1. Renaissance of the North Slides # 14-18

2. RENAISSANCE IN THE NORTH
Northern Renaissance artists had wealthy patrons like Italy.
Artistic centre was Flanders.
Northern Renaissance artists were more concern with what their art looked liked – they let go of the scientific proportions of the anatomy / perspective.
Colour was of key importance.
Detail – the more they could include the more they did. Individual hairs are visible / small details such as reflections in a mirror.
Not as many frescos due to the Climate Conditions of the North.

3. While Italian Renaissance painters returned to the ideals of antiquity, Northern Renaissance painters began to work on creating Art with strong realism.
Painters of the Belgium and Holland mastered oil painting first. Oil paints allowed for richer colours, more variety in value (lights and darks) and finer realistic details.
All Renaissance artists aimed to reconcile religious subjects with scenes and objects form everyday life. Northern European artists accomplished this often through symbolism attached to everyday objects.

4. 14) Jan Van Eyck. Arnolfini Wedding Portrait. (1434 AD) Oil on panel.
SYMBOLISM – How does the artist communicate the following?
Faithfulness -
Fertility -

5. Technical:
Interested in light effects – oil allows for this
Very fine details
About the Artist:
Meaning of the Work:
Not intended as a record of their wedding / she is NOT pregnant.
Using a lot of symbolism

6. Look at the incredible details achieved with oil paints and really fine brushes (single hair brushes).

7. 15) Matthias Grunewald. Isenheim Altarpiece . (151-1515) Oil on panel.

8. Close-up – relates to the disease seen in the hospital it was made for.
Technical:
-triptych altar piece
-scale of figures is not accurate, returns to the principles of Medieval – larger figures more important
Purpose of the work:
-painted for the hospital of St. Anthony, this hospital specialized in skin disease – symptoms are displayed on Christ’s body.
-shows the horrors of suffering

9. Reverse side of the altarpiece

10. 16) Roger van der Weyden. Descent from the Cross. (1435) Oil on panel.
Notice how Christ’s body and Mary’s body (in the blue) have similar curves? What could this symbolize?
16) Roger van der Weyden. Descent from the Cross. (1435) Oil on panel.

11. Technical:
Bodies twisted and turned
-use of bright colours
-fine details
-strong use of emotions
Symbolism of the work:
Christ’s body and the virgin’s body are paralledled curves – also parallel pain they are feeling – the pain of christ is shared by Mary

12. What tells us these are wealthy, educated and powerful men?
What objects are on the top shelf?
What objects are on the middle shelf?
In the foreground, on the ground, is a distorted image, what is it?

13. 17) Hans Holbein. The French Ambassadors. (1533) Oil on panel.
Meaning of the Work:
Top shelf – map of the heavens, sundial (Heavenly matters)
Bottom shelf – globe, lute, book (Earthly matters)
Anamorphic image of a skull, a symbol of mortality, no one can escape death.
One must look further.

14. What medium is this?
How do you think the artist created it?
Who is Gutenburg, what did he invent and how did that change the world?

15. 18) Albrecht Durer. Knight, Death and the Devil. (1513 AD) Engraving.
About the Artist:
-known for his engravings
Technical:
-this work is an engraving, on a metal plate, then printed using a printing press.
-very detailed
GUTENBERG’S PRINTING PRESS – During Durer’s life, Gutenburg invented the moveable type printing press in Europe, thus allowing the Bible to be mass produced for the first time in history (without having to copy by hand). This also led to a demand for illustrations for these newly printed books.

16. Extra Images…

17. The Master of Flemalle (Robert Campin). Merode Alterpiece. (c
The Master of Flemalle (Robert Campin). Merode Alterpiece. (c.1425 AD) Oil on panel.
NOTE: The middle class donors of this altarpiece appear kneeling on the left panel of the triptych.

18. artist debated because they didn’t sign their work
Highly realistic approach to detail and through muted colours
One of the earliest examples of oil
similar to International style (Gothic), has new “Renaissance” elements: the religious setting takes place in a typical Flemish home
symbols: lilies (purity / virginity) and mousetrap (Christ coming to earth as a trap for the devil)
Why are there no halos for Mary and the angel?

19. Roger van der Weyden. Portrait of a Lady. (c. 1455 AD) Oil on panel.
How is this painting similar to and how is it different than Renaissance paintings from Italy? (hint: compare to the Mona Lisa)

20. Pieter Bruegel. The Tower of Babel. (1563 AD) Oil on oakwood.
Created during a period of religious wars – increasing tendency to discard realism now
shows the Old Testament story of the Tower of Babel
The design of the building is more influenced by the look of the Roman colosseum than Mesopotamian ziggurats

21. Albrecht Durer. Self Portrait
Albrecht Durer. Self Portrait (1498 AD – below, 1500 AD – right) Oil on panel.
Technical:
About the Artist:
leader of German High Renaissance
had a clear sense if being an artist rather than a craftsman – dated and signed his work
First northern artist to travel to Italy and study Italian art
also first artist to document himself in a series of self-portraits
Influence of Italy seen but approach is still German