FINAL EXAM 3

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Author:
chetama22
ID:
18150
Filename:
FINAL EXAM 3
Updated:
2010-05-06 20:02:32
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Northern European Art
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Description:
1400-1600
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    • BEARING OF THE CROSS
    • Hieronymus Bosch
    • 1500-10

    • -turns mankind into demons
    • -Christ (and veronica) shown as good and the rest are evil
    • -taken out of narrative, and frozen in time
    • PRADO EPIPHANY
    • Hieronymus Bosch
    • 1510

    • Exterior:
    • -shous the mass of St. Greggory
    • -compared to Ghent Altarpiece:
    • -donors have similar position (but not in niche)
    • -unlike the radual progression of Ghent
    • -levels of reality
    • -odd progression through artificial world of resi
    • -leaps from donors to life of Greggory
    • -not orderly and clear progression
    • -difficult for viewer to move closer to Christ
    • Interior- Adoration of Magi:
    • -Joseph oddly in backgroun, not behind Mary, like usual
    • -landscapes full of death and violence
    • -strange scene of battle
    • -entire world of evil in background
    • -devil figure "anti-christ" coming out of shed
    • -standing in threshold
    • -closed negative medieval world view
    • -usually a stronger architectural setting-> warped around Mary
    • ADORATION OF THE MAGI
    • "Ufizzi Altarpiece"
    • Albrecht Durer
    • 1504

    • -borrowed from Weyden's 'Columba Altarpiece'
    • -figures spaced out rythmically- creates narrative
    • -two main figures on central axis (looking 2 ways)
    • -used archetecture to frame figure and moving left->right into distance
    • -borrowed from Goes' 'Monforte'
    • -Mary moved off central axis
    • -partially seen architecture to create orthogonal lines
    • PAUMGARTNER ALTARPIECE
    • Albrecht Durer
    • 1504

    • -huge leaps in scale, time, and space
    • -St. George and St. Eustis n outer panels portrayed as the faces of the donors
    • -figures who arrive in background-middle SIMILAR to shepherds arriving in Portinari
    • -large jumps in scale cause viewer to be aware of where they are
    • -provides different points of view of different people
    • NATIVITY "WEIHNACHTEN"
    • Albrecht Durer
    • 1504

    • -completly different exerience-large jumps in scale cause viewer to be aware of where they are-provides diferent points of view of different people
    • -no focus on one character, more focus on architecture, Mary in the shadows
    • -humility in the hunched over figures
    • -incredible description of the variety of textures- layers of architecture
    • -where the darkest shadows lay the holy
    • -narrative described through texture and depth
    • -amazing use of shapes
    • -you, the beholder becomes actively involved
    • -print invites quiet meditation
    • -more of a private piece (treasure) than large painting
    • -functions as domestic interior (endless thresholds)
    • -texture comes from interest in narrative
    • -Center of Experience Shifting from Work of Art itself to the Beholder
    • -as a graphic artist, Durer had a tremendous amount of freedom in content
    • -incredibly motivated-could crank out etchings way faster than paint
    • LIFE OF VIRGIN- 17 woodcut series
    • Albrecht Durer
    • 1511

    • -arches and architecture refer to Portinari and Columba
    • -work as threshold
    • -also refers to Weyden's Miraflores Altarpiece
    • -arch acts as instant reality added, thresholds
    • -creates a left->right movement, continuous narrative
    • -'Annunciation', 2nd in cycle- complicated layering (overlapping arches)
    • -plays with openness and closure
    • -'Nativity', shepherds entering threshold (portinari)
    • -throughout cycle, viewer stands to the left of each image->forcing is to want to move right
    • -recalls the Stein Quad-> dynamic and self conscience response; shifts in scale and perspective
    • COAT OF ARMS OF DEATH
    • Albrecht Durer
    • 1503

    • -drawing upon old chivalric characters ('the wild man')
    • -commentary on culture; floating on white page
    • -associations, to viewer: beware, be aware
    • PROMENADE
    • Albrecht Durer
    • 1504

    • -play on medieval life
    • -death behind them
    • -strong woman, looking off, not paying attention to man
    • -sex and death go together
    • FALL OF MAN
    • Albrecht Durer
    • 1504

    • -quoting Apollo Belvedere and Venus, classical figures
    • -classical contrapposto pose
    • -figures stand in front of forrest and their light coloring make them stand out(statuesque)
    • -figures fill frame
    • -forrest suggested as wild unknown realm
    • -classical idealized figures infront of wild unknown forrest setting
    • -Durer refuses to make entirely idealised image- uses forrest to play off the figures
    • -not very integrated into background
    • -dark and unclear forrest breaks frame while figures fit perfectly
    • -ideal figures about to FALL into dark reality
    • COLUMBA ALTARPIECE
    • Rogier Van Der Weyden
    • 1455

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