1. Art: The Visual World Thursday January 3, 2013 Objective Take notes on Ch 10 Northern Renaissance Art & go over questions from yesterday Project The Weird World Of……

2. Chapter 10 Northern Renaissance

3. 1.Oil paints may be mixed to create an unlimited range of values and colors richer that the range that can be created by tempera. Oil paints are easier to blend than tempera, which dries faster that oil paint. 2.Attention to detail, extreme realism, use of commonplace settings, symbolism and the use o oil paints 3.The spotless room and the vase of lilies on the table symbolize Mary’s purity. The mousetrap represents Christ’s appearance in human form as bait set in a trap to catch the Devil. 4.Light

4. 5.In the Annunciation: Lilies symbolize Mary’s purity and her gesture represents submission to the will of God. The lilies on the angels robe also symbolize Mary’s purity, and the pomegranates signifies that the couple is standing on holy ground. The ripening peaches symbolize fertility. 6.The whole composition is symmetrically balanced with the figures closely grouped around the almost horizontal body of Christ, which ties the picture together. Van der Weyden leads the eye through the limp S – Curve of Christ’s body. He repeats this curve in Mary’s body 7.Bruegel created depth by making the figures and trees in the foreground much larger than the objects in the background. He created even greater depth by painting birds flying in the intervening space. The line of trees marching down the hill unites the foreground with the middle distance and the distant Alpine peaks.

5. Chapter 10 Northern Renaissance -Realism- subject matter is true to life. -Symbol- a form, image, sign or subject representing a meaning other than its outward appearance -Powerful sense of realism -New medium- oil paint – richer colors. -clear hard edged details -Focus on detailed color rather than sculptural form -Ordinary objects are used to symbolize religious subjects

6. “Merode Altarpiece” by The Master of Flemale Triptych – 3 paneled painting. Symbolism -Spotless room & vase of lilies- PURITY -mouse trap- God, baiting & trapping the Devil.

7. Donor- supporters Peer into the Annunciation panel

8. Annunciation scene with the Virgin Mary and the Angel Gabriel Takes place in a typical Flemish Kitchen

9. Joseph has made a mouse trap. It symbolizes Christ’s appearance in the world in human form as a means of fooling and catching the Devil.

10. “Arnolfini Wedding” by: Jan van Eyck 1434 wedding certificate- 1413 Symbolic candle 1 flame burning in bright daylight - bridal candle, or God's all-seeing eye. Carving of St Margaret (the patron saint of women in childbirth), whose image is carved on the high chair back. An elaborate signature “Jan van Eyck was present'',an indication that the artist himself served as a witness. Convex mirror Its carved frame is inset with ten miniature medallions depicting scenes from the life of Christ. reflection, which includes van Eyck's own tiny self- portrait, & another man who may have been the official witness. dog - symbol of faithfulness and love. fruits on the window ledge - fertility and our fall from Paradise. shoes - the sanctity of marriage.

11. Symbolic candle 1 flame burning in bright daylight - bridal candle, or God's all- seeing eye. Carving of St Margaret (the patron saint of women in childbirth), whose image is carved on the high chair back. An elaborate signature “Jan van Eyck was present - an indication that the artist himself served as a witness. Convex mirror Its carved frame is inset with ten miniature medallions depicting scenes from the life of Christ. reflection, which includes van Eyck's own tiny self-portrait, & another man who may have been the official witness. dog - symbol of faithfulness and love. fruits on the window ledge - fertility and our fall from Paradise. shoes - the sanctity of marriage. “Arnolfini Wedding” by: Jan van Eyck 1434 wedding certificate- 1413

12. “The Garden of Earthly Delight” triptych Bosch The Worldly Pleasures Sins & Hell with its Punishments Creation of Man

13. “The Garden of Earthly Delight” Bosch Triptych (panel 1) Creation of Man

14. Bosch “Garden of Earthly Delight” Triptych (Panel 2) worldly pleasures

15. Bosch “Garden of Earthly Delight” Triptych (panel 3) Sins and hell with all its punishments

16. Peter Bruegel “Tower of Babel”

17. Peter Bruegel “Return of the Hunters”

18. Albrecht Durer “Self-Portrait” 1498 Albrecht Durer “Large Clumps of Grass”

19. Durer “The Four Horsemen of the Apocalypse”

20. After studying Bosch’s “Garden of Earthly Delights create your own “Weird World of________” triptych. Examples under my bed Inside my locker Inside my frigate Etc. Worth a TEST grade!! Your drawing must include: 1. use colored pencils, markers, white paper. 2. Triptych- -symbolism (creation, happiness, hell) -Characters relating to your theme -perspective -fill the entire white space

21. Art The Visual World!!! Do Now: - answer the following questions on yellow paper –1. what were the advantages of oil paint over tempera? –2. who painted the “Merode Altarpiece”. –3. what did Hieronymus Bosch paint? –4. what is a tryptich? Today you are going to 1.Talk about Symbols 2.Look at the Art Work of Albrecht Durer. 3.Study Hieronymus Bosch’s “Garden of Earthly Delights” and create your own “weird world of…” triptych composition.

