FINAL EXAM 1

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Author:
chetama22
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18108
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FINAL EXAM 1
Updated:
2010-05-06 18:47:11
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northern european art
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1400-1600
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    • METROPOLITAN DIPTYCH
    • Jan Van Eyck
    • 1438

    • -depicts the key moment of history(crucifixion) and the end(last jedgement)
    • -crucifixion, lots of figures, great landscape in back
    • -Erythraean Sybil bottom right(red) INward looking
    • -sense of cosmic(moon) interesting perspective
    • -people breaking frame, tremendous range of response
    • -amazing hell scene, no space- end of time
    • -great demons and monsters, everyone getting eaten
    • -skeleton giving birth to sinners
    • CRUCIFIXION
    • Masaccio
    • 1410

    • -iconic and timeless, just 4 most important figures
    • -made christ look human, no neck
    • -strong colored women (mary and magdalene) john looks weak
    • GHENT ALTARPIECE (closed)
    • Jan Van Eyck
    • 1432

    • -prophets and sybils at top, annunciation in middle, comissioners and St John the baptist and john the evangelist at bottom
    • -three distinct levels of realities
    • -commissioners in niches like sculptures nect to St John's painted in resi
    • -consistent east shadows throughout
    • -intermediary level in middle
    • _Gabriel and Mary have words coming out of them->speaking to eachother, Mary's words upside-down and backwards
    • _Gabriel's wings bring color to area
    • -Great naturalistic detail of light and reflection
    • -incredible detail of town through windows
    • -Transformatory Perspective--->Changes Level of Reality
    • GHENT ALTARPIECE (open)
    • Jan Van Eyck
    • 1432

    • -variety of figure-> individuals, all ages and sizes
    • -great detail of the new eden, recognizable flora and fauna
    • -ongoing landscape-> road leading out
    • -New Jeruselum in background
    • -figures in bottom corners seem to be moving inward
    • -variety of flora and fauna to represent his travels
    • -great craggy rocks->nature represented as something barren and challenging
    • -Adam and Eve fit into composition-> facing center
    • -they have long lines, putting attention downward
    • -we are looking up at them, while they look down
    • -shame and humility defined by shadows
    • -Adam has sunburned hand->representd as laborer->everyday man->vulnerable
    • -Adam and Eve is Us, We are them
    • -perspective, can see bottom of Adams foot
    • -suggests we are at the bottom, working our way to the top- Jeruselum
    • DESCENT FROM THE CROSS
    • Hans Memling
    • 1480

    • -copy after Hugo's, 15 yrs later
    • -more symmetrical-> figures leaning out rahter than in
    • -diagonal fall lines leadin out-> moves eyes away
    • -no one is looking out ar viewer
    • -none of the nourners are even looking at Jesus
    • -figures aren't as powerful, distingenuine gestures
    • _theatrical, actors, literal(tears)
    • -stiff, dorky figures
    • -tries to hard to connect the two panels
    • -landscape takes away from drama
    • -clarity of figures and sharpness-> loses drama
    • -Christ looks much lighter, held up by findertips
    • DESCENT FROM THE CROSS
    • Rogier Van Der Weyden
    • 1435

    • -no setting, gold background
    • -compressed stage-like composition, range of emotion
    • -glassy naturalistic tears roll down Mary and Mary Magdalene
    • -very different than Jan Van Eyck; Rogier is after emitting devotion and emotion from viewer
    • -balanced composition, figure distributed evenly
    • -not rigidly symmetrical; rythm of figures "dance-like"
    • -concerned with an isolated part of the narrative
    • -wants to spark devotion and compassion
    • -Mary depicts the ideal of "suffering with Christ"
    • ST. LUKE PAINTING THE VIRGIN
    • Rogier Van Der Weyden
    • 1435

    • -Luke close to Madonna, examining her face-> Pure active looking, no thoughts
    • -less seperation, opposition-> straightforwardly pious
    • -simplified version of Eyck's landscape in Rolin Madonna
    • -very different look on Luke's face than Rolin, artist, looking carefully
    • -beams form cross- symbol of the world, at top of trinity portal
    • PORTRAIT OF A WOMAN
    • Rogier Van Der Weyden
    • 1440

    • -hard to read her expression->firm jaw
    • -turned in upon hersilf, great lips
    • -hands importatn part of portraits->rings show status
    • -understated sexuality, red belt, big lips, shear neckline
    • -friction of tight but shear headdress
    • -subtle tonality and use of planes
    • -slanted eyes from pulled back hair, narrow shoulders, pale skin flattens her out
    • -side glance, composition flattened from blank black background
    • CRUCIFIXION TRIPTYCH
    • Rogier Van Der Weyden
    • 1445

    • -Mary Magdelene on left, St. Veronica on right
    • -donors in iddle panel
    • -more of a landscpae->depth
    • -floating drapery adds triumphant note (coined by Rogier)
    • -space between donors and figure->not actually there
    • -donors obviously teo different devotions (up&across) unlike Jan's subtle interiority.exteriority
    • ENTOMBMENT
    • Rogier Van Der Weyden
    • 1450

    • -speculated self-portrait of Rogier as Nicodemis (right of Christ)->sense of self
    • -higher point of view, symmetrical
    • -tomb laid down for viewer to see
    • LAST JUDGEMENT ALTARPIECE
    • Rogier Van Der Weyden
    • 1443

    • -Rolin and wife- donors
    • -St. Michael in middle
    • -little glimpse into hell on right-> end of earth
    • -move horizontally into hell->by choice
    • -very different than Van Eyck's-> vertical, more dramatic
    • -Michael very calm and angelic
    • ST. BRUNO- PORTRAIT OF A CARTHUSIAN
    • Petrus Christus
    • 1446

    • -artifice in frame (engraving "Petrus Christus made me")
    • -side glance of corner of eyes-> self-awareness
    • -not the same iteriority as Van Eyck (not all the layers)
    • -naturalistic fly walking across frame
    • -suggestive that he's infront of window beacuse of lighting
    • ST. ELROY- PATRON SAINT OF GOLDSMITH
    • Petrus Christus
    • 1449

    • -flat colors
    • -levels of reality: convex mirror-> people in market, court, man, woman, and falcon (street empty)
    • -reflection doesn't tie into scene
    • -not that many levels-> not as much going on as Eyck
    • -great detail in light reflections-> glass
    • PORTRAIT OF MADONNA AND CHILD IN AN INTERIOR
    • Petrus Christus
    • 1446

    • -looks back to Campin and Van Eyck's interiors
    • -not too much interest in scene
    • -isolated iconic scene, no extended narrative
    • -interior works only as a familiar space
    • NATIVITY
    • Petrus Christus
    • 1450

    • -not many levels of reality, just carved wood
    • -symbols: joseph's shoes off (acred ground)
    • -landscape, sweet but not as interesting
    • -threshold made by frame
    • -no complexity to figures

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