holds 10 commandments -portrayed as king, but kills Goliath as a young man -The Messiah comes from genetic line of David: significance of the star of David -only torso of Christ remains from crucifixion atop David |
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Campin workshop. The Merode Triptych, oil on panel, 1425-28 (-determined to translate holy stories into the "mother tongue" -delight in reproducing household objects -busy, crowded interior lilies: one is just budding, showing the budding trinity -light comes from top left, but double shadowing alludes to a second interior light source -drapery has geometric bulk, less organic than Eyck -instead of a dove, a nude infant carries the cross snuffed candle variously interpreted -monumental figures -had a very large workshop -job of workshop is to recreate artist style: competent workshop -made for private worship -telescoping perspective -atmosphere and setting appeal to merchant class -pages of scripture flapping in the breeze -baby Jesus is theologically incorrect b/c too solid, only becomes material in the womb -iconography as part of the natural world -vase has pseudo hebrew: refer to liturgical times of bible -Mary: fair haired, oval/full face, lines in the neck, double chin, youthful but a matron -Madonna of humility: sits on ground, equally important to virginity -holds God's book with cloth:the word of God becomes flesh) |
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The Salting Madonna, Workshop of Rober Campin, 1430, oil on tempura with egg tempura additions (fires screen is very overt halo: natural world serves iconographic purpose -Mary offers breast to human kind -monumentality: people pray to her -Jesus gesture of benediction, scrawniness reminds us of his adult self -Campin is first to exploit oil paint to capture detail and color, already known but tempura is more common -Jesus has belly from crucifixion -some don't think he was artist, but had large workshop -very full, oval face, double chin, rings/line neck -Flemish city seen through window -Chalise 19th century addition -lions on the bench indicate Mary as the seed of wisdom, from king Soloman |
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Campin workshop. The Merode Triptych, oil on panel, 1425-28, Joseph (-modern carpentry -Flanders looking city out the window -nails, possibly passion of Christ -mousetrap: setting a trap for the devil -everyday quality of objects, sublimeness of connection to Christ -Joseph rarely portrayed in infancy scenes -What is Joseph making/why is he needed? -"fooling/catching" the devil |
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Campin workshop. The Merode Triptych, oil on panel, 1425-28, donors (-male donor is a member of Ingelbrechs family -wife is added in most likely after marriage -door is open so they may view the mystery: gates of paradise open through Incarnation |
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Van Eyck, Ghent Altarpeice, 1432, oil on panel, Church of Saint Bavo, Ghent, outside (-courtier in Philip the Good increase his documenation -not just a craftsmen, given royal duties -also works for Italian patronage and high church officials -originally for Church of John the Baptist -frame=more expensive than altarpiece, HUGE -sybles w/ scrolls, ancient, prophecy Christ -donors in niches -made "distant and secret journies" for the Duke -learned scholar of theology -oil takes forever to dry -triple tiered crown: Christ had existed in all time -old testament pagan peoples on the left --in jewels, each layer of paint has less pigment -spurt of blood goes into chalice -Jewish/pagan sacrificial landscape -annunciation is in a church facade -large horizontal division in size of figures and setting;possible makeshift tryptich) |
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Van Eyck, Ghent Altarpeice, 1432, oil on panel, Church of Saint Bavo, Ghent, inside (-incredibly explosion of color -combnation of God and Jesus: 'Christ the word" -mystical representation of the lamb w/ supporters all around -commission goes to brother, takes over when he dies -great detail in jewels, hemlines, and skin: high level of inventiveness -lamb: tilted up manuscript -illusions of very material depictions of non realities -window looks out at rooftops -large dove above Mary's head -"Hail Mary" upside down and backwards: read by God -continuous space across multiple panels -bottom: Jodocus Vyd, John the Baptist, John the Evangelist, Isabelle Boriuut, John the Baptist -both Johns painted in light grisaille disparate panels would have to be composed by jan's brother) |
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Adam and Eve, Ghent Altarpiece, 1432 (-emphasis on stomach: Even will suffer pain of childbirth legs seem short on Adam, but no in person b/c seen from below: bottom of the foot is seen -holding fig leaves b/c aware of nakedness -citrus fruit, not apple: adam's apple is possible play on words -specific detail of disheveled hair) |
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Jan Van Eyck, Lucca Madonna, oil on a panel, 1434-35 (-very confined chamber -tunneling, we hover above -looked like Church -2 fruits: Mary and Christ new Adam and Eve -glass flask: extremely expensive -the Virgin is like glass, passes through w/o breaking her -details make it look like reality, but Mary is too big to exist in reality -lions on throne=seed of wisdom: doesn't look like on -had Van Eyck ever seen a lion? -more matronly virgin, rigid child -harder and more stereo metric -Mary as sedas saoientiae, or seat of wisdom) |
