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Late Gothic Art

Late Gothic Art. 15 TH CENTURY ART IN NORTHERN EUROPE AND SPAIN. F actors that contributed to the development of cities in the fifteenth century: The migration of a significant portion of the rural population to urban centers.

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Late Gothic Art

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  1. Late Gothic Art

  2. 15TH CENTURY ART IN NORTHERN EUROPE AND SPAIN Factors that contributed to the development of cities in the fifteenth century: The migration of a significant portion of the rural population to urban centers. The thriving commerce, industry, and finance of Europe’s economic development, spurred by the first international commercial stock exchange.

  3. Book of Hours A book used for reciting prayers. They replaced traditional psalters, which had been the only liturgical books in private hands until the mid-13th century. The centerpiece was the Office of the Blessed Virgin, which contained liturgical passages to be read privately at set times during the day. An illustrated calendar containing local religious feast days usually proceeded the Office. Penitential psalms, devotional prayers, litanies to the saints, and other prayers followed the centerpiece.

  4. Tres Riches Heures du Duc de Berry shown in by The three Limbourg Brothers, Pol (possibly Paul), Hennequin (possibly Jean or Jan), and Herman. Limbourg Brothers May from Les Très Riches Heuresdu Duc de Berry 1413-1416ink, tempera and gold leaf on vellum8 1/2 x 5 1/2 in.

  5. Stylistic characteristics that link the illuminations done by the Limbourg brothers with fourteenth-century Sienese painting: Growing artistic interest in naturalism. Close observation of the natural world and Convincing shadows cast by the people and objects. Depiction of a perceptual reality, as shown by the architectural detail. Limbourg Brothers February from Les Très Riches Heuresdu Duc de Berry 1413-1416ink, tempera and gold leaf on vellum8 1/2 x 5 1/2 in.

  6. The illustration for October depicts the Louvre as it appeared in the time of Charles V in a highly realistic manner.  In the foreground a man scatters seeds for a spring crop as another on horseback drags a medieval tiller across the field.  Notably, this illumination contains the first representations of ground shadows since Classical antiquity Limbourg Brothers October from Les Très Riches Heuresdu Duc de Berry 1413-1416ink, tempera and gold leaf on vellum8 1/2 x 5 1/2 in.

  7. In the Middle Ages, it was much more common to exchange gifts on Twelfth Night -- January 6th -- than on Christmas Day itself. The great feast here may have been meant to depict a Twelfth Night celebration. The Duc de Berry himself is depicted on the right, in blue, seated at the lavishly-laden table. Philip the Bold and Duc du Berry (Duke of Berry) were considered two northern dukes who are generally considered to have been the greatest patrons of the arts in northern Europe in the late fourteenth and early fifteenth centuries: Limbourg Brothers January from Les Très Riches Heuresdu Duc de Berry 1413-1416ink, tempera and gold leaf on vellum8 1/2 x 5 1/2 in.

  8. Symbolic Meaning A symbolic fountain of life, with the Blood of Christ flowing down over the Old Testament prophets, washing away their sins into the well below. It represents the promise of everlasting life. Claus Sluter Well of Moses Chartreuse de Champmol, Dijon, France 1395-1406stonefigures approximately 6 ft. high

  9. Two medieval conventions retained: Flat gold background. Staid treatment of figures and the traditional halos. New feature seen in the work: The multi-image format allowed artists to construct narratives through a sequence of images, somewhat like manuscript illumination. MechiorBroederlam Retable de Champmol From Chapel of the Chartreuse de Champmol, Dijon, France Installed 1399tempera on panelpanels each 5 ft. 3 3/4 in. x 4 ft. 1 1/4 in.

  10. Polyptych • Hinged multipanel paintings. Retable • An architectural screen or wall above and behind an altar, usually containing painting, sculpture, carving, or other decorations. Triptych • A three-paneled painting or altarpiece.

  11. Theme Humanity’s Redemption. Jan van Eyck Ghent Altarpiece (closed) Saint Bavo Cathedral, Ghent, Belgium 1432oil on wood11 ft. 5 3/4 in. high

  12. Jan van Eyck Ghent Altarpiece (closed) (detail of St. John the Evangelist) Saint Bavo Cathedral, Ghent, Belgium 1432oil on wood11 ft. 5 3/4 in. high

  13. Bottom: • Judges - knights - community of saints from the four corners of the earth proceeding toward the altar of the Lamb (the sacrificed Son of God) and the octagonal fountain of life – hermits – pilgrims Top: • Adam – a choir of angels - Mary (Queen of Heaven) - God the Father – St. John the Baptist – an angel playing the organ - Eve Jan van Eyck Ghent Altarpiece (open) Saint Bavo Cathedral, Ghent, Belgium 1432oil on wood11 ft. 5 3/4 in. high

  14. Symbolism Hermits: • Temperance Judges: • Justice Pilgrims: • Prudence Knights: • Fortitude

  15. Painting technique was perfected by fifteenth-century Flemish painters Oil. Description of technique: Layers are laid down in transparent glazes over opaque or semiopaqueunderlayers. Painters could build up deep tones through repeated glazing. Compared to tempera technique Oils dry more uniformly and slowly, providing the artist more time to rework areas and permitting the mixing of pigments.

