Northern Renaissance Exam #1

Front 1

Nicolas Wurmser of Strasbourg, Charles IV Places the Passion Relics into the Bohemian reliquary cross, wall painting, Chapel of our Lady, Karlstejn Castle, 1357.

Back 1

❦ Painting depicts Charles IV, the Holy Roman Emperor, placing relics on the altar at St. Vitus Cathedral in Prague.
❦ Charles IV modeled his court after Louis IX, and his church after Louis' St. Chappelle. Charles, also like Louis, was an avid relic collector.
❦ Some of the relics he was said to have posessed were: the skull of Charlemagne, the crown of thorns, and part of the true cross.

Front 2

Reliquary Bust of Charlemagne, silver, partial gilt, cameos, gemstones, 1376

Back 2

❦ Contains the skull of Charlemagne. Project sponsored by Charles IV.
❦ Charles was trying to align himself with the power and wisdom of Charlemagne, an example of a good and pious king.
❦ The attention to detail and pattern on the reliquary mirrors the lavish patterned surfaces inside the Chapel of the Holy Cross in Karlstejn Castle, where the reliquary was designed to be placed.

Front 3

Middle Rhine region, Röttgen Pietà, limewood, 1325-70.

Back 3

❦ Earliest known Pietà, very important to late medieval historians. Depicts the Virgin Mary mourning her deceased son, Jesus.
❦ When compared to Michaelangelo's sumptuous, idealized, virtuoso version of the same iconography, this depiction seems very harsh. Michaelangelo approaches it as a compositional challenge whereas the lowland Pietàs are more focused on devotional aspects. "Andaschtbilder"
❦ Mary appears very haggard, not idealized and beautiful as we usually see her. Christ's wounds are very grisly, "carnations" of blood. The focus is on the pain, wounds, emotions, of the passion. This helps the viewer to visualize Christ's sacrifice while praying or meditating.

Front 4

Czech Republic, Jihlava Pietà, vesperbild, c. 1400

Back 4

❦ Another example of the Pietà imagery in the form of a Vesperbild, or small devotional sculpture. "Andachtsbilder"
❦ Good Friday ritual of prayers to the Virgin, using Vesperbilds.
❦ Differs from the Rottgen Pietà in many ways, meant to evoke a different emotional response. Virgin is younger, more beautiful, kind face, almost smiling. Christ seems huge, but this is actually a more likely representation of the size difference between an aging woman and her grown son. Drapery is much more volumetric. Overall more realistic but also highly idealized.

Front 5

Claus Sluter, Tomb of Philip the Bold of Burgundy, alabaster, 1400.

Back 5

❦ Philip the Bold of Bergundy was the son of Jean le Bon and the brother of the Duc de Berry. From a family that were lovers and patrons of art. Built a Carthugan monastary and commissioned this tomb so he could be buried there.
❦ The upper part of the tomb is a representation of Philip in regal garments, guarded by angels and with a lion at his feet. The bottom portion is a dramatic reenactment of the funeral procession of Philip the Bold.
❦ The standout part of the tomb is the 40 individualized figures of Carthugan monks. Known as "pleurons," "mourners," or "weepers." Very naturalistic, facial features individualized, drapery very expressive. They seem "weighed down by their grief."

Front 6

Anon. Parisian Goldsmith, Goldenes Rössel, gold, enamel, pearls, gems, 1404.

Back 6

❦ Made for the Valois King Charles VI as a new year's gift from his Queen. Shows Charles in the midst of pious devotion to the Virgin, with courtly attributes.
❦ Shows desire of courtly people to reach a spiritual realm.
❦ Example of International Gothic Style: the court style of the 14th century. Famously proliferated by the Monarchy of John II and his 4 sons: Philip the Bold, Duc de Berry, Charles V, and Louis of Anjou. (Charles VI was the son of Charles V)

Front 7

Jean Bondel & Nicolas Bataille, Whore Who Sittith Upon Many Waters from the Angers Apocalypse Tapestry, 1375.

