Renaissance Painting in Northern Europe Chapter 17.
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Transcript of Renaissance Painting in Northern Europe Chapter 17.
Renaissance Painting in Northern Europe
Chapter 17
International StylePaintings show concern for accurate and precise details
Symbolism more importantsingle burning candle = the presence of God
dog = symbol of loyalty
Development of New Paint Techniques
Previously, used temperaTempera: dry pigments mixed with a binder, usually egg yolk
Tempera applied to surface prepared with smooth coat of gesso.
Paint Techniques (cont.)
Gesso: mixture of glue and a white pigment such as plaster, chalk, or white clay
Produced a hard, brilliant surface
Oil Paints developed in FlandersOil paint: mixture of dry pigments with oils, turpentine, and sometimes varnish
Allowed artists to create various surface textures: Transparent smooth glaze Thick richly textured surfaceLine, form, & color controlled to create subtle, varied, 3-D works
Oil Paints (cont.)More brilliant colors Allowed blending of color areas
Aerial perspective refined: hazy appearance of objects farthest from viewer.
Help achieve realistic light and shadow = consistent shadow = realistic picture
Oil Paints (cont.)Remained wet and could work on it for extended length of time Able to include more details & make corrections
Robert Campin“The Master of Flémalle”Style characterized by naturalistic and sculptural conceptions
Replaced the decorative International Style of the late Middle Ages.
Robert Campin
Known for:Attention to detailUse of familiar contemporary settings
Merode AltarpieceThree panels from left to
right Donors kneel in garden
Annunciation: Mary and Angel Gabriel
Joseph working in his carpentry shop
Holy Spirit
Miraculous insemination
purity
God’s Presence
Joseph in His WorkshopJoseph depicted constructing mouse traps
Symbolic of belief that Christ was the bait with which Satan would be trapped
Jan van EyckThe Arnolfini Wedding Symbolism:
dog: loyalty; single burning candle: presence of God
fruit: InnocenceShoes off: holy event
Figure on bedhead = St. Margaret
Mirror and inscription: “artist was here” and witnesses in reflection
The Ghent Altarpiece
The Ghent AltarpieceCentral lower panel: Adoration of the Lamb Lamb (Christ) on altar of sacrifice
Controls flow of light: light is crystal clear
Atmospheric perspective to create illusion of deep space.
Martyrs Cross
Pigeon = Holy Spirit
Angels carry 4 symbols of the Passion
Eternal Life
Old Testament figures Church
AuthoritiesApostles
Virgins
Pillar of flagellation
Spear of Vinegar Spear of piercing
St Jerome in His Study
NatureSensitive use of light and color
Variety of textures
Realism and Emotionalism
Chapter 17 Section 2
Rogier van der Weyden
Combined concern for detail with emphasis on emotional impact of his subject matter
Dignity suggested by: lowered eyes, locked fingers, frail build
Wealth suggested by: gold belt buckle and rings
Portrait of a Lady
The Descent from the CrossHuman EmotionEach face expresses different emotion
Space between Christ’s right and Mary’s left = void between living and dead
The Descent from the Cross (cont.)
Organization: use of repeating curved axis linesTwo figures at each side bend inward to direct attention to Christ and Mary
Christ’s body forms an S curve (repeated in the curve of his fainting mother)
The Descent from the Cross (cont.)
Use of emphasis: no deep spaceFigures placed in shallow space but not crowded
Placed on a narrow stage with no landscape behind
Faces differ from each other
Hugo van der GoesCombined emotionalism of van der Weyden w/realistic detail of Jan van EyckAltered nature & proportions of people/objects when those changes added to emotional impact of his pictures
Took liberties with space to increase emotional appeal
Portinari Altarpiece
The Adoration of the Shepherds
Tipped floor of stable upwards to provide better view & bring viewer into it
Sad & withdrawn figures of Mary and Joseph bring to mind Christ’s future death
Adoration of the Shepherds (cont.)
Shepherds: expressions show the piety of the ordinary, uneducated people of the world based on blind faith;
First artist to represent peasants in a painting
Use of proportion and movement
Wheat = Communion Bread
Purple columbine = Mary’s sorrows
Shoe = Holy Event
Ox = Faithful Christians
Donkey = Fail to see Savior
White lilies = Purity
Orange lilies = The Passion
Castle = House of David