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felara9614
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- May
- Artist: Limbourg Brothers
- Era: 15th Century Northern Renaissance
- Techniques:
- chateau at Riom
- first day in May
- elaborate spring festival
- thin elongated figures that are extremely detailed
- delicate silhouettes
- linear details
- brilliant rich colors
- realism of historical costume
- domestic setting of upper class
- light-hearted, chivalrous, and pleasure loving aristocracy
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- February
- Artist: Limbourg Brothers
- Era: 15th Century Northern Renaissance
- Techniques:
- blue sets mood and unifies all the images in the calendar
- blue is cold winter
- brilliant colored clothes
- details in decoration of fabric
- high horizon line
- no front wall of house
- recession into space
- landscape dominated image (typical with peasants)
- in aristocracy images figures take up majority of picture
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- January
- Artist: Limbourg Brothers
- Era: 15th Century Northern Renaissance
- Techniques:
- fire screen around dukes head serves as a a large halo
- lavish food and tapestry
- tapestry alludes to Trojan war - knowledge of past important for political leaders
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- Well of Moses
- Artist: Sluter
- Era: 15th Century Northern Renaissance, 1395-1406
- Location: Chartreuse de Champol, Dijon, France
- Techniques:
- limestone with traces of paint
- Sluter was in charge of Phillips the Bold's statuary workshop
- large sculptural fountain in a well which was the water source for the whole monetary
- probably had no spouting water - Carthusian belief to silence and prayer - no sound ever
- statues of Moses, David, and four other prophets - they supported the group of crucifixion figures on top
- significance
- - fountain of life
- - blood of Christ flows to pedestal below and flow over old testament sins washing away they're sin and into the well below
- - promise of ever lasting life
- sculptures recall jamb statues but are more realistically rendered
- heavy under-cut drapery
- voluminous folds that wrap around the way a baby is wrapped - cloth swattled figures
- heavy drapery is Sluter's style
- differentiating textures
- would've been painted to add life to the figures - promise of everlasting life
- no physical movement or weight shift
- connection between life and art
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four virtues
- - knights symbolize fortitude
- - hermits symbolize temperance
- - pilgrims symbolize prudence
- - judges of church symbolize justice
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- Escorial Depostion
- Artist: Rogier Van Der Weyden
- Era: 15th Century Northern Renaissance, 1435
- Techniques:
- tempera and oil on wood
- focus on fluid and dynamic compositions that stress human actions and drama to relate people to the suffering of Christ
- center panel of trypict
- comissioned by archers guild
- patrons are recognized by spandrels that look like bows and arrows
- shallow stage like setting - concentrating the observers attention
- gold background represents spiritual world
- Mary mimics the s-shaped curve of Christ's body
- closure to composition created by Mary Magdalene and St. John the Baptist with their rounded backs
- red in several places across the piece
- crisply modeled human figure forms
- each figure is individualized and has its own mass and space
- immediate and direct emotional impact
- extremely realistic
- play of light and shadow in garments
- blood on feet
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- Portininari Altarpiece
- Artist: Hugo Van Der Goes
- Era: 15th Century Northern Renaissance, 1476
- Techniques:
- oil on wood
- patrons - Italian ship owner with patron saints (on left) and wife and daughter (on right)
- realistic landscape
- symbolic architecture unifies the panels
- "Adoration of the Shepards" is center panel
- allusion to suffering more than miracle of Nativity
- everything alludes to Crucifixion
- Mary is kneeling on tilted ground
- flowers in foreground - iris represent knife blades that are stabbing Mary with grief and sorrow and conombine is sorrows of Mary and kind of royalty
- wheat behind flowers symbolizes Bethlahem and Ucerist
- 15 angels symbolize joys of Mary
- figures opposite each other contrast each other to represent homely and divine
- plebeian faces of shepards, realism in face, wonder, piety and curiosity
- hearth symbolizes King David
- reviving Medieval pictorial devices
- depiction of flight into Egypt
- Annuncation
- arrival of magi
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- Merode Altarpiece
- Artist: Robert Champin
