Here, iconography are simple instead of colourful and complex 2 monochrome figures of St john the Baptist and 2 donors At the top: annunciation

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Jerome Briggs
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1 Lecture4 Netherlandish painting in the 15 th century: the invention of oil painting Northern Europe o Last lecture: Florence, Italy Workshop of the Master of Flemalle, Merode Altarpiece (triptych of the Annunciation, open), ca , oil on wood, New York, Metropolitan Museum Gabrielle announce to Mary the birth of Christ Take place in domestic settings fire place, bench, table with all the usual objects that you could imagine in the 15 th century private place Not yet fully aware of the arrival of the angel Donors couples located just outside the room. The door is opened, they are in public space o More rare in Italian art but a lot of these devices in Netherlandish art St. Joseph working on his work Significance of the altar Altar present when the church established Priest was looking directly to the altarpiece Master of Saint Giles, Mass of Sain Giles in the Abbey of Saint Denis with Charlesmagne, ca. 1440, Lond, National Gallery The body of Christ take place At some point, in the late 14 th century, the new junk of painting was place on top of the altar, there are no rules for that New devotion, religious order The altarpiece became the key painting in churches and key pieces make up of altar Jan and Hubert (?) van Eych, Ghent Altarpiece (Open), Adoration of the Mystic Lamb, 1432, 4.5x4.6m, oil on panel, Ghent, Cathedral of St. Bavo Subject are complex, upper register a representation of God the Father in thorn surrounded by the virgin and St. John the Baptist, angels on the side, adam and eve o Centre, on top of the altar, the lamb, with a hole, the blood comes out o Angels, members of the church, pastels, pagan who were converted to Christianity, holy spirit o God Father s frame = holy spirit = lamb and altar Jan and Huber (?) van Eyck, The Ghent Altarpiece (closed) Here, iconography are simple instead of colourful and complex 2 monochrome figures of St john the Baptist and 2 donors At the top: annunciation

2 There is an inscription in the frame, discovered in 1832, not visible if in front of the altarpiece o Question mark for Hubert whether he is the real artists or not o They are brothers, but Hubert may be the person only doing the inscription since he does not have any other paintings Jan Van Eyck versus Masaccio Adam and Eve Linear perspective system allow the artists to paint in geometric and measurable space The oil media technique didn t allow the artist to construct this geometric space, o atmospheric perspective, something that is not measurable but seems right because of the colours Oil painting Jan Van Eyck. Invented the new technique of painting oil technique A recognize figure use the oil medium technique in a very systematic way Pigments were diluted in oil, so that it create a fluidity for the colour that can apply to the surface in many layers The possibility to paint the surface to paint several layers of paint Natural light with the colour enhance the translucent effect Advantages: o Artists were able to make corrections and changes as the work progress o The different layer that the artist applied on the panels allows colour to become more vivid and brilliant due to the natural light enhances the effect o Paint the delicate element and enhance the macro quality for the painting Naturalism Jan van Eyck. The Arnolfini Portrait, 1434, oil on wood panel, London, National Gallery Italian family, very successful, they have major artists in the city to work for them Oil on panel, what it represents(iconography) is still a puzzle for us o Wedding cerebration? The promise doesn t take place in a church o The women could be pregnant the actual married took place in 1447 o Celebration of future the promise Pieces of naturalism with the shoes here and the dogs on the grounds Domestic setting, a bedroom, crystal chain with beads prayers or meditation. Mirrors the passion of Christ The Mirror o Inscription: Jan Van Eyck was here, 1434 o Reflect people in front of the couples, one of the 2 people are Jan can Eyck coz he said I was there o Stand as witnesses o Rounded mirror scenes of the passion of Christs (suffering)

3 o Most advanced level thanks to the oil painting techniques Jan van Eyck, Portrait of a Man in Red Turban (Self-Portrait?), 1433, oil on wood panel, London National Galley Inscription: As I can (but not as I would). Anagrams of Jan van Eyck made Could be interpreted that this is the self-portrait as the artists himself. Jan Van Eyck, Madonna with canon George Can der Paele, ST. George and ST. Donation 1436, oil on panel, 141x176.5cm, Groeninge Museum, Bruges The spectacles here: symbolic observation first time spectacles were use in the 15 th century, people didn t like to be seen by the glasses or a need of eyeglasses The bible is open and the spectacles are put on the bible itself o Showing He was using it for the moment The spectacles functions symbolic as the fact that they magnify the texts, metaphor for the role of virgin o Magnification of virgin and Christ from being a divine figure to become a human o Emphasizing the role of virgin o The virgin and the child, Paele stop reading and take off glasses He reimagine what he is reading in visual term Jan Van Eyck, Madonna in a Church, ca , 31x14 cm., Berlin, Gemaeldegalerie Represents the virgin within the church itself, emphasis the virgin of Christ and virgin stands for the Church itself Translucent effect and the light coming from the outside with all the reflections Rogier can der Weyden, Deposition, before 1443 (possibly ), oil on wood panel, Madrid, Prado Follower of Jan Van Eyck The body of Christ came down from the cross All the protecanist are aligned in the painting and rest in the background The background cramped all the figures The expression of the sentiment of the figures absorb in grieve for grieve, Madonna fainting, st john the Baptist trying to help Madonna, these figures are drast in clothing, the use of oil painting allow him to give full effect of his colours Rogier can der Weyden, St. Luke Drwing the Virgin and Child, ca , oil and tempera on wood panel, Boston, Fine Arts Museum the 6 th century said the Madonna and Child appears to St. Luke

