1. Renaissance of the North Slides # 14-18

2. R ENAISSANCE IN THE N ORTH Northern Renaissance artists had wealthy patrons like Italy. Northern Renaissance artists had wealthy patrons like Italy. Artistic centre was Flanders. 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. 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. 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. 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. 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. 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. 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. 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 – What are the possible meanings for the following symbols? Their poses The candle The shoes The oranges The beads The dog What is the purpose of the mirror and the signature in the background?

5. Look at the incredible details achieved with oil paints and really fine brushes.

6. 15) Matthias Grunewald. Isenheim Altarpiece. (1512-1515) Oil on panel.

7. Close-up – relates to the disease seen in the hospital it was made for.

8. Reverse side of the altarpiece

9. 16) Roger van der Weyden. Descent from the Cross. (1435) Oil on panel.

10. 17) Hans Holbein. The French Ambassadors. (1533) Oil on panel. Who are these men? Top shelf – map of the heavens, sundial (Heavenly matters) Bottom shelf – globe, lute, book (Earthly matters) What is on the floor? What does it all mean?

11. 18) Albrecht Durer. Knight, Death and the Devil. (1513 AD) Engraving. 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.

12. Extra Images…

13. 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.

14. artist debated because they didn’t sign their work artist debated because they didn’t sign their work Highly realistic approach to detail and through muted colours Highly realistic approach to detail and through muted colours One of the earliest examples of oil 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 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) 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? Why are there no halos for Mary and the angel?

15. 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)

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

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