Back 7

❦ The imagery refers to the whore of babylon from the book of Revelations.
❦ The tapestry is 16 ft x 350 ft, and would have been used as a wall covering. It was commissioned by Louis of Anjou, a member of the Valois dynasty.
❦ The tapestry's composition was designed by Jean Bondel, a miniaturist from Bruges. The tapestry was woven by Nicolas Bataille, a weaver. It is bright and jewel-like, stylistically similar to how a goldsmith would embellish.

Front 8

Jean Bondel & Nicolas Bataille, Four Scenes with the Whore of Babylon from the Angers Apocalypse Tapestry, 1375.

Back 8

❦ The imagery refers to the whore of babylon from the book of Revelations. It is divided into 4 panels. St. John is present in all the panels, always situated in an architectural niche. Backgrounds read as decorative patterning, not part of 3 dimensional space. "Architectural follies."
❦ The tapestry is 16 ft x 350 ft, and would have been used as a wall covering. It was commissioned by Louis of Anjou, a member of the Valois dynasty.
❦ The tapestry's composition was designed by Jean Bondel, a miniaturist from Bruges. The tapestry was woven by Nicolas Bataille, a weaver. It is bright and jewel-like, stylistically similar to how a goldsmith would embellish.

Front 9

Limbourg Brothers, Fall of Man & Expulsion from the Tres Riches Heures du Duc de Berry, illuminated manuscript, 1404-16

Back 9

❦ The Limbourg brothers were from Nijemegan, in eastern Holland. Trained in Paris as Goldsmiths. Worked in Bruges at the Duc de Berry's court.
❦ Books of hours and personal psalters were common books commissioned during by nobles in this time. They were interactive objects used to aid devotion. They included many things like calendar pages, zodiacs, saint's feast days, illustrated labors of the month, prayers to virgin in 3 hour intervals, etc, and were personalized for the their patron's use specifically.
❦ This image depicts the Fall of Man and The Expulsion, or Adam and Eve being exiled from the Garden of Eden. Shown as continuous narrative and in a non 3 dimensional space. The people look like figurines.

Front 10

Limbourg Brothers, Meeting of the Magi at the Crossroads from the Tres Riches Heures du Duc de Berry, illuminated manuscript, 1404-16

Back 10

❦ The Limbourg brothers were from Nijemegan, in eastern Holland. Trained in Paris as Goldsmiths. Worked in Bruges at the Duc de Berry's court.
❦ Books of hours and personal psalters were common books commissioned during by nobles in this time. They were interactive objects used to aid devotion. They included many things like calendar pages, zodiacs, saint's feast days, illustrated labors of the month, prayers to virgin in 3 hour intervals, etc, and were personalized for the their patron's use specifically.
❦ This image depicts the meeting of the magi, each of which are personified as specific historical figures. Charles VI (Valois), Manuel II (byzantine emperor), Constantine. Time and space skewed to be applicable to a contemporary reader. For example, the magi actually met at Golgotha in Jerusalem, but in this image the seem to be meeting in 15th century Paris. The skyline of Paris including Notre Dame, Sante Chappelle, Montmartre, is visible in the background.

Front 11

Limbourg Brothers, January from the Tres Riches Heures du Duc de Berry, illuminated manuscript, 1404-16

Back 11

❦ The Limbourg brothers were from Nijemegan, in eastern Holland. Trained in Paris as Goldsmiths. Worked in Bruges at the Duc de Berry's court.
❦ Books of hours and personal psalters were common books commissioned during by nobles in this time. They were interactive objects used to aid devotion. They included many things like calendar pages, zodiacs, saint's feast days, illustrated labors of the month, prayers to virgin in 3 hour intervals, etc, and were personalized for the their patron's use specifically.
❦ This image depicts the month of January from the zodiac and labors of the month pages. The scene is set at the Duc de Berry's New Year's feast. Tapestries on the wall are a reference to actual objects that he had. Very crowded composition with servants, visitors, flatware, dogs, and many other tiny details.