- Era: 15th Century Nothern Renaissance, 1425-1428
- Techniques:
- humanizing presentation of a religious scene because it is for private use
- ornamental style
- romantic mood
- everyday setting
- religious figures don't have halos
- man and wife on left are sponsers
- theory are in an enclosed garden
- all the flowers represent Mary's purity, strawberry plants and violets, and they present Mary's virtues, one of which is humility
- Annunciation in center
- right panel is an upstairs room
- Joseph as a carpenter
- mouse trap on window sill - refers to the cross of the lord is that mouse trap of the devil - protects family from devil
- detailed landscape outside window
- oil painting allowed more modeling and different intensities of color
- set in architectural scene for center panel
- book, extinguished candle, lilies, copper basin, towels, fire screen, and bench all tie to the virgin's purity and her divine missiom
- copper is purity
- candle is holy spirit
- lily is ressurection and cricftixioin
- play of light and shadow in garmnet
- voluminous folds
- star burst on her dress - reference to the exact moment of concept
- next to fireplace implies that she is pregnant
- stained glass crests to identify the families who commissioned the piece
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- Arnolfini and His Bride
- Artist: Van Eyck
- Era: 15th Century Northern Renaissance, 1434
- Techniques:
- piece is tiny in perspective
- depicts not just marriage but giving her legal rights to manage affairs while he is gone
- purpose is to record and sanctify this marriage
- painting documents textures and light and shadow
- her eyes are lowered to him
- compostional layout
- - symmetrical
- - man is next to window, closer to worldly affairs
- - woman is next to bed, domestic
- - but tjhey are still equal
- pledge of loyalty
- dog is a symbol of fidelity
- not wearing shoes - he is standing on holy ground
- bowl of oranges, symbolize a long and fruitful, marriage, refers back to Roman gods
- chandelier with one candle represents holy spirit
- carved into bed post is the saint of child birth
- whisk broom hanging off bed post - domestic chores of wife
- open curtains on bed - childbirth
- she is holding up a very heavy garment to look like pregnant but she is not
- Van Eyck signs the back wall
- reflection of mirror can see four figures, husband, wife, priest, and Van Eyck - amazing miniaturistic detail
- ten medallions around mirror relate to the life of Christ
- each medallion has a scene from the life of Christ
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- Man in a Red Turban
- Artist: Van Eyck
- Era: 15th Century Northern Renaissance, 1433
- Techniques:
- oil on wood
- thought to be a self portrait
- objectifying of self in portraits
- focus on what things look like and a movement towards secularization
- level gaze of portrait
- 3/4 pose of head
- gaze follows viewer
- weathered skin
- originally had frame with inscription "as I can" on top and "Jan van Eyck made me" on bottom
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- Garden of Earthly Delights
- Artist: Bosch
- Era: 15th Century Northern Renaissance, 1505-1510
- Techniques:
- oil on wood
- precursor to surrealism
- themes of marriage, sex, and procreation
- painted for the palace of Henry III, regent of the Netherlands
- Exterior
- - devestated earth
- - result of interior
- - figure in upper left corner is god or angel
- Creation of Eve
- - Bosch was an Adamist, anti-feminist
- - Eve is the incarnation of original sin
- - god or Christ is presenting Eve to Adam
- - false paradise
- - mix of real and fantastical animals and plant life
- Garden of Earthly Delights (center)
- - presents the things that lead to a life of sin
- - ravens represent evil, magicians, and nonbelievers
- - owl in fountain represents witchcraft and sorcery
- - egg represents sex and alchemy
- - glass beakers alludes to alchemy
- - glass is good fortune but is easily broken
- - rodents throughout the piece symbolize lies
- - groups of birds are demonic beings
- - dead fish symbolize lost promises- interracial couples
- Hell (right)
- - music theme
- - devil lures man into sin through music
- - instruments and ears
- - man crucified to harp
- - mockery of copper pots
- - quick brush strokes, but a lot of detail
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- A Goldsmith in His Shop
- Artist: Christus
- Era: 15th Century Nothern Renaissance, 1449
- Techniques:
- oil on wood
- religious and secular
- importance of marriage
- St. Eligius was originally a goldsmith
- bethrothal girdle on table and reaching for engagement ring
- scales represent last judgement
- commissioned by goldsmiths guild possibly
- raw materials show the importance of the guild
- convex mirror reflects the viewer's space
