ARH 304 Mid-term Study Guide!
ARH 304 Mid-term Study Guide! ARH 304
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This 7 page Study Guide was uploaded by Audrey Pontin on Sunday February 28, 2016. The Study Guide belongs to ARH 304 at University of North Carolina - Wilmington taught by Dr. Vibeke Olson in Spring 2016. Since its upload, it has received 50 views. For similar materials see Northern Renaissance Art in Art History at University of North Carolina - Wilmington.
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Date Created: 02/28/16
The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Northern Renaissance Jan Van Eyck 1/27/16 Jan and Hubert Van Eyck, The Ghent Altarpiece (closed), 1432 Describes reality; nominalism 11 ½ x 15 ft. triptych Resides in Ghent, Belgium Known as the altarpiece of the holy lamb Commissioned by Jobicas Vijd and Isabelle Borllut o For private chapel within their cathedral Presumed that framing was done by Hubert and painting by Jan Finished on May 16 , 1432 Key monument of era Inscription praising brother on original frame with who painting was made for and date: encrypted in inscription in red lettering Husband and wife kneeling next to statues of John the Baptist and John Evangelist on the bottom. Old testament profits above o Sense of detail in flesh and blood appearance Microscopic telescopic vision Receding hairline, sunken eyes, veins in hands, facial hair stubble, cuticles, sapping of skin o Texture enhanced by oil paint, creating sense of reality (Northern material) Annunciation scene above o Inside contemporary building for viewer to imagine what home in 15 century looked like th More believable/ relatable for 15 century viewers Intimacy between spectator and painter o Figures large in space implying importance, supernatural beyond the realm of reality (inferring maybe figures are not really there) o Virgin Mary on floor: showing Virgin of Humility Jan and Hubert Van Eyck, the Ghent Altarpiece (open), 1432 Sacrifice of holy lamb on bottom center Top Jesus in top center with john Baptist and Virgin Mary Angels playing music and choir singing Outer top corners: Adam and Eve Theme of Altarpiece: Fall of mankind and deliverance/ salvation through incarnation of Christ and obedience of Mary The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Often taken down, disassembled over time Found by Monument Men in 1945 during WWII Rogier van der Weyden, Phillip the Good, after 1450 Grandson of Phillip the Bold; bigger art patron Phillip inherited Jean de Berry’s art collection Life pension for van Eyck by Phillip the Good; wealthy painter Jan Van Eyck, The Virgin in a Church, 14381440 12 in x 15 ½ in compared to triptych Resides in gallery in Berlin Much detail: o appears monumental o illusion of great space Figures still very big for space Historians try to identify building, concluded to be made up building by artist Mary stands in Gothic church o Timeline represented: Mary and child in older Gothic architectures Crucifixion and mass in modern Gothic architecture Jan Van Eyck, Virgin with Chancellor Rolin, c. 1435 2 ft. x 2 ft Multilayer paint = sense of reality Chancellor of Flandors by Phillip the Good o Part of court Made votive altarpiece for Burgundy church Son of Rolin, priest of church Baby Jesus blessed chancellor Rolin Mary seated with angel presenting crown on her head Rolin in same pace or just a vision? o No eye contact between figures o No look of astonishment on Rolin o Distinct separation between figures, floor tile creates line followed by columns river in background separation of realms: earthly and spiritual Side of river differ: Burgundy on left The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Churches on right Jesus’s hand of blessing in line with bridge of river creating connection between figures o Connection in respect through Christ’s blessing Detail (immense): broquade apparel, lines in hands and face, Takes place in home/ secular space Jan Van Eyck, The Virgin and Child with Canon George van der Paele, 1436 Take space in church Canon being presented by saints: o Saint George in full armor with flag o Saint Donation: patron saint of church in which Canon worked Virgin hold baby Christ plays with flowers and parrot o Parrot symbolism of bird that can talk o Flowers: Red carnations: blood of Christ White daises: purity Canon holds prayer book and takes off glasses as not needed since he is viewing a vision 4 ft. x 6 ft. Immense detail in garment and stitching Rogier van der Weyden 2/8/16 Rogier van der Weyden Robert Campin’s apprentice Travels to Brussels in 1442, becoming main pointer Spread his style through students Gorgio Vazari: first art historian “improved artwork greatly” –about Campin by Vander? Rogier van der Weyden, Descent from the Cross, 1443 collective of emotions, all figures share emotion of grief All figures close together, framing compresses figures in the scene: literal bearing down, stressing Swooning Virgin mimics Christ’s body showing her pain of the loss of her son 11ft wide by 15ft high No attempt to create 3D by shutting down space with figures pushed up to frame and gold background, making it look like figures are in viewers’ space The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Viewers feel figures grief, spectator mimicking mourners. Few elements of story/narrative beyond cross in background Guild of crossbowmen commissioned painting