Front 12

Limbourg Brothers, February from the Tres Riches Heures du Duc de Berry, illuminated manuscript, 1404-16.

Back 12

❦ The Limbourg brothers were from Nijemegan, in eastern Holland. Trained in Paris as Goldsmiths. Worked in Bruges at the Duc de Berry's court.
❦ Books of hours and personal psalters were common books commissioned during by nobles in this time. They were interactive objects used to aid devotion. They included many things like calendar pages, zodiacs, saint's feast days, illustrated labors of the month, prayers to virgin in 3 hour intervals, etc, and were personalized for the their patron's use specifically.
❦ This image depicts the month of February from the zodiac and labors of the month pages. First realistic winter scene? Scene of peasant life, showing how the majority of Duc de Berry's people lived. Spatially organized into foreground and background. Shows the crude aspects of peasant life: pigs, beehives, people warming themselves by the fire.

Front 13

Limbourg Brothers, April from the Tres Riches Heures du Duc de Berry, illuminated manuscript, 1404-16

Back 13

❦ The Limbourg brothers were from Nijemegan, in eastern Holland. Trained in Paris as Goldsmiths. Worked in Bruges at the Duc de Berry's court.
❦ Books of hours and personal psalters were common books commissioned during by nobles in this time. They were interactive objects used to aid devotion. They included many things like calendar pages, zodiacs, saint's feast days, illustrated labors of the month, prayers to virgin in 3 hour intervals, etc, and were personalized for the their patron's use specifically.
❦ This image depicts the month of April from the zodiac and labors of the month pages. The scene is of the Duc's granddaughter being engaged to the Duc d'Orleans. Very stylized and mannered, showing the formality of courtly life. International Gothic Style.

Front 14

Jan and Hubertus van Eyck, Altar of the Lamb (Ghent Altar) - Interior, oil on panel, 1432.

Back 14

❦ Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This altarpiece was commissioned by a middle class patron (Joos Vijd) for the Cathedral of St. Bavo in Ghent. Hubert began the piece and Jan finished it. Unlike other paintings of this time, it does not rely on continuous narrative, but rather the scale varies from panel to panel as the subjects are confined into their individual panels.
❦ INTERIOR- The overall subject of the altarpiece can be described as "The Sacrifice of Christ for the Redemption of Man." Top Register: Adam and Eve figures are not highly idealized, very naturalistic, they even have farmer's tans. The sole of Adam's foot comes out into the viewers space. Adam and Eve bookend the composition, reminding us of our own mortality and of our complicity in their crime. Interior shows God the Father wearing papal crown, earthly crown at his feet. Flanked by Mary as the Queen of Heaven reading her psalter and John the Baptist with bare feet, hair shirt, and cloak. On either side of this group is the Angel Choir, examples of Van Eyck's attention to detail on materials and surfaces. Embroidered mantel, carved lectern. Their face are also highly individualized and expressive. Bottom Register: Adoration of the Lamb, the portrait of Christ from Revelation. No human depiction of Christ in this altarpiece. Shows Van Eyck's interest in symbolism. Virgin martyrs holding palm fronds, Angels with implements of the passion and swinging censors. Other attendees of the adoration in the composition too. Skyline in background is that of Ghent. Shows the rich interplay between allegorical and physical presence of these characters.

Front 15

Jan and Hubertus van Eyck, Altar of the Lamb (Ghent Altarpiece) - Exterior, oil on panel, 1432.

Back 15

❦ Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This altarpiece was commissioned by a middle class patron (Joos Vijd) for the Cathedral of St. Bavo in Ghent. Hubert began the piece and Jan finished it. Unlike other paintings of this time, it does not rely on continuous narrative, but rather the scale varies from panel to panel as the subjects are confined into their individual panels.
❦ EXTERIOR- Top register: Sybils and prophets, Middle register: Annunciation. Robes have sculptural qualities but the color refers to reality. Appears to be located in the solarium in a church, much like the one in Ghent., Bottom register: Donors and grisaille "sculptures" of John the Baptist and John the Evangelist. Illusionistic representations of sculptures give a 3 dimensional sculptural presence.