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Van Eyck, The Virgin of Chancellor Rolin, 1435, wood (-very small -saturated red takes up large space -domestic setting: Chancellor's study? -divided by line on the floor, but occupy the same space -gazes directly and Christ gives gesture of benediction -clacissized background as opposed to gothic -hair up is married, but wears hair down w/ child -votive: devotional offering -done for his own Parish church -similar to donor portrait angle but Chancellor turned just slightly -Italianate loggia -typology: mixing new and old testament -Christ's hand points directly to bridge: bridge to heaven -walled garden probably refers to Mary -garden enclosed refers to Mary: impenetrable -flowers in garden: lilies, roses, irises, pyrenees, all sumbolize Mary's virtues -perspective: tilted up floor, multiple vanishing points, hazy mountains: atmospheric perspective -Rolin was notoriously unpious, incredibly rich and worldly -looks as if skepticism of the vision -very bold to make contact with the Christ child -hair is that of a pious man -perspective: tilted up floor, multiple vanishing points, hazy mountains -atmospheric perspective -Christ is chubby and has fine hair, but eyes and face are that of an aged, tired man -fictive relief on columns from Genesis, combination of typology) |
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Van Eyck, Arnolfini Portrait, 1434, oil on panel (-issue among scholars about who it represents -"Arnolfini marries Giovanna Cenami": flattened -hands would need to be right hands for marriage -husband and wife seen in bedchamber is odd -husband holds much of the wealth: not the same connotation -woman may be pregnant: bedchamber, dog -betrothal: a promise, a girl could be betrothed at 10 -resembles St. Catherine of Alexandra from Desden Triptych -could be commemorative portrait, explains Giovanni's dark clothing -scholars take symbols and try to make a puzzle out of it -most likely symbols work for multitude of things -fruit on windowsill: Adam's apple -mirror with roundels of figure of Christ -portrait b/c man is very individualized and not very idealized, looks intelligent, deepest eyes, large nose -conveex mirror: creates distortions: incredible awareness of space -linear perspective known, but reject its particular rules -only one candle lit: sexuality and piety -Arnolfini positioned by window, outside world, Cenami by bed is division of labor -no domestic double portrait like this, must have some significance) |
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Rogier van der Weyden, Descent from the Cross, 1435, oil on oak panel (-very large panel -Weyden is more famous than Van Eyck -influences and is influenced by Italian art -intended/commissioned by Confraternity of Arches of Lueren -Mary of Hungary took before 1548 -center of triptych, don't know the sides -confined space, gold background more typical in medieval works, S curves of the body echo Gothic art, looks old fashioned but isn't -landscape put aside for the dramatic setting -confraternity: laymen with devotional focus -no doubt that Christ is dead; dried blood, white, gaping holes, angle of neck, meant to contemplate -prone arm from antiquity leads to Mary in dead faint, paler than dead Christ -man carrying Christ cried, collapse of face -oval face less delicate that Van Eyck, must be a pupil of Campin -relatability of total abandonment to grief, very human -complex composition works b/c use of light and echoing colors and bodies -Mary's whips of hair and teeth show dismay: Mary felt same pain in her heart that Christ felt physically -primary concern with figures is rhythmic design) |
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Rogier van der Weyden, Portrait of a Lady, 1455, oil on oak panel (-finely women head dress, very fashionable -hair style has changed -hands show piety, reflection, tension -uses fine fabrics V to make neck look longer -quite small -standard of beauty changed, sensuality of lips make it so if she looked at us it would appear sensual -elegance and detatchment, but inner emotion conflicts with total piety) |
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Van der Weyden, Annunciation Triptych, 1440, oil on oak panel (-visitation on the side -similar architecture and window into space w/ donor on outside to Campin, bench moves -echoes Arnolfini w/ bed and chandelier, bed curtains not in sacks, inspired by colorist -less radical angle than Meróde -bed shows fertility even though Mary stays a virgin -devotional moderna: meditate on Christ's humanity by representing it to contemporary life, draws and relates -many people had lost children, life span shorter -fruits for new Adam and eve, glass for Mary's non penetration, pomegranate alludes to fertility |
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Rogier van der Weyden, Miraflores Altarpeice, 1440, oil on oak panel (-compressed narrative similar to the plays of the time -starch settings -diversity of emotion -rigid corpose, stiff body is familiar in death -tiny, infant, helpless Christ -painted arches simulate theatrical interests) |
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Rogier van der Weyden, Seven Sacraments Altarpeice, 1445-50, oil on oak (-raising of the Eucharist -shows old man dying and marriage -all sacraments have place within the church -sacrament: God given grace -since Christ sacrificed himself, sacraments very important in church -church has been identified) |
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Rogier van der Weyden, Last Judgement Altarpiece, 1445-48, interior (meant to rival Ghent Altarpiece: followed the format and program of the exterior wings of Jan -Christ seated on a rainbow surrounded by angels carrying instruments of the passion St. Michael weighing the souls -escorted to gates of heaven, tumbling into hell -broad but shallow composition -commissioned by Chancellor Rolin, for the goodness of his soul -15 panels of different sizes -attenuated, elongated St. Michael with detailed scale -the concept of weighing heavy on the heart -scale is sometimes reversed -must have been a theological advisor -rainbow: God's covenant with Noah -St. Michael is dressed in ecclesiastical garments, mirrored with the priest) |
