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The Northern Renaissance Art

The Northern Renaissance Art. Renaissance Art in Northern Europe. Not an offshoot of Italian art. But, Italian influence was strong. Painting in OIL, developed in Flanders Differences Italy  inspired by humanism, emphasis on values of classical antiquity.

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The Northern Renaissance Art

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  1. The Northern Renaissance Art

  2. Renaissance Art in Northern Europe • Not an offshoot of Italian art. • But, Italian influence was strong. • Painting in OIL, developed in Flanders • Differences • Italy inspired by humanism, emphasis on values of classical antiquity. • Northern Europe  religious reform, return to Christian values, revolt against Church authority • More princes & kings were patrons of artists. • Italy: wealthy merchant, banker class were patrons

  3. Characteristics of Northern Renaissance Art • Attention to details • Realism and naturalism (less emphasis on the “classical ideal”) • Landscapes • Middle-class and peasant life • Detailed domestic interiors • Portraits

  4. Flemish Realism

  5. Jan van Eyck (1395 – 1441) • Courtly and aristocratic work. • The Virgin of Chancellor Rolin, 1435. • The globe held by the Christ child symbolizes his power over the universe • Notice the richness of the clothing • He wants to be seen as important • “Holy Conversation” – mortals and heavenly figures placed together

  6. Van Eyck -Adoration of the Lamb, Ghent Altarpiece, 1432 Sacrificial Lamb (offering of something of high value to gain God’s favor) Worshippers come from 4 corners of the universe Holy city in the horizon

  7. Van Eyck: The Crucifixion&The Last Judgment1420-1425

  8. Giovanni Arnolfini and His Wife(Wedding Portrait)Jan Van Eyck1434

  9. Jan van Eyck - Giovanni Arnolfini & His Wife Dog symbolizes fidelity Statue of St. Margaret, patron saint of childbirth All-seeing eye of God symbolized by mirror Broom represents domesticity – a woman’s lot Even thought this is a wedding portrait, women were often times painted in a pregnant pose

  10. Rogier van der Weyden (1399-1464) The Deposition 1435 Mary’s pose mimics her son’s to show her suffering Notice the skull

  11. van der Weyden’s Deposition (details)

  12. Quentin Massys (1465-1530) • Humanist • Example of extreme Realism • The Ugly Duchess • She truly suffered from a disease the enlarged, misshaped the bones

  13. Massys’ The Moneylender & His Wife, 1514 Moral tale: condemning avarice She reads the a book of prayers while he counts money. Is she distracted from a holy task or is she too interested in worldly possessions? The snuffed candle symbolizes how we all face death The fruit symbolized the Garden of Eden – scene of original sin

  14. France

  15. Renaissance Art in France • Italian influence began with the French invasions of the Italian peninsula that began in 1494. • Royal patron = Francis I. • Encouraged humanistic learning • Invited da Vinci to France • Collected paintings by the Italian greats: Titian, Raphael, and Michelangelo

  16. Jean Clouet – Portrait of Francis I, 1525

  17. The School of Fontainebleau • Centered at Palace at Fontainebleau. • Decorated the Royal Palace, 1530s - 1560s • Offshoot of Mannerism • Elongated • Refined elegance • Crowded compositions • Allegories, symbolism.

  18. Palace of Fontainebleau

  19. Germain Pilon (1525-1590) • The Deposition of Christ • Bronze, 1580-1585.

  20. Germany

  21. Lucas Cranach the Elder (1472-1553) • Court painter 1505-1553 • Realism • Excelled in portraits • Martin Luther

  22. Lucas Cranach the Elder Old Man with a Young Woman Amorous Old Woman with a Young Man

  23. Matthias Grünewald (1470-1528) • Converted to Lutheranism. • Sympathized with peasants • Intense and painful emotion • The Mocking of Christ, 1503 • Christ beat by ugly, fiendish men • Chiaroscuro

  24. Matthias Grünewald’s The Crucifixion, 1502 Portrays horrific scene Christ’s body disfigured, distorted Suffering reflected in those who witness this scene

  25. Albrecht Dürer (1471-1528) • German • Patron is HREmperor • Self-conscious individualism • Self-Portrait at 26, 1498.

  26. Dürer – Self-Portrait in Fur-Collared Robe, 1500

  27. Dürer The Last Supperwoodcut, 1510

  28. Fall of Man (Adam and Eve) 1504 Symmetrical, idealized pose 4 animals = 4 negative temperaments These were unleashed were activated when Adam and Eve were forced out of the garden

  29. Durer – The Triumphal Arch, 1515-1517

  30. The Triumphal Arch, details

  31. Dürer FourHorsemenof theApocalypsewoodcut, 1498

  32. Who are the Four Horsemen? • Plague • War • Famine • Death

  33. England

  34. Hans Holbein, the Younger (1497-1543) • German, but did most of his work in England. • Friend of Erasmus • Erasmus Writing, 1523  • Henry VIII was his patron from 1536. • Portraitist noted for: • Objectivity, detachment. • Doesn’t conceal anything

  35. Artist to the Tudors Henry VIII (left), 1540 and the future Edward VI (above), 1543.

  36. Holbein’s, The Ambassadors, 1533 2 Globes: terrestrial, celestial Scientific equipment Religious booklets Secular and clerical clothing Does it unify the secular and religious worlds? The skull represents mortality ???

  37. Multiple Perspectives

  38. England: Emphasis on Architecture Hardwick Hall, designed by Robert Smythson in the 1590s, for the Duchess of Shrewsbury [more medieval in style].

  39. Burghley House for William Cecil The largest and grandest house of the early Elizabethan era.

  40. The Low Countries

  41. Hieronymus Bosch (1450-1516) • Pessimist • Lurid imagination. • Fanciful monsters, apparitions. • No Italian strategies • His figures are flat. • Perspective is ignored.

  42. HieronymusBoschThe Garden of Earthy Delights1500Perils of life’s temptationsMan acting with Free Will – no evidence of God

  43. Image on right is 3rd in seriesGod’s vengeance, eternal damnation

  44. HieronymusBoschThe Cureof Folly1478-1480Skepticism“Doctor” extracting ignorance while Church figures look on

  45. Pieter Bruegel the Elder (1525-1569) • Humanist • Interested in vice and follies. • A master of landscapes; not a portraitist. • People in his works often have round, simple faces. • Expressionless, mindless, and sometimes malicious. • They are types, rather than individuals. • Their purpose is to convey a message.

  46. Bruegel’s, Tower of Babel, 1563

  47. Bruegel’s, Mad Meg, 1562

  48. Bruegel’s, The Beggars, 1568 Satire Fox tales refer to carnival atmosphere – making light of misfortune Represent various classes on road to ruin: paper crown for a king, red Bishop’s crown, beret for working class

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