Front 16

Jan van Eyck, Annunciation, oil on panel, 1434-36.

Back 16

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This paintings was the side panel to a triptych. It addresses the Virgin Mary's role in the incarnation and transfer from old law to new law. Her role as a vessel for Christ's humanity. Also deals with the theme of glass, which was popular in Netherlandish painting via contemporary theology.
❦ Shows Jan van Eyck's interest in embedding symbols into the real world. 7 rays of light = gifts of the holy spirit. 3 rays of light = trinity. Lillies = Mary's purity. Mary and Gabriel stand on zodiac patterned floor tiles that refer to the day of the annunciation. Stained glass and fading frescoes in top register refer to old testament law.

Front 17

Jan van Eyck, Madonna in the Church, oil on panel, 1437-40.

Back 17

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This painting represents the Virgin and Child in a gothic cathedral. The scale is symbolic, not realistic. Personifying the Virgin as the church.
❦ Also addresses the metaphor of light and the immaculate conception. "So the light through glass passes but does not stain, so a virgin The Virgin remains."

Front 18

Jan van Eyck, Virgin of Autun (Madonna of Chancellor Rolin), oil on panel, 1435.

Back 18

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This is an example of Jan Van Eyck's "microscopic telescopic" perspective. It does not represent the actual processes of vision. Overly detailed in both microscopic and telescopic viewpoints.
❦ This small devotional panel shows Mary as an explicit intercessor for a contemporary man. Nicolas Rolin: Chancellor to Philip the Good, Church of Notre Dame in Autun. The Virgin seated on the throne of wisdom. The "topography" of the Chancellor's face is known as a great advancement in the revival of portraiture. It allows us to date the painting based on his approximate age.

Front 19

Jan van Eyck, Madonna of Canon van der Paele with Sts. Donatian and George, tempera/oil on panel, 1436.

Back 19

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This is an example of Jan Van Eyck's "microscopic telescopic" perspective. It does not represent the actual processes of vision. Overly detailed in both microscopic and telescopic viewpoints.
❦ This small devotional panel shows the patron Canon Van Der Paele with the Virgin and Child on the throne of wisdom, along with St. Donation (the saint of the church) and St. George (The Canon's Patron Saint). "Sacre Conversationi" / Sacred Conversation, show of devotion and piety. Subsitute and memorial for the sitter, who died shortly after this was finished. Idea that paintings can mediate a religious transaction.

Front 20

Jan van Eyck, Portrait of a Man, oil on panel, 1433.

Back 20

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ Possibly Jan Van Eyck's self portrait. Other figures of figures in red turbans appear in his paintings, usually in a reflection, stationing him outside the composition like a witness.
❦ Inscription on frame reads "Jan Van Eyck Made Me 1433." Since the genre of self portraiture is not yet developed, this may be a sample piece created as an advertisement of his skill. "As I Can."

Front 21

Jan van Eyck, Arnolfini Portrait, tempera and oil on wood, 1434.

Back 21

❦Jan Van Eyck is known for his innovation with the medium of oil paint, using it in an enamel like fashion, building layers upon layers. Allows significant effects of light on piece. Has some of the same concerns regarding details in his panel paintings as goldsmiths, woodcarvers, and other craftsmen. Pays attention to the painting's subjects as objects: individual and real. Drawing attention to surfaces and materials.
❦ This painting depicts Giovanni Arnolfini, a cloth merchant and financier in Bruges originally from Luca in Tuscany, and his bride Giovanna Cenami who was from a very wealthy family. The symbolism in the painting is that of marriage, fidelity, virginity, union, and childbirth.
❦ Theme of transaction in this painting that is also embodied in Chancellor and Canon paintings. Marriage as contract, painting is evidence of the transaction. Possibly even a receipt of what was given in the dowry. Artist signs as if he were signing a legal document, his reflection in the mirror positions himself as a witness to their union.

