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Renaissance Painting in Northern Europe Chapter 17.

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Presentation on theme: "Renaissance Painting in Northern Europe Chapter 17."— Presentation transcript:


2 Renaissance Painting in Northern Europe Chapter 17

3 International Style  Paintings show concern for accurate and precise details  Symbolism more important  single burning candle = the presence of God  dog = symbol of loyalty

4 Development of New Paint Techniques  Previously, used tempera  Tempera: dry pigments mixed with a binder, usually egg yolk  Tempera applied to surface prepared with smooth coat of gesso.

5 Paint Techniques (cont.)  Gesso: mixture of glue and a white pigment such as plaster, chalk, or white clay  Produced a hard, brilliant surface


7 Oil Paints developed in Flanders  Oil paint: mixture of dry pigments with oils, turpentine, and sometimes varnish  Allowed artists to create various surface textures:  Transparent smooth glaze  Thick richly textured surface  Line, form, & color controlled to create subtle, varied, 3-D works

8 Oil Paints (cont.)  More brilliant colors  Allowed blending of color areas  Aerial perspective refined: hazy appearance of objects farthest from viewer.  Help achieve realistic light and shadow = consistent shadow = realistic picture

9 Oil Paints (cont.)  Remained wet and could work on it for extended length of time  Able to include more details & make corrections


11 Robert Campin  “The Master of Flémalle”  Style characterized by naturalistic and sculptural conceptions  Replaced the decorative International Style of the late Middle Ages.

12 Robert Campin  Known for:  Attention to detail  Use of familiar contemporary settings

13 Merode Altarpiece  Three panels from left to right  Donors kneel in garden  Annunciation: Mary and Angel Gabriel  Joseph working in his carpentry shop


15 Holy Spirit Miraculous insemination purity God’s Presence

16 Joseph in His Workshop  Joseph depicted constructing mouse traps  Symbolic of belief that Christ was the bait with which Satan would be trapped

17 Jan van Eyck  The Arnolfini Wedding  Symbolism:  dog: loyalty ;  single burning candle: presence of God  fruit: Innocence  Shoes off: holy event

18 Figure on bedhead = St. Margaret Mirror and inscription: “artist was here” and witnesses in reflection

19 The Ghent Altarpiece

20  Central lower panel: Adoration of the Lamb  Lamb (Christ) on altar of sacrifice  Controls flow of light: light is crystal clear  Atmospheric perspective to create illusion of deep space.

21 Martyrs Cross Pigeon = Holy Spirit Angels carry 4 symbols of the Passion Eternal Life Old Testament figures Church Authorities Apostles Virgins Pillar of flagellation Spear of VinegarSpear of piercing

22 St Jerome in His Study  Nature  Sensitive use of light and color  Variety of textures

23 Realism and Emotionalism Chapter 17 Section 2

24 Rogier van der Weyden  Combined concern for detail with emphasis on emotional impact of his subject matter

25  Dignity suggested by: lowered eyes, locked fingers, frail build  Wealth suggested by: gold belt buckle and rings Portrait of a Lady

26 The Descent from the Cross  Human Emotion  Each face expresses different emotion  Space between Christ’s right and Mary’s left = void between living and dead

27 The Descent from the Cross (cont.)  Organization: use of repeating curved axis lines  Two figures at each side bend inward to direct attention to Christ and Mary  Christ’s body forms an S curve (repeated in the curve of his fainting mother)

28 The Descent from the Cross (cont.)  Use of emphasis: no deep space  Figures placed in shallow space but not crowded  Placed on a narrow stage with no landscape behind  Faces differ from each other


30 Hugo van der Goes  Combined emotionalism of van der Weyden w/realistic detail of Jan van Eyck  Altered nature & proportions of people/objects when those changes added to emotional impact of his pictures  Took liberties with space to increase emotional appeal

31 Portinari Altarpiece

32 The Adoration of the Shepherds  Tipped floor of stable upwards to provide better view & bring viewer into it  Sad & withdrawn figures of Mary and Joseph bring to mind Christ’s future death

33 Adoration of the Shepherds (cont.)  Shepherds: expressions show the piety of the ordinary, uneducated people of the world based on blind faith;  First artist to represent peasants in a painting  Use of proportion and movement

34 Wheat = Communion Bread Purple columbine = Mary’s sorrows Shoe = Holy Event Ox = Faithful Christians Donkey = Fail to see Savior White lilies = Purity Orange lilies = The Passion Castle = House of David

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