22. Art The Visual World!!! Do Now: - Turn on the computer Open Powerpoint Today you are going to Make a triptych collage inspired by Bosch’s “Garden of Earthly Delights” Create your own species or creature by collage-ing together 15 different animal/vegetable parts. Place 3 different landscapes in side your tryptic collage

24. After studying Bosch’s “Garden of Earthly Delights create your own “Weird World of________” triptych. Examples under my bed Inside my locker Inside my frigate Etc. Worth a TEST grade!! Your drawing must include: 1. use colored pencils, markers, white paper. 2. Triptych- -symbolism (creation, happiness, hell) -Characters relating to your theme -perspective -fill the entire white space

25. Excerpt from Meyer Schapiro, "'Muscipula Diaboli,' The Symbolism of the Mérode Altarpiece," repr. in Late Antique, Early Christian, and Mediaeval Art: p. 1: In the Mérode Altarpiece by the Master of Flémalle, the figure of Joseph appears in a wing beside the Annunciation as an artisan who fashions mousetraps.... [T]his detail of the mousetrap is more than a whimsical invention of the artist, suggested by Joseph's occupation. It has also a theological meaning that was present to the minds of Christians in the Middle Ages, and could be related by them to the sense of the main image of the triptych. St. Augustine, considering the redemption of man by Christ's sacrifice, employs the metaphor of the mousetrap to explain the necessity of the incarnation. The human flesh of Christ is a bait for the devil who, in seizing it, brings about his own ruin. "The devil exulted when Christ died, but by this very death of Christ the devil was vanquished, as if he had swallowed the bait in the mousetrap. He rejoiced in Christ's death, like a bailiff of death. What he rejoiced in was then his own undoing. The cross of the Lord was the devil's mousetrap; the bait by which he was caught was the Lord's death...." /p. 2: The connection of the mousetrap in the picture with the theological metaphor is strengthened by the extraordinary way in which the artist has rendered the Annunciation in the neighboring panel. Instead of the Holy Spirit in the form of a dove, usual in images of the subject, he has represented a tiny naked figure of a child bearing a cross and descending toward the Virgin along the beams of light which have just passed through a window.... [T]he child was probably understood by the pious spectator as a symbol of the incarnation to come, just as the cross carried by this figure symbolized the Crucifixion and Redemption. Here, too, as in the Joseph scene, doctrine, metaphor, and reality are condensed in a single object. The /p. 4 beams of light penetrating the window are not simply a phenomenal detail of everyday life, which later Dutch artists were to represent more subtly and picturesquely in their genre paintings of a woman reading or sewing in her room; the passage of the rays through the glass is a characteristic mediaeval image of the miraculous insemination and birth. In mediaeval poetry, in mystical literature, in hymns and mystery plays, in Latin and the vernacular, this simile recurs: The Marriage of Giovanni Arnolfini and Giovanna Cenami; 1434 (130 Kb); Oil on wood, 81.8 x 59.7 cm (32 1/4 x 23 1/2 in); National Gallery, London This title has traditionally been given to this painting because it was thought to be a form of ``wedding certificate'' for Giovanni Arnolfini and Giovanna Cenami, who married in Bruges in 1434. He was an Italian merchant, she the daughter of an Italian merchant. Their grave, youthful faces both have a lovely responsability that is typical of van Eyck. Van Eyck's art reached perhaps its greatest triumph in the painting of portraits. One of his most famous portraits is The betrothal of the Arnolfini, which represents an Italian merchant, Giovanni Arnolfini, who had come to the Netherlands on business, with his bride Jeanne de Chenany. In its own way it was as new and as revolutionary as Donatello's or Masaccio's work in Italy. A simple corner of the real world had suddenly been fixed on to a panel as if by magic. Here it all was - the carpet and the slippers, the rosary on the wall, the little brush beside the bed, and the fruit on the window-sill. It is as if we could pay a visit to the Arnolfini in their house. The picture probably represents a solemn moment in their lives - their betrothal. The young woman has just put her right hand into Arnolfini's left and he is about to put his own right hand into hers as a solemn token of their union. Probably the painter was asked to record this important moment as a witness, just as a notary might be asked to declare that he has been present at a similar solemn act. This would explain why the master has put his name in a prominent position on the picture with the Latin words 'Johannes de eyck fuit hic' (Jan van Eyck was here). In the mirror at the back of the room we see the whole scene reflected from behind, and there, so it seems, we also see the image of the painter and witness. We do not know whether it was the Italian merchant or the northern artist who conceived the idea of making this use of the new kind of painting, which may be compared to the legal use of a photograph, properly endorsed by a witness. But whoever it was that originated this idea, he had certainly been quick to understand the tremendous possibilities which lay in Van Eyck's new way of painting. For the first time in history the artist became the perfect eye-witness in the truest sense of the term. From top to bottom: Symbolic candle The solitary flame burning in bright daylight can be interpreted as the bridall candle, or God's all-seeing eye, or simply as a devotional candle. Another symbol is St Margaret (the patron saint of women in childbirth), whose image is carved on the high chairback. An elaborate signature As today, marriages in 15th-century Flanders could take place privately rather than in church. Van Eyck's Latin signature, in the Gothic calligraphy used for legal documents, reads: ``Jan van Eyck was present'', and has been interpreted by some as an indication that the artist himself served as a witness. Convex mirror The Arnolfini Marriage 1434; detail: the ornate mirror on the back wall The mirror is painted with almost miraculous skill. Its carved frame is inset with ten miniature medallions depicting scenes from the life of Christ. Yet more remarkable is the mirror's reflection, which includes van Eyck's own tiny self-portrait, accompanied by another man who may have been the official witness to the ceremony. Symbol of faithfulness Almost every detail can be interpreted as a symbol. The companion dog is seen as a symbol of faithfulness and love. The fruits on the window ledge probably stand for fertility and our fall from Paradise. Even the discarded shoes are not thought to be incidental, but to signify the sanctity of marriage. © 19 Sep 2002, Nicolas Pioch - Top - Up - Info Thanks to the BMW Foundation, the WebMuseum mirrors, partners and contributors for their support.Nicolas PiochTopUpInfomirrorspartners and contributors