Front 22

Robert Campin, Dijon Nativity, oil on panel, 1425.

Back 22

❦ This version of the Nativity scene stems directly from the vision of the Mystic St. Bridget.
❦ All the textural details are enhanced by the dynamic colors. Bright whites and vibrant reds. Oil paint allows for these rich pigments, as well as for realistic renderings of immaterial things, like light.
❦ Joseph shown as an unusually dynamic figure in bright red, shielding a candle. Mary's purple-ish white robes are part of St. Bridget's vision. Handmaiden with withered hand. Baby Jesus laying on the ground, radiating light.

Front 23

Robert Campin, Merode Triptych, oil on panel, 1425-28.

Back 23

❦ Made for upper middle class patrons. They appear on the left wing of the triptych, outside the home of the holy family.
❦ Middle panel: Shows Mary and Gabriel in a domestic space rather than a holy space. Choses an unrealistic construction of space to point out certain things in the composition. "Mary of Humility" sitting on the ground. Tiny baby rides in on cross through the window, strange iconography for the conception particular to the North. Symbolic valence to most of the "stuff" in the room, disguised by it's realistic function.
❦ Right panel: Joseph in his workshop. Pushed to the right wing since he doesn't fit compositionally into the Annunciation scene. Reinforces the marginal nature of Joseph in the story of Christ. This painting shows his role as a devout and deserving husband, a reflection of God the Father.

Front 24

Rogier van der Weyden, Descent from the Cross (Deposition), oil on panel, 1435.

Back 24

❦ Rogier van der Weyden was born in Tournai, became the town painter of Brussels. This large panel was made for the Gild of the Crossbowmen.
❦ 10 figures from deposition cramped into small space: Christ, John the Evangelist, Mary Magdalene, The Virgin Mary, Joseph of Aramethea and Nicodemus. The Virgin's body position mimics Christ's as he is taken off the cross.
❦ Not as overtly symbolic as most northern paintings. Potential models for devotion, each person in the painting deals with grief in their own way. Michaelangelo "Flemish painting is best for devotion."

Front 25

Rogier van der Weyden, St. Luke Portraying the Virgin, oil on panel, 1435.

Back 25

❦ Public work by van der Weyden, St. Luke is the Patron Saint of Painters.
❦ References Van Eyck's Chancellor Rolin, compositionally very similar. Emphasis on topography of the face, also borrowed from Van Eyck.
❦ St. Luke is thought to be a self portrait of van der Weyden.

Front 26

Petrus Christus, Saint Eligius in his Studio or A Goldsmith in his Studio, oil on panel, 1449.

Back 26

❦ "A Goldsmith in his Studio," is the preferred title. Mistaken for a saint because there was a halo that had been painted in later, and has since been removed. Depicts a Goldsmith showing a wedding ring to a couple. Goldsmith's role in the sacrament of marriage.
❦ This was commissioned by a lay patron from the Goldsmith's gild. First instance of an image of a craftsmen at work without some sort of religious connotation. Portraiture to celebrate the people of the gilds was on the upswing in this period.
❦ Alot of attention lavished on the "stuffs" of the Goldsmith shop. Items that have double valence- useful and symbolic. Flemish and English coins, coral, fossils, crystals, and other "curios." Mirror- emblem of "vanitas." Reflected in mirror are two members of the "leisure class," and the mirror is cracked.

Front 27

Petrus Christus, Madonna of the Dry Tree, oil on panel, c. 1462.

Back 27

❦ This small panel painting was commissioned by the Confraternity of the Rosary. Confraternities are associations of lay people bonded together to do good works. The painter, Petrus Christus, and his wife were members.
❦ The panel is a small, portable, personal, devotional image that would have been used in prayer by members of the Confraternity.
❦ The panel shows the Virgin Mary inside the tree of knowledge that has withered in the garden of eden and bloomed again with the coming of Christ. Also alludes to Christ's crown of thorns. A's are for "Ave" and function in prayer like rosary beads.