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Rogier van der Weyden, Last Judgement Altarpiece, 1445-48, exterior (commissioned by Chancellor Rolin for the goodness of his soul -constant assertion of his piety, but this is false -figures in grisaille is standard) |
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Hôtel-Dieu (house of God, hospital), 1443 (-commissioned by Nicolas Rolin to spread his wealth -was in continuous use for 500 years -choir screen and altar so mass could be said -recuperation was rare at this time -dedicated for saints Anthony and Sebastian: two saints commonly evoked for suffering -major chapel rededicated to Saint John by the time it happened) |
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Deiric Bouts, Polyptych of the Virgin, 1445, oil on wood (-influenced/encountered Rogier -well documented artist -portal-like doorways/archways: similar to Miraflores -emphasis on landscape -Annunciation reminds of Van Eyck, and in bed chamber reminds us of both Rogier and Van Eyck -bedchamber is not of the material world: spiritual and metaphysical -body of water: Mary is the "port of our salvation" -possible contemporary Jerusalem in Visitation -birth of Christ shows Joseph looking protective and Madonna of humility -Adoration kings represent 3 ages coming together in humble scene -Mary's broad, oval face, column neck, and dainty hands reflect Campin -classicizing architecture show old order of God: crumbles -Annunciation shows bed foreshortened head on -attributed to both Bouts and Peter Christus at times -defines his early style -figure proprortionally stockier than Rogier -mantels are barren compared to Miraflores) |
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Bouts, Altarpiece of the Holy Sacrament, 1464-67, oil on panel (-covered fireplace behind Christ -two portrait figures look in on scene -confraternity of the Holy Sacrament focused on eucharist commissioned this -commission specified by Bouts himself and two theological guides to help him -Last Supper usually shows the proclamation of Judas's portrayal, but this shows institution of the Eucharist -Christ echoes actions of a priest -Manna: food from God given to wandering Jews -need food to survive on Earth, need the Eucharist to survive in everlasting life -wants us to see crosses in the floor, is not bound by linear perspective painting theme: the holy sacrament of the eucharist -wings carry old testament episodes as "types" of the Eucharist -last supper is rare in Northern art -obvious, simple composition -the apostles are lean, narrow, weightless:only some can be identified; anonymous -dark portrayal of Judas makes him especially Jewish, as where the other apostles look Northern -no psychological interplay between figures or symbolism -wings show: first offering of bread and wine by a priest, lifesaving bread sent from heaven to Israelites, Elijah in the dessert who was brought bread and wine by an angel, and Passover - landscape are where Bouts excelled with detail and schematic framing of nature/ "method" -his paintings are most removed from Renaissance Italy) |
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Bouts, Portrait of a Man, 1462, oil on wood (-portrays in a real space -glances upward with bland expression -gives figure shadow -not as detailed a person as Van Eyck, more generalized -not as textured as Van Eyck -portrayment so heavily in the material world shows he is an "everyday man" -Everyman is typical of Bouts' portrait style -portraits portray people just like us, which is how we must accept them) |
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Bouts, Virgin and Child, oil on oak panel, 1465 (-flexed toes and child similar to Rogier -Bouts characterized by simple face -popular variation on Rogier's half length Madonna places both in an interior seeing with a deep landscape -Mary's fingers are longer and more delicately posed) |
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Petrus Christus, St. Eligius in His Workshop, 1449, oil on panel (-Christus is a successor of Van Eyck -convex mirror in 3/4 view taken from Van Eyck -always identified as St. Elegies, the patron saint of goldsmiths, but portrait style causes scholars to reconsider depiction -fictive frame from Van Eyck -Christus disappeared in history until 19th century rediscovery -face is individualized, but plane more smoothed out than Van Eyck -2 figures behind him looking at Wedding rings, possible commemorative wedding portrait -light clearly comes in from the left, door open on the left? -emphasis on women's hand and man holding her arm -weighing gold v. weighing souls: possible moralizing quality -not as much info as we want b/c many images in Churches destroyed by calvinists -relation to vanitas: showing temporary nature of material world -material world can mirror spiritual world -coral: stems like tree: the cross, on the grave of Adam -green glass topping meant to hold the eucharist, liturgical -analyses shows face is much more carefully modeled than couple's face -possible depiction of royal couple -mirror reflects young man with a falcon, symbol of pride and greed -inscription: signed and dated in abbreviated latin -sometimes referred to as the first major secular painting in Netherlandish art -bridal girdle placed before the woman -stereometric quality in the faces -faint crack on the far side of the mirror shows connection to vanitas) |
