NORTHERN EUROPEAN ART

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Author:
chetama22
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8836
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NORTHERN EUROPEAN ART
Updated:
2010-03-03 10:34:52
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art
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MIDTERM 3
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    • HOURS of the DEAD from Rohan Heures
    • ROHAN MASTER
    • -man's soul being carried away by demon
    • -rigormortus, unidealized, cramed in teh frame
    • -man speakds to god in latin, god speaks back in french
    • - rohan messing with the religion
    • -huge weary figure of god
    • 3 LIVING 3 DEAD
    • PSALTAR OF BONNE of LUXEMBOURG
    • 1440
    • -3 aristocrats doing their thing, falconing
    • -3 dead gesturing to aristocrats
    • -luxury associated with death (and sexuality)
    • WELL of MOSES
    • CLAUS SLUTER
    • 1400
    • -traditional medieval format, renaissance face
    • -short and stout (away from Int'l style) heavy drappery
    • -Issiah on well represents physical gravity=moral weight
    • -relective of Donatello's Zucconi
    • PORTAL of CHARTREUSE de CHAMPMOL
    • CLAUS SLUTER
    • DIJON
    • ~1400
    • -figures half Int'l style half Renaissance
    • -personal relation happening across architectural space
    • -dynamic, symmetrical
    • -looking at an act of devotion, still
    • -hierarchy, the virgin large
    • -flowing drappery
    • SEILERN TRIPTYCH
    • 1420
    • ROBERT CAMPIN
    • -altarpiece, awkward arches, gold background (embossed with grapevines)
    • -subject: the deposition (body and blood of christ over altar)
    • -donor on left panel, observing
    • -emotion in faces, suggestion of continuous narrative
    • -discontinuous setting
    • MARRIAGE of the VIRGIN
    • ROBERT CAMPIN
    • 1420
    • -altarpiece
    • -virgin pushed out of frame, suggests movement
    • -lots of different distinguished faces
    • GLORIFICATION of the VIRGIN
    • ROBERT CAMPIN
    • 1420
    • -landscape and cityscape on horizon
    • -heavy throne, too big
    • -disjunctive, supposed to be having a vision but looking at other guy
    • DIJON TRIPTYCH
    • ROBERT CAMPIN
    • -sculpture on teh inside, guilded wood
    • -paintings on outside, 4 stories of life of mary and christ
    • -architecture used to frame saints
    • -looks like late gothic cathedral
    • -abstract symbolism holds all of teh stories of christ together
    • -awkward perspectove of architecture
    • -divide stories by interior and exterior
    • -guilded frame and carvings make it an object
    • -sculpture take precedent over painting
    • TRINITY with the PIETA
    • JEAN MALOUEL
    • 1400
    • -tondo, shape of circular painting
    • -no setting, gold sky:abstract, lifted out of our time and place
    • CHRIST on the CROSS and MARTYRDOM of ST DENIS
    • JEAN MALOUEL
    • 1416
    • -crucifiction in center, lively narrative
    • -gold sky
    • -see st denis getting head chopped off
    • -trying to be held together by crucifiction, doesn't flow
    • -halo stays on beheaded head
    • DIJON NATIVITY
    • ROBERT CAMPIN
    • 1420
    • -first scene of nativity in realistic landscape
    • -birth of christ, only one figure in aristocratic garb
    • -realism as description->naturalistic
    • -virgin gown similar to salting madonna
    • - first real cast shadows in western art
    • -great landscape (atmospheric effects)
    • -sun rising- naturalistic
    • MADONNA AND CHILD BY FIRESIDE
    • from HERMITAGE DIPTYCH
    • ROBERT CAMPIN
    • 1430
    • -first sacred in domestic interior-> humanizes Virgin
    • -sacred portrait of madonna-> looking down on scene, see more
    • SALTING MADONNA
    • ROBERT CAMPIN
    • 1430
    • -lots of texture, fur, woven wood, wood
    • -scene of city out window-> realistic domestic
    • -bold image of madonna, massive earthy figure
    • -window->relationship between interior and exterior
    • -seemingly in castle->wall out window and way up high
    • -more to experience than what is visable
    • -radical! altar and eucharist in domestic
    • -interval between illusion and reality
    • MADONNA and the CAT
    • REMBRANDT
    • 1654
    • -window acts as halo, throne up high on left
    • -serpent coming out from her dress
    • -most real are the hardest to see-> faces and gestures
    • -most true is most ambiguous
    • MERODE ALTARPIECE
    • ROBERT CAMPIN
    • 1425
    • -1st scene of Annunciation in a domestic interior
    • -commissioner on left panel
    • -no halo, so God the father, Virgin doesn't know Gabriel is there yet
    • -commisioner opening door, letting angel into Virgin's room, interupting her day-> angel placed above virgin
    • -moving from one reality to another
    • -approximate one point perspective in middle panel (we are looking down)
    • -everyday light of candle is taken over by divine light entering window
    • -smoke from candle, great detail
    • -great detail and naturalism (door-nails and hinges)
    • -left panel-great detail, birds, scene through gates
    • complete paradox: small door, elongated beach, upturned table
    • -doorway and windows everywhere-> levels of reality
    • -Joseph building mousetraps-> temptation (mouse trap out window- in world)
    • - cityscape in background
    • -all the tools are very descriptive
    • DRESDEN TRIPTYCH
    • JAN VAN EYCK
    • 1437
    • -st michael on left with commissioner
    • -st catherine on right with little book of hours
    • -all around frame, inscriptions, also around virgin's dress
    • -unbelievable details
    • -imperial image of madonna and child, regal
    • -eyck more naturalistic and illusionistic he became the more powerful he became
    • -illusion of gold, nicer/prettier faces than campin
    • -takes decorative and beauty and heightens them to the point where they come back down to our world
    • -connections to int'l style but something different
    • -constant questions of proportional relationships
    • -frame-> illusion of carved (but painted) inscriptions
    • -madonna in bright red large robe, great baby
    • -in church but has aristocratic cloth of honor
    • -sense of formality, centralized
    • -st Catherine covered in jewels and velvet-> very internalized
    • -incredible landscape-> makes scene relatable

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