4 opening background a scene in domestic setting and open windows couples admiring the canal religious subject and the realistic scene, the integration of the city itself and domestic setting in a beautiful dialogue between these 2 spheres Rogier van der Weyden, Portrait of a Lady, 1455, Washington, National Galley comparison of portrait of a man (Jan van Eyck) o looking at us same kind of technique allows the artist to draw detail features and the intensity of these faces o The result of the systematic of oil painting Women looking down, interverb (outgoing opposite) and the holding of hands: tension Petrus Christus, A Goldsmith in his Shop, oil on aock panel, 1449, New York, Metropolitan Museum of art In Italy, Merchants gain a high status and represented in a building Goldsmith in his own shop, and couples purchasing stuff from him Oil effect, luminous and light reflect on silver objects and the glasses door Mirror on the table reflect outside and what is behind the door, in front of this shop, the city and to people standing in front of the shop Dialogue between the outside and inside, 2 sphere, intimate, commercial Versus the city Hugo van der Goes, Portinari Altarpiece (Open), , tempera and oil on wood panel, Florence, Uffizi Merchants became successful and sending the altarpiece to Florence Make a huge impression in Florence, artists were stunned because of the oil medium technique, make them a new chapter of the history of painting o Purposely, the sense of 3-dimensionality couldn t be obtained in the linear perspective (Space are not measurable) o The system of linear perspective is not a feature of Neverlandish art o The oil medium technique and atmospheric perspective the space seems right, foreground, medium ground, but not rationally constructed space. These kind of altarpiece were conceived in the Northern Europe tradition The Scene the birth of Christ, the members are embraced by the landscape The central panel nativity of Christ: lie on the ground and rays of lights emanated from his body o The weed and flowers are symbol to incarnation of Christ to the role of Christ and our salvation o Hans Memling, Portrait of Tommaso Portinari, 1480, New York, Metropolitan Museum

5 Hans Memling, Portrait of Maria Portinari, 1480, New York, Metropolitan Museum Hans Memling, Diptych of Maarten van Nieuwenhove, oil on panel wood, 1487, Hans Memling Museum, Bruges Diptych technique?? (TAPE***) Intimate relationship between mom and child and behind domestic setting, seems to entering our space The window is closed - the light seen through windows, seeing through and can imagine He has his own prayer book opened, he had just stopped reading the book and imagining the Madonna and the child, vision of the patron (today several artists - created by the donors, these kind of visionary are very popular in the Neverlandish painting) Comparison between Jan van Eyck, and Petrus Christus Both working for Italian Same technique, mirroring effects Atmospheric perspective What 2 paintings tell us are the beginning of the story Comparison Jan van Eyck (huge altarpiece) Versus Square Italian Technical innovation oil painting technique allows artists to create an unrealistic effect. Light effect; no way to measure the space, an obstacle in the Italian tradition; layers of paint on the surface allow artist to play with the light, through space that is not measurable; Italian real and painting space linear perspective, focal point, orthogonal are converted into one point, vanishing point, the viewer are placed in front of the painting, painting as window, measurable space between us and the space in the painting. Rationale painting; geometrical unity Sculptures (clarify ideas) Donatello technique o He was working with a block of marvel, the basement, he only carved the surface of the marble (very shallow) o Able to show the 3 dimensionality of the figures and the scene according to the linear perspective The singing galleries

6 o Removing a lot of the marbles

categories of factors affecting art in Northern Europe: NORTHERN EUROPE IN THE 15TH 3: History of cultures 1: History of style 2: History of types

categories of factors affecting art in Northern Europe: NORTHERN EUROPE IN THE 15TH 3: History of cultures 1: History of style 2: History of types ART216, Fall 2013 INTRODUCTION --- NORTHERN EUROPE IN THE 15TH CENTURY THE ELEMENTS OF INTERPRETATION: DESCRIPTION * form *style ICONOGRAPHY *symbols *typology *history 1: History of style 2: History of