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Christus, Portrait of a Carthusian, 1446, oil on wood (-fictive ledge/frame that signs and dates -puts fly on much larger scale than figure -fly is more a part of our world: painting is fictional, fly is real? -kinetic potential: the fly is about to move and viewer is about to change his expression -compared to Van Eyck: less anonymous because white robe -sitter has a sense of place -personalities in Van Eyck and monk are equally portrayed -uneven hair shows the lack of vanity -spotlight plays across the face and hits the top corner of the room -features are hard and strongly modeled -possible desire for monk to be identified with St. Bruno -some identify him as Denis the Carthusian -short life of the fly is vanita or moment mori: remember that you too must die) |
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Petrus Christus, Nativity, 1450, oil on wood (-Adam and Eve relief sculpture -window into space graphed out, but ground tilted up -almost reversed to Rogier, scale of figures is very similar -one of most accomplished paintings -possible central panel of large triptych -holy family occupies isolated and sanctified ground -Joseph removes his shoes because he has seen God) |
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Petrus Christus, The Virgin of the Dry Tree, 1460, oil on panel (-confraternity of the Dry Tree, upperclass, Christus joins -Christus later joins confraternity of "our Lady in the Snow", shows wealth, puts in path of expensive commissions -very tiny -mandorla: ovular disk with light emanating from it, for Christ, Italian practice -tree manorial shows connection to the cross -"Ave Maria" connection to rosary, 15 A's depicted for 15 rosary Ave devotions -rosary practice rapidly developing in the North -made contemplative for the theology of the confraternity -Virgin fashioned on much Eyckian types -stand in the middle of a crown of thorns -Tree of Life from Eden) |
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Christus, Portrait of a Young Girl, 1470, oak (-portrait of very young noble woman -marriage age is very young -no character lines, nothing but smooth skin -eye contact becomes more common: able to look past us -bold, stereo metric qualities of the face are effective -sharp glance slightly to the right makes image evoke provocation) |
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Justus van Ghent, Altarpiece of the Communion of the Apostles, panel, 1473-74 (-institution of the eucharist, Christ acting as priest -Federico de Montefeltro pictured, in profile for a reason -sponsored Hugo van der Goes and others -international reputation -very large -commissioned for confraternity dedicated to the corpus christi -angels act as decons of the mass -Paolo Ucello not given main altarpiece commission -Ucello only completed antisemetic periled -obsession with Nothern artists and their use of oil -confusion of transubstantiation -Judas appears isolated on the left clutching the purse with coins -large altarpiece places in the Church of the Corpus Domini -man in exotic xostume identified as the Persian ambassador) |
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Hugo van der Goes, Fall of Man and Lamentation, 1470, panel (-3 years after incorporated into the guild -serpent has more agency because of two legs -looks at Eve, pleading -very natural, giant iris covers her, Iris is symbol of a sword -Christ and Mary must suffer for man's deeds -clear Eyckian and Rogier inspiration -echoing the Ghent altarpiece -Mary Magdallen is not looking at feat but at viewer -dramatic gestures and drapery are indebted to Rogier -both painting are composed in "X" pattern, showing spacial unclarity in both -colorful landscape in Eden becomes the barren hillside of Golgotha, shows Christ's struggle) |
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Hugo van der Goes, Adoration of the Magi, 1470, oil on wood (-3 kinds come together under tumbling down building -representing 3 parts of world: Western, Eastern, African, all humbled before Christ though well dressed -exploration taking place at this time -lot of flower symbolism in Van der Goes because interest in natural world -lilies, columbines, and wheat shafts to remind of wheat of eucharist -less mixing, strong primary colors -one of earliest paintings -cut down at the top -somber, quiet, adoration -movement of figures across of stage harks to Rogier -richness and precision of detail of objects and landscapes is Van Eyck -glimpse into distant Bethlehem) |
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Hugo van der Goes, Portinari Altarpiece, 1475-76, oil on wood (-adoration with donors on the sides -grisaille Annunciation on other side of wings -Virgin is much larger than most figures, heirarchical scale -Virgin is more important than Christ, he blends into the ground, meant to see as a unit -right wing: Mary Magdallen and saint Margaret with patrol Maria Portinari -saints become members of the family -comissioned by Tomasso Portinary -circular arrangement of figures -delicate and exquisite details -shephards echo Magi through age -tallest figure appears simple, but curious, Christ is for all people: simple faith -tallest figure has bony, lumpy face, slack jaw -oldest figure has rough intelligence, they understand they are before the Messiah -iris, lilies, columbines to resemble nails -aside from size, very unlike anything Italian in style or content -birth of Christ usually joyful, but it is tinged with the sorrow of the future -matched Van Eyck in disguied symbolism -unlike Rogier, Goes people do not display a communal response -wide array of postures and gestures) |
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Van der Goes, Dormition of the Virgin, 1480, panel (-Christ shows his wounds as he comes to get his mother -Apostles in full mourning -one of his last works, but not because of death -Goes seems to have very long mental illness -no restraint in expression -only Peter, dressed as a priest, seems in control of his emotions -figures cut of at painting margins contributes to claustrophobia) |
