FINAL EXAM 2

Card Set Information

Author:
chetama22
ID:
18126
Filename:
FINAL EXAM 2
Updated:
2010-05-06 18:45:53
Tags:
Northern European Art
Folders:

Description:
1400-1600
Show Answers:

Home > Flashcards > Print Preview

The flashcards below were created by user chetama22 on FreezingBlue Flashcards. What would you like to do?


    • DIPTYCH of MARTIN VAN NISWENHOVEN
    • Hans Memling
    • 1480

    • -convex mirror-> suggests Martin is sitting next to Virgin
    • -Virgin's drapery breaking frame
    • -Martin has look of genuine awe-> raised eyebrows
    • -selfless devotion
    • -contrast in facial expressions between Viring and Martin
    • -different levels of reality yet suggestions of common space
    • -icon and narrative coming togher
    • -windows provide alternate reality
    • LAST JUDGEMENT ALTARPIECE
    • Hans Memling
    • 1470

    • -heaven on right panel, hell on left, judgement in middle
    • -not demons/monsters-> "you are you're own downfall"
    • -deep landscape-> looking back through time
    • -doors: donors and sculptures of Virgin&Child, St. Michael
    • -very realistic, no second guessing/thinking
    • -sculpture IS sculpture, figures ARE figures
    • -both figures looking up in devotion
    • SEVEN JOYS OF THE VIRGIN
    • Hans Memling
    • 1480s

    • -continuous, consecutive narrative across landscape
    • -attempt to show everything
    • -looses all drama of the individual scenes
    • -brings time and space together (unlike Eyck, time happens beyond space)
    • -complete confined image (no questions left unanswered)
    • -no personal relationship to scene
    • ALTARPIECE OF THE HOLY SACREMENT
    • Dirc Bouts
    • 1464

    • -four scenes of prefiguration of the Last Supper
    • -diagonal lines break up landscape into triangles providing recession in space
    • -stoic faces-> shift from the "spaced-out" expression-> becomes serious
    • -"gathering of mana"(bottom left) dark, deep landscape
    • -central panel-> serious apostles; great space (windows= thresholds)
    • -deep spaces on wings, contained space in center
    • -not as graceful as Rogier's
    • ST. ERASMUS ALTARPIECE
    • Dieric Bouts
    • 1466

    • -getting his guts spun on spindle, grizzly, gory
    • -forshortening and great depth
    • -grizzly details, spinner bitting lips
    • -observers, saints in wings
    • VIENNA DIPTYCH
    • Hugo Van Der Goes
    • 1470

    • -two narratives put together as diptych
    • -outside of left wing: "St. Genevive" painted in resi
    • -figures in Fall of Man similar to Eyck's Ghent Altarpiece
    • -figures of Adam and Eve-> Adam blank gaze
    • -Eve- contrapposto, caught in a pose of reflection (indecision)
    • -diagonal lines echoed between the two panels
    • -Deep Parody-> dawned on Eve, not on Adam
    • -two types of 'fall'-> fall of man, fall off the cross
    • -both negative sad subjects
    • -unusual to have two narrative scenes (usually donor and Madonna&Child)
    • -looking at Van Eyck on left, Rogier on right
    • -digests their work, doesn't imitate
    • -right, figures not as graceful as Rogiers but just as emotionally charged
    • -Hugo has hark vision
    • DEPOSITION DIPTYCH
    • Hugo Van Der Goes
    • 1480

    • -takes single scene and seperated into two subjects: Christs descent and Mary's sorrow (reaction)
    • -genuine gestures and facial expressions
    • -series of falling lines and diagonal, assymetric
    • -even though christ isn't full length there's a great sense of weight of the dead body
    • -body tipped toward viwer(eucharistic presentation)
    • -the half portrait of figures draws you in more
    • -feel like you're part of the scene
    • -left panel toward viewer, right at angle
    • -dynamic composition
    • -closterphobic space-> figures taking up almost all of composition
    • -ups the devotional anty
    • -isolating scene from narrative context but gaining devotional quality
    • -removed from time and space
    • -cut off by frame->infers continuation beyond
    • -all figures facing Christ-> brings eyes to him
    • MONFORTE ALTARPIECE
    • Hugo Van Der Goes
    • 1472

    • -based on the Columba Altarpiece by Weyden
    • -shifted figures, to an angle (Mary, kitty corner)
    • -viewer brought into scene, under the roof
    • -seems 3D, orthoganal lines in architecture
    • -great baby! mortal, human
    • -landscape: great, group of people hanging out, water reflection
    • -amazing faces- Baltizar, amazing 3D, great shadows on face
    • -Joseph put right on threshold of profane and sacred
    • -in doorway, serious face with ferrow brow
    • -quiet and demure Madonna- more somber
    • -hands of figures are highlighted (strange lighting)
    • -Caspar is now the center figure, Mary to side
    • -move away from iconic Virgin central
    • -Mary has a gravitational force-> all the figures seem to be pulled toward her
    • -Columba- figures flattened, no gravity, panned out->Very Different
    • -move to Modernity-> takes Mary out of central axis
    • -puts beholder in her place
    • -figure on center axis (in background) blatanly looks away from the sacred (heretic)-> thought to be Hugo Van Der Goes self-portrait
  1. ADORATION OF THE MAGI copy after lost Van Der Goes

