Early Renaissance in Northern Europe

15th century

Sandrine Le Bail AP Art History

Europe in the 15th century

Burgundian Netherlands = Belgium, the Netherlands, Luxembourg and Northern France

Flanders in the 15th century

The most powerful rulers north of the Alps during the first three-quarter of the 15th century were the dukes of Burgundy. They controlled Flanders, which derived its wealth from wool and banking, and were great art patrons.

Flanders in the 15th century

• Active and prosperous capitalist society

• Emergence of a new social class

• Importance of art and patronage to show the new wealth

Oil Revolution

• In Italy: tempera – egg

• Oil paint produces exceptionally rich colors

• imitate natural hues and tones

• Enamel-like surfaces

• Sharp details

• Good conservation in wet climates

• Slow drying – more possibilities for “pentimenti”

Oil painting

Flemish painters popularized the use of oil paints on wood panels. By superimposing translucent glazes, they created richer colors than possible using tempera or fresco.

International Gothic until 1450

• Courtly, elegant

• Natural details

• Splendid costumes

• Abundance of gold

• Architecture carefully rendered

• Opening up walls

Northern painting

• Opened the walls

• High horizon

• Lot of symbolism

• Interest for the details and everyday reality

• Not interested by geometrical perspective like Italian

Early Netherlandish

1420-1550

Painters you have to know for the exam

• Limbourg Brothers

• Robert Campin

• Jan Van Eyck

• Rogier Van Weyden

• Hans Memling

• Hugo van der Goes

Limbourg Brothers, Les très riches heures du Duc de Berry,

1413-1416Book of hours – illuminated manuscript, prayer book organized according to the liturgical calendra

Patron: Jean de Berry

International gothic

Manuscript illumination

January

Jean de Berry is giving out New year’s gifts

Astrological sign associated to each month

Jean’s coat of arms

May

October

Louvre

Robert Campin

Master of Flémalle

Robert Campin (Master of Flémalle), The Mérode Altarpiece, 1425-1428

Triptych

Robert Campin, The MérodeAltarpiece, 1425-1428

Donors Annunciation S. Joseph

Robert Campin, The MérodeAltarpiece, 1425-1428

• Triptych

• Presence of the patrons

• Meticulous handling of paint

• Three dimensional figures modeled with light and shade

• Intricate details

• Symbolism

• Annunciation set in a middle-class Flemish home

Altarpieces

A major art form in churches and private homes alike was the altarpiece with folding wings. In Robert Campin’s Mérode altarpiece, the Annunciation takes place in a Flemish house. The work’s donors, depicted on the left wing are anachronistically present as witnesses to the sacred event. Typical of “Northern Renaissance” painting, the everyday objects depicted often have symbolic significance.

Jan Van Eyck

c.1390-1441

Jan van Eyck,The Ghent Altarpiece (1432)

(on the altar of S. Bavon,Ghent)

Polyptych Oil painting

The Ghent Altar (1432)God

Virgin MaryS. John

AdamEve

Choir of Angels

Adoration of the lamb by All SaintsJudges and KnightsHermits and pilgrims

Fountain of life

Holy Spirit

Apostles and martyrsOld Testament and Pagan figureswho merited Salvation

PriestsVirgins

S. BavonCathedral

Great detailsExtreme realism

Lamb of God

Adam and Eve

S. John Evangelist with a chalice = grisaille

and

Donor’s wife

S. John the Baptist with a lamb = grisaille

and

donor

Annunciation

Prophets and sibyls

Jan van Eyck,The Ghent Altarpiece (1432)

• Polyptych for the altar of S. Bavon, Ghent

• Great detail

• Extreme realism

• The work inspired many other artists to achieve perfect realism

Jan Van Eyck, The Arnolfini

Portrait,(or Arnolfini

Wedding)

1434.

Fruits = abundance

S. Margaret = patron of women in childbirth

Dog = fidelity

One candle burning = presence of Christ

Shoes off – holy ground

Jan Van Eyck, The Arnolfini Portrait,(or Arnolfini Wedding)

1434• Many hidden symbols

• Great attention to details

• Bright colors (oil painting)

Rogier van der Weyden

Brussels

c.1399-1463

Rogier Van der Weyden, The Descent of the Cross, c.1435-1438

Rogier Van der Weyden, The Descent of the Cross, c.1435-1438

• Commissioned for the chapel of the Confraternity of the Archers of Leuven

• Shallow stage for figures into a confining space

• Figures almost life-sized

• Great attention to details

• Strong emotional impact

• Figures in mirrored composition

Rogier Van der Weyden,

St. Luke depicting the Virgin,

c.1435-1440

Hans Memling

Bruges

Portraits

Memling is famous for his portraits.

Jan van Eyck, Rogier van der Weyden, and others established portraiture as an important art form in 15th century Flanders. Their subject were successful businessmen, both Flemish and foreign.

Hans Memling, Portraits of Tommasoand Maria Portinari, 1470

Hans Memling,

Portrait of a man

holding a coin, 1474

Hugo van der Goes

Hugo van der Goes, PortinariAltarpiece, c.1476

TriptychDonor: Tommaso Portinari for the family chapel of Sant’Egidio in Florence

Hugo van der Goes, PortinariAltarpiece, c.1476

• Deep and rich colors

• Figures at different scales

• Abundance of symbols

Characteristics of “early Netherlandish”

• Extensive details

• Luminous colors

• Desire to capture everyday life through landscapes, genres, still lives and portraits

• Desire to break the barrier between real world and the painted world through the use of trompe l’oeil and the depiction of reflective surfaces

• Many hidden symbols

• Impact on Italian Art

Main subject Matters

• Religious

• Portraits