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Geertgen tot Sint Jans, St. John the Baptist in the Wilderness, 1490, panel (-John is first one to recognize the Messiah -small, for personal contemplation -seemingly simple, but very detailed -John appears as simple man: Christian virtue -John is withdrawn, huddles, and encased in heavy protective folds of woolen mantle -"the posture of the thinker in repose" -melancholy thought because human kind rejected God) |
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Master of the Playing Cards, King of the Wildmen, 1450, engraving (-descrived in the short, sketchy strokes describing rough contours and textures -wide variety of strokes -sensations light plays across shapes in tiny strokes) |
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Lochner, Madonna of the Rose Bower, 1442 (-heads are larger than bodies -richly colored: compliments of blue and gold -yellow and red of garments move eye around -Christ looks substantial, but weightless -Madonna in garden setting=garden enclosed: fertility and purity/ "a rose without thorns" -Mary has delicate, very young face -Christ holds apple, reminder that they are new Adam and Eve -God the father seen with dove of the Holy Spirit -violates gold background with incised lines and naturalistic flowers -push/pull of the space -small-devotional image -not historical depiction: timelessness of Christ as an infant -angel holds early version of the organ -jewels and crown painted with realistic transparency -seems as if the angels are pulling back the gold cloth) |
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Schongauer, Temptation of St. Anthony, 1475, engraving (-first engraver to also be a painter -Anthony plagued with temptation of devils and sirens -huge depth of shadow and creation of heavy garments -background barely defines -Michelangelo fascinated by Martin Schongauer -inspired Bosch and Neithart -engraving a new exploding medium -one of most dynamic compositions -all forms are contained in a single circumference which holds and X pattern -conveys a spinning wheel about to fall apart) |
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Schongauer, Carrying of the Cross to the Cavalry, 1475, engraving (-Christ bends under giant wood cross -differentiate textures: cross, cloth, metal -print makers consistently sign works -draws on earlier Flemish tradition of panoramic landscape -walls of Jerusalem on the right, the mound go Golgotha on the left -Veronica stands above with veil to dry Christ's face -short strokes of the burin convey an impending storm) -supressed landscape setting for energy of the emotion) |
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Master of the Amsterdam Cabinet, Aristotle and Phyllis, 1480, drypoint (-one usually thinks of Aristotle's dignity and control -Aristotle is entirely controlled by the woman he loves -Phyllis dresses in contemporary dress -medieval tale -shows the power of a woman) |
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Israhel Van Meckenem, The Angry Wife, 1496 (-reminds of Shakespeare's taming of the Shrew: idea that women are horrible shrews -devil influences the wife -mysogonistic literature: must not let the woman get control, women are not rational -lots of 15th century literature about what women should do: domestic, must control temper) |
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Albert van Ouwater, Raising of Lazarus, 1455-60 (-Northern Netherlands, founder of Haarlem school of painting -greater plasticity: 3 dimensionality -light is convincing coming from window, but not light we see -only work that can be attributed with certainty -passive figure types is different from Van Eyck and Rogier -mechanically posed -dramatic nature is expressed through simple juxtaposition of followers of Christ with Jews -figures occupy only the lower half of the composition: reduces figures to functions of the space -empty upper half of painting evokes solemness -milder color scheme) |
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Geertgen, Night Nativity, 1480, panel (-very small -figures resemble simplified shapes created on the lathe -Mary has simplification in the planes of her face: simple piety -meant for private devotion -child:appears carved, like a reenactment for a feast day, light and texture of skin give life -head isn't quite big enough for a real baby -as if the scene has come to life -ox and joseph barely illuminated -darkness with spotlight emote stillness,, silence, human experience) |
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Geertgen, Virgin of the Rosary, 1480 (-Virgin clearly established as New Eve as well as woman of the apocalypse from St. John's vision -baby ringing bells -surrounded by angels with musical instruments -likely painted for the confraternity of the Rosary -apocalyptic Madonna of the Sun which is later combined with immaculate conception) |
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Gerard David, Altarpiece of the Baptism of Christ, 1502-07 (-patron kneels on left with John the Evangelist and his son -wife on right with St. Elizabeth and daughter -successor of Memlinc, lives at the end of a tradition -quiet, contemplative, ethereal atmosphere -limitation: no activated figures -figures are very close to picture plane -gentle symmetry: nature parallels itself -young daughter breaks fourth wall -lack of drama in the figures -creates a landscape that can be wandered through) |
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Gerard David, Virgin and Child with a Bowl of Porridge, 1510-15 (-poridge=milk soup -siturated in contemporary setting with buildings out the window -bread=eucharist: he nourished mankind with his body -soft light, warm and inviting scene -Christ placed in the center -popular scene and has many renditions) |