  16. List Three characteristics of his style: • The figures and action are compressed onto a shallow stage to concentrate the observer’s attention. • Crisp drawing and precise modeling of forms. • compositional unity is created through a series of lateral undulating movements, strengthened by psychological means, namely the anguish shared by many figures. In contrast to the complex symbolism of Jan van Eyck,Rogier van der Weyden stressedin his paintings human action and drama. Rogier van der Weyden Deposition from Notre- Hors-les-murs, Louvain, Belgium ca. 1435oil on woodapproximately 7 ft. 3 in. x 8 ft. 7 in.

  17. The Guild of St. Luke As in Italy, boys were apprenticed to a master at an early age. The master taught the fundamentals of the craft: how to make implements, how to prepare panels, and how to mix colors, oils, and varnishes. Once he mastered these techniques, a painter worked as a journeyman in various cities, learning from other masters. He was then eligible to become a master and applied for admission to the guild. He obtained commissions through the guild. The guild also inspected his paintings to ensure that he used quality materials and to evaluate workmanship.

  18. Rogier van der Weyden Judgment Altarpiece (open) Hôtel-Dieu, Beaune, France ca. 1444-1448panel7 ft. 4 5/8 in. x 17 ft. 11 in.

  19. Two fifteenth-century Flemish painters who demonstrated the greatest interest in the depiction of space and cubic form were Dirk Bouts and Hugo van der Goes Scholars believe that Dirk Bouts was the first northern artist to utilize a single vanishing point for construction of an architectural interior. Dirk Bouts Last Supper From Saint Peter’s, Louvain, Belgium 1464-1468oil on woodapproximately 6 ft. 5 in. high

  20. Hugo van der Goes Portinari Altarpiece (open) From Sant’Egidio, Florence, Italy ca. 1476tempera and oil on wood8 ft. 3 1/2 in. x 10 ft. (center) 8 ft. 3 1/2 in. x 4 ft. 7 1/2 in. (wings)

  21. Symbolism: Iris and columbine: The Sorrows of the Virgin. Sheaf of wheat: Bethlehem (“house of bread” in Hebrew). Harp of David: The ancestry of Christ. Hugo van der Goes Central Panel Portinari Altarpiece From Sant’Egidio, Florence, Italy ca. 1476tempera and oil on wood

  22. Hugo van der Goes Portinari Altarpiece (open) From Sant’Egidio, Florence, Italy ca. 1476tempera and oil on wood8 ft. 3 1/2 in. x 10 ft. (center) 8 ft. 3 1/2 in. x 4 ft. 7 1/2 in. (wings)

  23. subject matter Hans Memling specialized in were images of the Madonna. Hans Memling Saint John Altarpiece Hospital Sint Jan, Bruges, Belgium 1479oil on wood5 ft. 7 3/4 in. x 5 ft. 7 3/4 in (center) 5 ft. 7 3/4 in. x 2 ft. 7 1/8 in (wings)

  24. Style The Madonna is a young, slight, pretty princess holding a doll-like Christ. The pictorial style is opulent with rich, luminous colors, carefully depicted tapestries, and serene figures. The composition is balanced and serene. The execution is of the highest technical quality.

  25. Robert Campin Merode Altarpiece (open) ca. 1425-1428oil on wood2 ft. 1 in. 2 ft. 1 in. (center)

  26. The blending of sacred and secular effected the way devotional images were painted in that Biblical scenes were often presented as happening in a Flemish house. The book, candle, water jug and towels symbolize Mary’s purity and divine mission. in the Mérode Altarpiece.

  27. Two factors that contributed to the great demand for images for private devotion: Dissatisfaction with the clergy. Popular reform movements advocated personal devotion.

  28. Three characteristics of his style: Every object functions as a religious symbol. Attention to detail: carefully rendered architecture and the carpenter’s shop is inventoried completely. The Mérode Altarpiece is personalized to the patron with references to the patron’s name and his wife’s name, and the setting is definitively Flemish. • Robert Campin also known as the Master of Flémalle

  29. The probable purpose of the painting Giovanni Arnolfini and His Bride is to record and sanctify the marriage; other think Arnolfini is conferring legal privileges to his wife to conduct business in his absence. • Symbolism • Cast aside clogs indicating… • The event is taking place on holy ground • Dog…. • Fidelity (fido, “to trust) • Open curtains of the marriage bed • Bed Post finial…. • Statue of St. Margaret, patron saint of childbirth. • Whisk broom…. • Domestic care • Oranges…. • Fertility Jan van Eyck Giovanni Arnolfini and His Bride 1434oil on wood2 ft. 8 in. x 1 ft. 11 1/2 in.

  30. Single Burning Candle • All-seeing eye of God • Small medallions… • Scenes from the passion of Christ • Gods ever-present • Conventional Gender Roles • Woman stand near the Bed • Man near the window Jan van Eyck Giovanni Arnolfini and His Bride 1434oil on wood2 ft. 8 in. x 1 ft. 11 1/2 in.

  31. It may have been commissioned by The guild of goldsmiths for their guild chapel. Saint Eligius was a master goldsmith before committing his life to God. The painting is set in a goldsmith’s shop. Petrus Christus A Goldsmith in His Shop (St. Eligius) 1449oil on wood3 ft. 3 in. x 2 ft. 10 in.

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