Front 28

Dierc Bouts, Last Supper Altarpiece (Blessed Sacrament), oil on panel, 1464-67.

Back 28

❦ This panel painting was created for the Confraternity of the Blessed Sacrament. The Confraternity would have hired theologians to determine the appropriate devotional imagery for this painting. Eucharist and blood-sacrifice imagery from Old Testament on the wings, last supper in the middle.
❦ The composition is very symmetrical and well composed, but the perspective is a little "off." Hockney says: we as the viewer seem close to everything, like a combination of viewpoints is at work.
❦ Among the Apostles are are 15th century Flemings. They represent members of the Confraternity and including themselves in the composition is what makes it a personal devotional experience.

Front 29

Hans Memling, Martin van Nieuwenhove, oil on panel, 1487.

Back 29

❦ Shows the devotee in the midst of prayer. Makes an effort to show the madonna as a vision, having appeared to the patron in his study.
❦ Each object in the room alludes to his piety or family name.
❦ Spacial coherence, precisely located in a space and time. Bruges, 1487, Martin's study, age 23, etc.

Front 30

Master of Mary of Burgundy, Mary of Burgundy in Devotion from the Hours of Mary of Burgundy, illuminated manuscript, c. 1480.

Back 30

❦ Mary of Burgundy is the daughter of Philip the Bold, she inherits the Bergundian territories and marries Maximillian of Austria therefore bringing Burgundy into the Holy Roman Empire.
❦ The pages of the manuscript show Mary in the space of a contemplative fantasty. Madonna has appeared (in a cathedral) outside Mary's window.
❦ Foreground reads as the space of the real world, outside the window is the space of the vision. Irises, carnations, prayer beads, puppy, etc. "disguised symbols"

Front 31

Master of Mary of Burgundy, Crucifixion from the Hours of Mary of Burgundy, illuminated manuscript, c. 1480.

Back 31

❦ Mary of Burgundy is the daughter of Philip the Bold, she inherits the Bergundian territories and marries Maximillian of Austria therefore bringing Burgundy into the Holy Roman Empire.
❦ The pages of the manuscript show Mary in the space of a contemplative fantasty. The scene of the crucifixion has appeared outside Mary's window.
❦ Foreground reads as the space of the real world, outside reads as the space of the vision.

Front 32

Master of Catherine of Cleves, Dedication Page from the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 32

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ Dedication page integrates fanciful marginalia with more important subjects. Not a unified pictorial space.
❦ Catherine shown here devoted to the virgin. Marginalia includes coats of arms, heraldry, angels, etc.

Front 33

Master of Catherine of Cleves, St. Bartholomew from the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 33

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ The marginalia on this page makes no specific reference to the saint. Little pretzels, communion wafers, and grotesque types create a decorative border.
❦ Independent impulse of the artist? Exploring observed particulars. Manuscripts from this period is where we see this naturalism creeping into works in a significant way.

Front 34

Master of Catherine of Cleves, St. Ambrose from the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 34

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ The marginalia shows little mussel shells. Open, cooked?
❦ Independent impulse of the artist? Exploring observed particulars. Manuscripts from this period is where we see this naturalism creeping into works in a significant way.

Front 35

Master of Catherine of Cleves, Holy Family at Work from the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 35

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ Not a specific biblical event but rather a "day in the life." Very casual. Artist exploring what the life of the holy family would have been like.

Front 36

Master of Catherine of Cleves, Detail of Christ and the Baptist marginal illustration from the Visitation Page of the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 36

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ John the Baptist and Christ as babies. John is trapping birds, Christ is in the net. Theological as well as naturalistic.

Front 37

Master of Catherine of Cleves, Monday Hours of the Dead, Vespers from the Hours of Catherine of Cleves, illuminated manuscript, 1430-40

Back 37

❦ Manuscripts from this period show 1) point of view innovations 2) rise of naturalism 3) rise of anecdote.
❦ Souls in hell mouth. Suffering from hunger etc. Vespers- meditative prayer. Allegorical, fantastic, surreal representation of hell.