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Nicolas Gerhaerts van Leyden, Bust of a Man, sandstone, 1467 (-possible self portrait -characterized by elaborate drapery, physicality -less need for color because 3 dimensionality conveys more realism than painting -contemplative gesture) |
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Michael Erhart, Madonna of Mercy, polychromed limewood, 1480-90 (-type found all throughout Europe -harchs back to tradition of donor portraits: hierarchy of size -stands in contropasto: balanced, beautiful contrast with ridges of fabric -realism: 3 dimensional AND colored -her neck looks like rides of a column -look in her eyes conveys protection and maturity/competency -limewood is fine-grained, used to exploit natural curves of figures with ease: more naturalistic -Madonna was beloved guardian of plagues, famines, and other evils -look of small people is benevolent and serene -wood is a much more natural coloring of the skin) |
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Gerhaerts, Madonna of Dangolsheim, 1470, polychromed walnut (-movement -exaggerated features: Madonna hair, child head is too big -perspective from below appears less strange -does not have the same fitness as the painters of the time -great sweep of drapery in two large arcs) |
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Tilmon Riemenschneider, Altarpiece of the Magdalen, 1490-92, Church of Mary Magdalen, Münnerstadt (-most important wood sculptor -expensive wood altarpiece becomes the norm, but this pushed the envelope -Mary Magdalen and prostitute Mary are combined in the middle ages -Magdalen washes Christ's feet with her hair: vanity becomes humility -hair grows to cover her nakedness: represented hair grows from all over her body -hair marks her former vanity: also a vanita -haggard after the wilderness, but also young and curvy -visual reminder of character: harder to be cast when you are beautiful -side wings had four relief sculptures illustrating the life of Magdalen -left natural, no polychromy: another artist called in to paint it -not until this generation that wood sculptures are left unpainted -some would be painted/guilded -altarpiece with narrative stained glass creates setting, see light/interplay of space and light) |
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Ascension of the Magdalen, from the Altarpiece of the Magdalen, Münnerstadt, 1490-92, limewood, Munich |
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Riemenshneider, Adam and Eve, 1491-3, probably limed, over life-size (-Eve has contrast with Magdalen -Adam and Eve were in situ in Marienkapelle until 1894 -begin to see the fusion of Italian and renaissance art -Eve's proportions are more realistic, less implication of fertility -Riemenschneider known for long, thin faces with sunken cheeks) |
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Tilman Riemenschneider, Altarpiece of the Holy Blood, 1499-1505, Church of St. Jacob, Rothenburg (-Annunciation has Mary on left and Gabriel on the right -Man of Sorrows as manifestation of the eucharist -major pilgrimage church -right relief shows praying scene after the Last Supper: "Agony in the Garden", left shows 'Entry to Jerusalem" -very important to show god's suffering -Last Supper in the center conveying the institution of the eucharist) -richly carved figures with overgrown pinnacles and spires of wooden frame create "florid style" of Late Gothic -can't find Judas as easily because he is not the only one on opposite side of the table -valued relic of church: "a drop of Christ's blood" |
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Gregor Erhart, Mary Magdalen, polychromed limewood, 1510 (-complex rendering with full body contropasto -hair is growing as she begins life as young ascetic -hair is overwhelming -ascetic life significant considering her youth and beauty) |
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xc, 1450, enamel (-bold, plasticity presentation of head -portrays very 3 dimensionally considering lack of color -early example of painted enamel:1st coast of enamel, grey brown glaze, gold hatching -very inventive: certain details obtained by scratching away the gold -rare at this time to have independently standing self portraits) |
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Foquet, Melun Diptych, 1450, Etienne Chevalier and St. Stephen (-St. Stephen holds rock because he was stoned to death -St. Stephen idealized, Etienne portrait and not idealized -regularized, classical architecture -Foquet has strong interest in antiquity) |
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Foquet, Madonna and Child Enthroned, Melun Diptycge, 1450 (-rumored to have been portrait of king'd mistress: Agnes Sorrel, known for her court beauty -kind of supernatural, likely desired to make Mary look inhuman -repeated circular shapes: Christ head echoes breast -women plucked head hair for "highbrow" fashion -virgin paralleled to lady of the court -meant to look beautiful, but not sexual -crown contains pearls: normal iconography for the virgin -Christ points of Chevalier -small diaphorus cloth does not cover Christ's genitals: fully human iconography -perspective: shows the bottom of Christ's feet -"blasphemous boldness" -ashen, pale color of virgin and child, and contours of bodies are simplified and reduced to geometric shapes -little detail to smooth surfaces -plasticity -blue dress and chalky white mantle add to effect of grisaille -difficult to see details of virgin as portrait: shows canons of courtly beauty) |
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Foquet, Donor page from the Hours of Etienne chavalier, Etienne Chevalier with St. Stephen and Madonna and Child, 1452, panel (-setting: spacious, lavish, Italian classical hallways -Madonna's features are again simplified and rounded, giving her bulky body -juxtaposition of renaissance architecture and gothic portal: shows Madonna as the church) |