    • -has a left->right composition narrative
    • -strong linear flow
    • -thought to have been before Monforte Altarpiece
    • -relationship of Caspar and figure behind him: -background figure possibly shepherd (clothing)
    • -Caspar has blank stare (pure devotional seeing)
    • -shepherd in contrapposto
    • -he's the 'fool'-> always with the king
    • -act as counterparts "Parodic Double"
    • -shepherd defined by window
    • -green and yellow are the colors of the fool
    • -Caspar and fool on threshold of sacred and profane (limenal characters)
    • -ambivilent characters-> positive and negative attributes
    • PORTINARI ALTARPIECE
    • Hugo Van Der Goes
    • 1475

    • -landscapes in wings, motion pointing down and central to baby jesus
    • -opposite directionals than Ghent Altarpiece
    • -eyes start at bottom and end at topmiddle to God
    • -this piece has a more oppressive tone (Goes' dark views)
    • -left panel: St. Anthony, St. Thomas in winter, rocky landscape-> proves nature being potentially threatening
    • -center panel: sacred circle of figures
    • -liturgical and narrative elements
    • -angels wearing robes associated with church
    • -wheat on ground mimics body of christ
    • -pushing scale-> levels of reality
    • -dialouge of hands around circle
    • -Mary dayk and somber (dark dress)
    • -as shepherds enter the threshold of the shed-> becomes transformed (positive)
    • -more resolved perspective than Monforte (hovering over scene)
    • -Hugo's Monforte and this one are FIRST partial architecture in as altarpiece
    • -use of orthoganal lines
    • -careful, clear lay out of figures-> no overlap
    • -darker imagry: Christ baby-> rigor mortus
    • ADORATION OF THE SHEPHERDS
    • Hugo Van Der Goes
    • 1480

    • -plays with scale
    • -made this before he became a monk-> heightened spirituality
    • -figures fit together in space-> you can see everything
    • -christ tipped up to view
    • -makes it seem like an altar; Mary and Joseph praying at the altar
    • -shepherds flying into scene
    • - Mary on central axis, not Christ
    • -orchestration of angels faces-> sight variations
    • -prophets opening curtains-> showing antoher reality-> artificial time (theatre)
    • -extreme jumps of scale: prophets 2x larger (half-portrait) than Mary and Joseph, angels tiny
    • -angels there to invoke the liturgy, not just to fill space
    • -prophets- one looks out, one looks in
    • DEATH OF THE VIRGIN
    • Hugo Van Der Goes
    • 1480

    • -Christ and angels belong to a different scale than Mary and the apostles
    • -also different faces (holy have rounder faces)
    • -range of disturbing, deathly faces of prophets
    • -aggitated bony hands (create a circle of hand gestures)
    • -Mary-> oddly forshortened
    • -oreal doesn't seem like 3D globe, but flat
    • NIGHT NATIVITY
    • Geertgen Tot Sint Jans
    • 1484

    • -sweet and charming
    • -darkness of painting make it half-length
    • -the most sacred is most light->source of all light
    • -figures don't have psychological depth
    • ST. JOHN BAPTIST IN WILDERNESS
    • Geertgen Tot Sint Jans
    • 1484

    • -landscape beautiful; becomes extension of the interior mind
    • -St. John in pose of Meloncholy
    • -concern with your place in the world
    • -thoughtful and quiet
    • MARY OF BURGUNDY- AT HER DEVOTION
    • HOURS OF MARY OF BURGUNDY- illuminated manuscript
    • 1475-82

    • -sense of an open window- meant to be illusionistic
    • -the vanity of worldly things in foreground
    • -shown again in church scene- a vision
    • -Madonna off-centered, informality, modernized
    • NAILING OF CHRIST TO THE CROSS
    • THE HOURS OF MARY OF BURGUNDY
    • 1475-82

    • -items of luxury in foreground
    • -entourage of people viewing Christ
    • -figures looking over their shoulders bring the viewer in- let you know where you stand
    • -can you get past your worldly desires to understand Christs crucifixion?
    • STEIN QUADRIPTYCH
    • Simon Benning
    • 1515-20

    • -64 images on vellum painted in body color(5x7 cm each)
    • -series of life of Virgin and Life of Christ
    • -constant shift in scale and perspective
    • -looks like an illuminated manuscript laid out
    • -figures break frame
    • -borrowing compositions from Weyden and Goes
    • -emphasizes importance on the beholder
    • -no full length figures- brings viewer in close
    • -leaves image incomplete- for viewer to figure out
    • -keeps motion in total piece
    • -more privatized devotion "divotsio moderno"
    • CHRIST PRESENTED TO HIS PEOPLE
    • Hieronymus Bosch
    • 1500-10

    • -looking back at Van Eyck
    • -figures of donors painted over in bottom left
    • -figures on bridge look like Eyck's Rolin Madonna
    • -here figures look down- turns it into negative rather than the inward/outward figures of Eyck
    • -all figures have grotesque heads- no ideal
    • -don't have ability of the interiority
    • -negative view of mankind
    • -christ depicted as human, effected by crowd
    • -figure looks like Adam being expelled (humility)

What would you like to do?

Home > Flashcards > Print Preview