for chapel in Leuven Corner frame work: tiny gold crossbows dangle of framing, therefore representing Grayish color to Christ’s body/skin Color gone from Mary’s face as she weeps tears: new technique Mary Magdelin wears contemporary cortel with pinned on sleeves, and Jesus and Mary inscripted belt Saint Luke drawing the Virgin, c. 14351440 Mimics layout of the virgin and Chancellor Rolin’: river, two figures in background, possible vision, three archeological arches Copying = learning Portrait punted known as image made with human hands since Luke is a saint (patron saint of artist guild) Chronology not possible Sun/rays create division: same realm Mary feels Christ Rogier van der Weyden, Portrait of Francesco d’Este (obverse) c. 1460 Holding hammer and ring Associated with coat of arms on reverse Elegant with log slender nose and dignity although he is an illegitimate son of Lionelo d’Este Rogier van der Weyden, Portrait of a women, c. 1435 Woman unknown but understand through expression of confidence through eye contact and erect posture Portrait of a Lady, c. 1455 No eye contact Translucent headdress Last Judgment, (closed) c. 14451448 Polyptic: many panels Altarpiece placed in chapel in hospital in Beaune Commissioned through Chancellor Rolin; endowed hospital in 1442 Saints Anthony and Sebastian is statue form in center with scene of annunciation above Couple kneeling in prayer with coat of arms held by angels and stitching of prayer tablecloth. Nicholas Rolin and Gurgone de Salins The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Last Judgment (open), c. 14451448 Colorful 7.5 ft high, 18ft wide 30 beds viewed altarpiece and chapel through screen 2 coming of Christ Symbols of passion of Christ through what the angels hold Left panel: heaven, angel welcomes Right panel: hell, damnation of souls Human ‘corpses’ rise from burial holes to heaven/hell Arch angel Michael weighs souls Petrus Christus (Cont.) 2/15/16 Dieric Bouts, Virgin and Child, c. 14451460 Founder of Harlem school, painted and established in Louven, France o Dying in 1475 Successful as it draws emotion as well as it focuses only on Mary and Christ, having intimacy of portrait through cropping (more devotional, eliminating excess details and fluff) Hands: holding physical being, tactility o Christ touches mother with tiny hands, embraces, kissing slightly o Physciality to painting; viewer feels through sense expressed in painting o Realistic features/ details for viewer to relate Dieric Bouts, Portraitj of a young man, 1462 Figure looking forward beyond, not at viewer Plain room, bare walls, single shutter o Landscape through window showing atmospheric perspective Dieric Bouts, Last Supper Altarpiece, 14641468 Commissioned by confraternity: group of lay people (usually men), civic groups dedicated to saints and/or sacrament For church of Saint Peter Subject matter unusual of Dutch art Two theologians involved I putting together concept Old testament scenes: outer wings The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. o Relate to mass Abraham (upper left) Passover scene (bottom left) Gathering of manna from heaven (upper left) Elijah sleeping (bottom right) Technological: o Typology: using old testament scenes to relate to new testament. o Center piece: new testament Communion discussion: bread for body and blood for wine Celebration of the mass Contemporary setting Apsotales dressed in original attire o Surrounded by 2 contemporary men in room, 2 looking through window. Members of confraternity Dieric Bouts, The Justice of Emperor Otto III, c. 14701475 Panels commissioned by city of Louven to be placed in city hall Long slender figures Theologians assisted Jan van Haeght for subject matter Narrative based on 11 century story, written down told in 12 century Story about a Count found guilty of seducing Otto III’s wife Otto III: emperor of Ottonian empire made of Frankish Kings Empress accuses and man is guilty o Punishment: beheading (left panel) Left panel: by wife’s side, then decapitated, countess claims her husband’s head Right panel: countess insist husband was innocent; she then begs for his pardon for his innocence o Otto III agrees to hear plea, undergoes trial by fire Holds burning hot iron rod Survived: claim was true and Count was proved innocent. o In retribution, Otto’s wife is burned at the stake in background Commissioned to speak for current city council where they rely on means of justice and fairness o Used as a metaphor for law in Louven Dog under Otto’s feet represent loyalty/fidelity Contemporary dressed citizens possibly represent city council members. Geertgen Tot Sint Jans & Hugo van der Goes The following notes on this 304 ARH study guide were taken from Dr. Olson’s lectures. Hugo van der Goes, The Portinari Altarpiece, c. 1476 Commissioned by Italian family: Tommasso Partinari (representative for Metachi family, main banking system of Florence) Commissioned for Florentine chapel, by nonFlorentine artist Closed panels: o Annunciation: Mary seated with holy spirit, painted in graiselle Gabriel holing staff with cross Open panels: colored o Center reflects Luke text through Babe on ground, however not wrapped in cloth or in major Sheppard and Joseph present, city of David Mary appears serious and sad, heart shape made by hands of Mary “pondering them in her heart” Deep down, aware of outcome
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