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ARH 304 Notes Jan 20th

by: Audrey Pontin

ARH 304 Notes Jan 20th ARH 304

Audrey Pontin
GPA 3.3

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About this Document

Notes form January 20, 2016
Northern Renaissance Art
Dr. Vibeke Olson
Class Notes
25 ?




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This 9 page Class Notes was uploaded by Audrey Pontin on Thursday February 4, 2016. The Class Notes belongs to ARH 304 at University of North Carolina - Wilmington taught by Dr. Vibeke Olson in Spring 2016. Since its upload, it has received 15 views. For similar materials see Northern Renaissance Art in Art History at University of North Carolina - Wilmington.


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Date Created: 02/04/16
The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016 Northern Renaissance Art The Wilton Diptych (Cont.)  Left (Panel) o Richard II:   wearing crown  white hart  gold cloak  on knee  wearing plant pod necklace (motif)  Plant pod made from broom plant used to make brooms  planta genista  o  John Baptist:   long scruffy hair and beard  animal skin outfit  barefoot  holds ‘Lamb of God’ o St. Edmund:  Martyr  Crown on head  Ermine cloak  Holding martyred object o January 6 : Richard II’s birthday, 3 King’s Day (epiphany) o 3 King present adoring Virgin and Child resembling Nativity scene  Right: o Virgin and Child surrounded by angels o One angel holds flag relating to St. George  cross of St. George, Slayer of Dragons o All figures dress in lapis lazuli robes as Christ is wrapped in gold o Mary and other women in gothic sway The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Every symbol reflects reign and power of the king  Small and portable for King Richard to carry with him Christ and Saint John the Evangelist, 1300­1320  Affective piety: to impact/influence people on becoming religious be creating works of  emotional art  Andachtsbild: a devotional image  Images not taken from biblical stories, but still represent religion  Statue enhances piety by:  o Showing compassion through Christ o Figures appear as common people, allowing viewers to place themselves in their  shoes  o Desire to be in position of John who is being embraced by Christ  Statue relates to the work Meditations of Christ o Novel that asks reader to participate in the events of Christ through ‘active verbs;  reader is then involved and exercises mediation for reader to connect to text,  placing themselves in a role Examples of German style: Rottgen Pieta, c. 1300­1325 The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Means of gruesome, tortured figures: effective in feeling emotion and creating bond  through sorrow and pain  No biblical association with this image  Image created as expansion of the story of Christ’s passion  No narrative component, up to reader to place image to recreate story with this ‘new  scene’  Mary crying: compassionate behavior  o Meant to feel pain and sorrow  Christ wounded/ deceased: feel of physical bodily pain Pestkreuz (Plague Cross), c. 1380  Crucifixion of Christ The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Stretched limbs  Open, bleeding wounds o Feeling of torture and pain Girard d’Orleans, Portrait of John the Good before 1350  Phillip VII: cousin, Valois, inherits throne  Start of Valois Dynasty  John the Good, son of Phillip VI, became King in 1350 at age 9  Under his rule, battles of the Hundred Years War take place and he is soon taken prisoner by English for 3 years o Still respected as royalty, treated well with comfort as he stays with members of  English court o Brought artist Girard d’Orleans with him   Not known for successful reign  Portrait: element of importance o Oldest panel painting/portrait in France o Indicative of new trend: profile portrait  Tradition of portraiture as in Roman empire on coins and metals,  Emperors shown in profile  Reflects back to royalty and Royal Emperor ruler  Piece of propaganda as King is shown as successful and powerful,  although he was not known to be  Gold background, but otherwise simple Jean Bandol, Presentation of the Bible of Charles V by Jean de Vaudetar, Bible Historiale, c.  1373 The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Charles V, son of John the Good, left with no money after his father’s passing, however  he became successful  Patron of arts, well read, scholar o bibliophile: lover of books  Named “Charles the Wise” for sponsorship and love for literature  Court poets, one of them a woman: Christine of Pizan, described him as handsome and as a lover of many things  Dedication page in book o Depicted with:  Large nose  No royal attire, wearing a simple robe: indicative of monastic order  Jean de Vaudetar holds book for the king to read  Fleur de lis, lapis lazuli, and gold all present  Charles’ feet are on pillow as they are not to touch the ground  Canopy/cloth of honor above him  Jean Bandol influenced by Jean Pucelle  Garments presented in grisaille like in Pucelle’s work  Jeanne d’Evreux left Book of Hours to Charles V Carrying the Cross, Crucifixion and Entombment, Parement de Narbonne, c. 1364­78 The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Painting in grisaille, on silk canvas o 9 ft. long o Reflects work of Duccio and ideas of German expression  Interest in naturalistic details  International style work o Center  Christ with two thieves by his sides  Mary fainting, held by women: known as the swooning Mary  Christs appears frail and skeletal exemplifying German expression  Portraits of Charles V and Jeanne de Bourbon  Showing figures as pious with their Book of Hours by their sides  Appear humble, kneeling on the ground o Attempt to reflect natural world  Cloth draped over altar, usually for Easter as to follow subject matter of  the painting o Brothers of Charles V: all commissioners of art  Louis d’Argouges: least sponsored  John de Berry  Phillip the Bold du Burgundy Jean Bandol and Nicolas Bataille, The Apocalypse Tapestry, 1375­1379 The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016  Commission by Louis d’Argouges  Cartoon: preparatory sketch from final work o Jean Bandol: cartoons o Nicolas Bataille: weaver  Detailed story in Book of Revelation o 470 ft. long, 16 ft. tall  Scenes depict visions of Jean the Evangelist  Colorful, elegant, international style present  Jean the Evangelist in all scenes shown visions o Ex. Whore of Babylon and Harlot on the Beast Jacquemart de Hesdin, Dedication page, Jean de Berry presented to the Virgin and Child by  Saint Andrew and John the Baptist, Les Tres Belles Heures de Jean Duc de Berry (The  Brussels Hours), before 1402  Jean de Berry collector of book, silks, jewels, tapestries, animals etc.  1380, Charles VI (Charles the Mad) becomes king  Jean de Berry inherits Book of Heures and had Pucelle recreate new book in his honor  Dedication page: o Jean de Berry, wearing no crown, is presented to the Virgin and Child by John  Baptiste and Saint Andrew (wearing halos)  Attempt to create to 3D on 2D  Mary touches scroll as Christ writes o Mary sits on Throne of Wisdom as Christ feeds from her  Sapientaie: Throne of Wisdom (Latin)  Maria lactans: the lactating Virgin The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016 The Boucicaut Master, The Nativity and adoration of the Magi, The Hours of Jean de  Boucicaut, c. 1408­1410  Closed space, creating area for scene to take place Herman, Paul and Jean Limbourg, The Annunciation, Les Belles Heures de Jean, Duc de  Berry, c. 1410  Their work lays foundation of Renaissance art  Virgin interrupted by Gabriel The following ARH 304 notes are taken from Dr. Olson’s lecture on Jan. 20 , 2016 th  Dove above her head, impregnating Mary with the holy spirit


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