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Bosch, St. John the Evangelist on Patmos, 1504-05 (-distant landscape and water indicating it is an island -demonstrating the importance o sticking to the moral path) |
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Bosch, Temptation of St. Anthony, 1500 (-plague saints must show fortitude -resists all the devils -monstrous, otherworldly figures -St. Anthony kneeling at an alter, hard to tell where he is -reason counters joyL human heart and mind at war -depicts multiple episodes of his life. not places in chronological order -major events of St. Anthony have been shown before, but never so elaborated -reverse side in grisaille -obsession with hybrid forms -murky marshes and stagnant pools in the foreground, burning village in the background -action revolved around the preparation for mass -perverse teachings of hybrid priest seen) |
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Bosch, Cure of Folly, 1480-85 (-don't know much about Bosch life or training -nothing known of his personality or thoughts -early works more traditional, later more fantastical - circular format: meant to remind of a mirror -man with tin hat says he can cure folly by removing the stone: folly in itself -vast landscape with church in background -stone operation is a known "quackery", seen in many plays -brutality towards the clergy -very skilled, well developed landscape juxtaposed with characters figures: nature is made by God) |
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Bosch, Tabletop of the Seven Deadly Sins, 1486 (-remains Catholic, but very critical of the church -deeply moralizing image -eye of God with half length man of sorrows in the center man of sorrows shows that when you sin, you are betraying Christ -"the art of dying well" -circular eye: no sin goes unnoticed by God -enscription: "beware, beware, God sees" Luxery/Lust: musical instruments prominently displayed, risqué, humorous spanking shows that lust can lead to violence -Envy: dog reaching for the bone, even though there is already a bone on the ground, there is always someone worse -vanity: shown back view, face only seen in the mirror that the dog holds up encouraging the vanity, woman surrounded by material abundance -Last Four Things: death, judgment, heaven, hell) |
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Bosch, Adoration of the Magi, 1500-1510, outside (-Christ appears before donors as hard length Man of Sorrows -painted grisaille -physicality conveyed by the shadow -Mass of saint Gregory: transforms into a vision of Christ, this vision takes over because medieval version of bleeding flesh in chalice is not visually appealing -donor figures fully integrated into the scene) |
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Bosch, Adoration of the Magi, 1500-1510, inside (-structure is not just delapitated but unstable:reminder of what is to come -vast landscape with donor figures in the wings: don't know who they are -somber mood, sinister touches scattered about the holy group -six shady figures that look out from the dark interior at the entrance of the hut -hardly seems to show the promise of redemption: focus on themes of extreme torture, agony, and humiliation -sense of discomfort in central panel -stick creates older tradition of separate closing, usually royal but here it is changed radically -Bosch not popular in the 19th century -simple fool figures on the roof -children climb trees to see Christ entering Jerusalem, visual reference of: Bosch must have looked at a lot of art -man looking out visually looks like he has leporacy, been interpreted as the antiChrist, leprosy is visual evil, wears crown of thorns as false Christ -not real world, a world of special warning -bagpipes appear frequently in Bosch and other morazling prints, show body function -bagpipes seen on roof -even though comes from smooth glaze Flemish tradition, loosens brushstroke -figures emerging from the dark mimic 3 stages of life, African, the magi) |
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Bosch, Carrying the Cross, panel, 1515 (St. Veronica seen with cloth to wipe Christ's face -visual expressiveness -show how "they look from within": Spanish author -dramatic close up intensifies the agony -filled with heads of evil, not particular to Bosch, common practice -two diagonals intersect at the head of Christ) |
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Bosch, Garden of Earthly Delights, 1500, exterior (-could be the creation of the world, or destruction of the world: filled with a lot of water -incredibly enigmatic, symbolism is very intricate -not a typical religious piece: very likely it was not an alerpeice |
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Bosch, Garden of Earthly Delights, 1500, interior (-pink fountain on left is very organic appears like human flesh -exotic animals: beginning of the age of exploration; giraffe -many seedy fruits are seen: once the fruit has been eaten: it is forgotten: includes deformed fruit -very conglomerate image -strange white man topped with bagpipe shape in hell -many musical instruments in hells cape and earth -interpreted as didactic warning, or central panel shown as paradise -possibility of how earth would be without Adam and Eve's sin -"unmitigated joy", naked figures seek pleasure in myriad of ways, lack differentiation between animals and humans -many bulbous objects: scientific understanding of human membranes -hellscape shows Bosch's imagination about pains of hell -hald egg man: only figure with human face; breaks 4th wall; all other figures have strange faces; doesn't see their folly -defecating fly figure shows the interest in membranes -basic elements of landscape continued through the panels -center lake an elaborate "fountain of life" arises |