26. This painting is the most famous, most studied and the most enigmatic and difficult to analyse of all those painted by Bosch. On the left is the Creation of Man; in the centre are the worldly pleasures and sins; and Hell with its punishments for all those sins on the right. Some art critics believe that Bosch may have painted this work as an illustration of the beliefs of a heretical sect, called the Adamites -from the nakedness of Adam- which believed in nudism and free sexual relations. In general, however, it is thought that, as is the case throughout Bosch's work, that it is a moral satire on the destiny of human nature, with a great number of symbols that still have not been satisfactorily interpreted. Pieter Brueghel the Elder or Bruegel (c.1525 – September 9, 1569) was a Flemish painter known for his landscapes and peasant scenes. There are records that he was born in Breda, Netherlands but it is uncertain whether the Dutch town of Breda or the Belgian town of Bree, called Breda in Latin, is meant. From 1559 he dropped the 'h' from his name and started signing his paintings as Bruegel.1525September 91569FlemishpainterDutchBredaBelgianBree He was an apprentice of Pieter Coecke van Aelst, whose daughter Mayke he later married, and was in 1551 accepted as a master in the painters' guild of Antwerp. He travelled to Italy soon after, and then returned to Antwerp before settling in Brussels permanently 10 years later. He died there on 9 September 1569.Pieter Coecke van Aelst1551AntwerpItalyBrussels9 September1569 He was the father of Pieter Brueghel the Younger and Jan Brueghel the Elder who both became painters, but as they were still infants when their father died neither received any training from him.Pieter Brueghel the YoungerJan Brueghel the Elder Bruegel specialized in landscapes populated by peasants, painted in a simpler style than the Italianate art that prevailed at the time. The most obvious influence on his art is the older Dutch master Hieronymus Bosch. He is nicknamed 'Peasant Brueghel' to distinguish him from other members of the Brueghel dynasty, but is also the one generally meant when the context does not make clear which "Brueghel" is being referred to.peasantsItalianateHieronymus BoschBrueghel dynasty He is often credited as being the first western painter to paint landscapes for their own sake, rather than as a backdrop to a religious allegory. His winter landscapes of 1565 are corroborative evidence of the severity of winters during the Little ice age.allegoryLittle ice age

27. Albrecht Dürer is the greatest exponent of Northern European Renaissance art. While an important painter, in his own day Dürer was renowned foremost for his graphic works. Artists across Europe admired and copied Dürer's innovative and powerful prints, ranging from religious and mythological scenes, to maps and exotic animals. Technically, Dürer's prints are exemplary for their detail and precision. The son of a goldsmith, Dürer was trained as a metalworker at a young age. He applied the same meticulous, exacting methods required in this delicate work to his woodcuts and engravings, notably the Four Horsemen of his Apocalypse series (1498), and his Knight, Death and Devil (1513). Dürer's training also involved travel and study abroad. He went to Italy in 1494, and returned again in 1505-6. Contact with Italian painters resonated deeply in his art. Influenced by Venetian artists, who were renowned for the richness of their palette, Dürer placed greater importance on colour in his paintings. His Feast of the Rose Garlands (1506), removed any doubt that, as well as a master of prints, he was an accomplished painter. Dürer was also a great admirer of Leonardo da Vinci. He was intrigued by the Italian master's studies of the human figure, and after 1506 applied and adapted Leonardo's proportions to his own figures, as is evident in his drawings. Later in his life, in the 1520's, he illustrated and wrote theoretical treatises instructing artists in perspective and proportion. Dürer was a humanist and a creator. His awareness of his own role as an artist is apparent in his frontal, Christ-like Self Portrait, 1500, just one of many self portraits that he painted in his career. More than simply producing works for his own time, Dürer saw his fame and his contribution as enduring, and as part of history.Four HorsemenKnight, Death and DevilFeast of the Rose GarlandsSelf Portrait, 1500