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Northern Renaissance Week 1

by: Audrey Pontin

Northern Renaissance Week 1 ARH 202 - 001

Audrey Pontin
GPA 3.3
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About this Document

First class notes on Northern Ren.
Renaissance Through Early Twentieth Century
Deirdre Marie Moench
Class Notes
Jan, van, eyck, limbourg, brothers, Gothic




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This 4 page Class Notes was uploaded by Audrey Pontin on Sunday August 21, 2016. The Class Notes belongs to ARH 202 - 001 at University of North Carolina - Wilmington taught by Deirdre Marie Moench in Fall 2016. Since its upload, it has received 43 views. For similar materials see Renaissance Through Early Twentieth Century in Art History at University of North Carolina - Wilmington.

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Date Created: 08/21/16
All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/19/16. ARH 202: Renaissance to Modern Art Northern Renaissance Era of Gothic Art  Use of rich colors  Influence of gothic architecture  Girard d’Orleans, Portrait of John the Good, c. 1356 o Portrays king, although holding no reference of royalty or symbolism. o Oldest known surviving easel painting. o Reminds viewer of Roman coin as profile resembles Roman emperor. o Standard profile pose, although portrait style will change throughout the Renaissance. o Title of king engraves above head. o Charles V, son of John the Good, would soon take place on royal through succeeding his death.  Limbourg Brothers, Book of Hours (Matins), 1416 o Devotional of the Duke of Berry, French influence o Marks dawning of the Renaissance o Rich lapis lazuli (blue) and golds present o Reference of gothic architecture in background and setting o Unfinished work as both the king and the artists died in 1416 of the plaque. o Dismantled and rests in a variety of museums o Features popular stories of old and new testsments. All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/19/16.  i.e. Adam and Eve & Annunication o Annunciation scene feature pious Mary, Gabriel, and God himself.  First depiction of the holy trinity:   unborn Christ in Mary’s womb  holy spirit in shape of dove above Mary’s head  God in upper left corner of page o Story of Genesis  Whole timeline of Adman and Eve depicted  Surrounded around the “Fons Vitae” fountain o Original sin (Genesis) redeemed through purity (Annunciation) o Holds calendar pages of every month along with Zodiac, outlining feast days and moon patterns  Featuring labors of the months through paintings of vellum (animal hide)  Ex. February: labor of staying warm  Walls were often removed to show narrative in detail   Horizon lines high to show more perspective  Jan van Eyck, Ghent Altarpiece, closed, 1432 o Painter of pseudo royalty, Duke Philip the Good o Sent to do dirty political work for the Duke o Commissioned by a couple in Ghent, who are featured in red in bottom corners, to be  held in Ghent cathedral o Van Eyck considered the light being shined from the neighboring window and  incorporated it into the painting  Various figures are illuminated where others show shade  o Bottom sculptures feature John the Baptist and the Saint John the Evangelist All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/19/16. o Altarpiece opens (polyiptic) to show more narrative and was only shown on special  occasions and feast days. o Annunciation  Color of the Annunciation is duller when compared to vibrant colors shown in  the Book of Hours  Mary and Gabriel take up unrealistic amount of space in room  Open window in background alludes to the landscape of Ghent, combining  contemporary setting with biblical story  This tactic aids devotional to connecting with religious narrative  Cabinet in background is open to show items of symbolism:  Empty pot: alluding to Mary who was once empty but is now full with a  growing Christ  Gold plate: alluded to the gold plate in which bread (the body of Christ)  is served on at Mass, referencing that Christ is coming. o Top figures derive from Old Testament who prophesized Jesus’ coming  Ghent Altarpiece (open) o Much vibrant color when compared to outside panels o Hold figure of Adam and Eve who illustrate the work of light.  Adam: in motion, is in light (righteousness); shows story of sons Cain and Able  Eve: stagnant, in the shade (sin), shows story of Cain killing Able o Features choir of angels o Top center panel: Mary, John the Baptist and god on the throne  Crown at God’s feet showing the awaiting of Christ. o Flooring shows recession of space to focus on central figure, God. o Bottom Center panel: ‘Altarpiece of the lamb’  Lamb of god sits on altar as it is being sacrificed  Bleeding into chalice  City scape in background of Ghent reconnecting people of Ghent with narrative.  Shows “Fons Vitae”  Angels around lamb hold symbols of Christ’s sacrifice.  Group of people on right: Virgin martyrs  Group on left: confessors All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/19/16.  Group on bottom right: church popes, cardinals  Group on bottom left: profits from old testament  Jan van Eyck, Arnolfini Portrait, 1434 o Giovanni Arnolfini was a merchant of cloth o Wife died before painting was made o Cotemporary interior, unusual room for portrait  However, scene of wedding make is an exception o Dress pulled up to allude possible pregnancy o Background symbolism:  St. Margaret statue: patron saint of child birth  Mirror in background holds passions of Christ and reflect the painter (van Eyck) and minister, two witnesses  One candle lit in chandelier alluding to God’s presence  Jan van Eyck’s’ signature: “Jan van Eyck was here.”  No shoes are worn and they stand on holy ground.


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