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Van Eyck, Man in a Red Turban, panel, 1433 |
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Hugo Van Der Goes, Portinari Altarpiece, exterior wings, 1475-76 |
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Memlinc, Tommaso Portinari and his wife, Maria Baroncelli, 1480 (-cross fertilization of Northern and Italian artists continues -both seem like window into space: Italian concept -still has precise details in the face) |
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Memlinc, Shrine of St. Ursula, 1489, gilded and painted wood (-legend of St. Ursula painted on the side -Ursula: princess who married prince of England on conversion of Christianity, all are murdered because they will not abandon their faith -window echoes the design itself |
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Memlinc, Martyrdom of Ursula, From the Shrine of Ursula |
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Mathis Gothard Neithart, The Isenheim Altarpiece, 1515, oil on wood (-altarpiece that opens multiple times: complex process -crucifixion with plague saints on sides: Anthony and Sebastian -artist does completely religious images in expressive style -ignores Italian classicism -some of his works attributed to Durer, even though seen as antithesis -uniformity of style -Christ incredibly tortured, greenish tint to skin -Christ is proportionally much larger -lamb bleeds into chalice, John the Baptist points to Christ: behold the lamb of God -predella shows lamintation, when it opens it looks like he has lost his legs, would speak to the skin diseased hospital viewers -since people are definitely going to die, pained Christ allows one to be stoic, promises resurrection -John the Baptist taken out of narrative: would have been dead by now, see his hair shirt -John the Evangelist comforts Mary -overly expressive hands and fingers -Mary Magdallen looks older than the virgin -lamb takes on human expression) |
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Mathis Gothard Neithart, The Isenheim Altarpiece, 1515, oil on wood: second opening Annunciation, Nativity, Resurrection (-much more lightness, brightness, and color -music meant to denote harmony -individual, personal iconography -Mary seen in total humility; accepts Gabriel but graciously looks away -comparison between tortured and risen Christ; light rays come through his wounds -Christ and Mary show important eye contact -typical wash basin -mysterious crowned figure though to be Mary: shown multiple times -wings are balanced in coloring -risen Christ is very benevolent, works for the setting) |
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Mathis Gothard Neithart, The Isenheim Altarpiece, 1515, oil on wood: third view, interior sculpture with St. Anthony (-expensive, polychromed gold sculpture, already existed -St. Anthony meets Paul the Hermit, temptation of St. Anthony on the right) |
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Durer, Self Portrait with a Spray of Eryngium, 1493, oil on parchment on linen (-first painted self portrait -"My affairs go as it stands above": What I do is God given: brassiness -indicates it is a self portrait -completes painting toward end of Italian travels -seen in the height of fashion -youthful imperfections in eyes and hands) |
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Durer, Self Portrait, 1498 (-"I painted this from my own appearance: I was 26 years old -dresses like young Venetian gentleman -paints like Venetian painting, not like Venetian self portrait: opening up of space, texture carefully differentiated -announces artist as an aristocrat and gentlemen -art changed a lot after visiting Venice -much more austere than previous romantic portraits he painted: harsh linearity and precise details replaced the softer painterly qualities -successful businessman as well as proud artist) |
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Durer, View of the Alps, 1495, watercolor on paper (-damaged -captures sense of clarity and thinner of air -concieved as finished works, not merely topographical studies -changes landscape: views them "in plain air" -entirely secular" part of humanists who are interested in secular art) |
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Durer, 1498 woodcut Apocalyse, John Beholds the Seven Candlesticks (- no one has achieved this level of texture in a woodcut -develops woodcuts and engravings as their own art medium) |
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Durer, The Four Horsemen, 1498 woodcut Apocalypse (-most famous in the set -dramatic cavalcade set along a diagonal that dominates the page -middleton of parallel lines established for the scene) |
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Durer, John Devours the Book, 1498 woodcut Apocalypse (-John devours the word of God to digest God -concludes with triumph of Christ with New Jerusalem following Last Judgement) |
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Durer, Self Portrait, 1500 |
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Durer, Adam and Eve, engraving, 1504 |
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Durer, Adoration of the Magi, 1504 |
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Durer, Feast of the Rose Garlands, 1506 |
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Duper, Adam and Eve, 1507, oil on panel |
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Durer, Adoration of the Trinity, 1511, panel |
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Durer, Portrait of Herinymous Hoizscuher, 1526 |
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Durer, John theEvangelist, St. Peter, St. Paul, and St. Mark, 1526 |
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Lucas Cranach the Elder, Martin Luther as an Augustian Monk, 1520 |