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- Sacrifice of Isaac
- Artist: Brunelleschi
- Era: 15th Century Italian Renaissance, 1401-1402
- Location: Florence, Italy
- Techniques:
- gilded bronze relief
- sturdy and vigorous interpretation
- emotional agitation
- Abraham is lunging forward
- drapery is flying up
- lunging angel balances figure of Abraham
- angel is coming out of frame
- two figures meet at the center where Isaac is
- sheep is present, on mountainside
- horizontal split, two planes
- 2 human figures on bottom don't fit
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- Sacrifice of Isaac
- Artist: Ghiberti
- Era: 15th Century Italian Renaissance, 1401-1402
- Location: Florence, Italy
- Techniques:
- gilded bronze
- realistic spatial illusion
- Abraham is in a Gothic s-shaped curve
- Isaac recalls Greco-Roman statuary
- first Classicizing nude since Antiquity
- turn of head resembles Hellenistic
- muscular position in a twist
- Isaac on podium decorated with acanthus scrolls
- classical references shows influence of Humanism
- incised details
- rocky landscape emerges from background
- diagonal split of scenes
- landscape is a pictorial devise that creates recession into space
- angled mule
- angel has foreshortening to make it seem as if it is coming out of the sky
- cast in two pieces, lighter design that was less likely to be corroded
- less overtly emotional
- more unified
- more realistic spatial illusion
- he won and then makes 28 panels for the north door of the Florence Cathedral
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- Feast of Herod
- Artist: Donatello
- Era: 15th Century Italian Renaissance, 1425
- Location: Baptismal Font, Siena Cathedral, Siena, Italy
- Techniques:
- Soleme is a servant who is dancing after presenting the head of John the Baptist to the king
- everyone shrinks back when head is presented
- two groups of people are split but balanced
- recession into space through two arched courtyards with people
- floor lines create perspective
- picture divided in half
- perspective meets at center of piece
- different levels of relief - foreground is highest relief while background is more shallow
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- Gates of Paradise
- Artist: Ghiberti
- Era: 15th Century Italian Renaissance, 1425-1452
- Location: East Doors of Baptistery of Florence, Italy
- Techniques:
- gilded bronze relief
- relief creates play of light and shadow
- Old and New Testament scenes
- ten square panels
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- Isaac and His Sons
- Artist: Ghiberti
- Era: 15th Century Italian Renaissance, 1425-1452
- Location: Gates of Paradise, East Doors of Baptistery of Florence, Italy
- Techniques:
- gilded bronze relief
- one point perspective creates the illusion of space, pictorial perspective
- figures are modeled to give them volume and mass
- foregroumd is high relief and background is low relief
- architectural colonaded helps create recession into space
- females are graceful with contraposta
- deeply undercut folds
- figures in parallel plane of architecture - they aren't actually in arches
- classical poses and motifs
- several episodes in one scene, from Medieval tradition
- scene from the Book of Genesis
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- Quatrro Santi Coronati
- Artist: Nanni di Banco
- Era: 15th Century Italian Renaissance, 1408-1414
- Location: Florence
- Techniques:
- four crowned saints in alcove
- marble sculptures that are approx life size
- four martyred saints that represent that guilds of sculptors architects and masona
- Classical entire with undercut folds
- different textures make present them as different fabrics
- contraposta pose
- feet of two figures enter viewers space
- semicircle of figures
- separated from architecture
- relate to each other with posture, gestures, and drapery
- faces show individuality
- shrunken engaged columns
- emotional intensity of two inner saints
- revert backs to portrayals of Roman emperors, bearded figures
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- St. Mark
- Artist: Donatello
- Era: 15th Century Italian Renaissance, 1411-1413
- Location: Florence
- Techniques:
- marble
- set inside a niche
- fundamental step towards motion by over emphasizing contraposta
- not as upright
- ponderation - over emphasis of weight shift
- anticipation of motion
- drapery accentuates motion
- movement in arms, legs, shoulders, and hips
- independent of architectural setting
- deeply undercut folds create a deep play of light and shadow
- irregular folds
- sense for weight of fabric
- bearded figure represents age and wisdom, and refers to Roman
- not sculpture in the round
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