Art History B, Week 2 Notes
Art History B, Week 2 Notes ARH 025VL
Kutztown University of Pennsylvania
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This 3 page Class Notes was uploaded by Kayla Mathias on Sunday September 11, 2016. The Class Notes belongs to ARH 025VL at Kutztown University of Pennsylvania taught by Dr. Norris in Fall 2016. Since its upload, it has received 169 views. For similar materials see Art History B in Art History at Kutztown University of Pennsylvania.
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Date Created: 09/11/16
Art History—Week 2 Notes 6/9 Early Northeastern Renaissance (15 Century) Philip the Bold, Duke of Burgundy was a big supporter of the arts, hence was a donor for many pieces of artwork Clause Sluter, Well of Moses, 1395-1406 (sculpture) -Located in a monastery -In situ (still located where it was originally intended to be) -Relief sculpture (carved into the side of something) -Bas (pronounced “bah”) relief (low) and High relief -Used to remind the monks of baptism -Moses has horns (which is an attribute) because of a mistranslation in the Old Testament of the description of Moses when he descended Mount Sanai after receiving the Ten Commandments -Surface realism: Figures in the Well of Moses are wearing thick robes, most likely wool. Wool was a sign of wealth in the north Clause Sluter, Tomb of Philip the Bold, 1395-1406 -Freestanding sculpture Manuscript Illumination (decorated pages in books and manuscripts) -Became more common as more people learned how to read (education becomes more important) -Cities, not just monasteries, began founding universities -Most common type of manuscript illumination was the Book of Hours (prayer book) Jean, Duke of Berry (Philip’s brother) had a rather large collection of Books of Hours Limbourg Brothers, Le Tres Riches Heures du Duc de Berry (The Very Rich Hours of the Duke of Berry), 1415 -Prayer book/calendar -Composed of images from the life of the Duke and from normal, everyday life -Many of the illustrations are secular 7/9 Limbourg Bros., January from Les Tres…, 1413-16 -Painted themselves into the picture as courtiers -Very crowded painting -Giant fireplace (big enough to walk into) in a banquet hall -Tapestry with knights jousting in the background Limbourg Bros., October from Les Tres…, 1413-16 -Scene from the lives of regular people (the Duke’s serfs) -Planting fields Stained Glass manuscript became very common in the North Robert Campin, Merode Altarpiece, 1425-28 -Medium: oil -Triptych -Left panel: donor and wife. Lots of detail -Middle panel: enunciation sceneThe angel Gabriel telling the Virgin Mary that she’s pregnant -Mini Baby Jesus flying through the window to symbolize Mary’s impregnation 9/9 -Lots of disguised symbolism -Kettle in the background symbolizes Mary being a pure vessel -All of the candles are extinguished. Lit candles represent God’s presence and, since Jesus just flew through the window, lit candles are no longer needed -Right panel: Joseph in his workshop (in a Flemish town) making mouse traps -Campin placed holy figures in everyday scenes to make them seem more human Note: Diptych (2 panels), Triptych (3 panels), and Polyptych (4+ panels) Jan van Eych, Ghent Altarpiece, 1432 -Polyptych -11.5’ tall, 15’ long -Iconographic Program: Promise of salvation from the prophets (on the outside) and fulfilment of that promise (on the inside) -Most frequently stolen piece of art -Iconoclasm: destruction of artwork (this painting was almost destroyed) -John the Baptist and John (author of Revelation and disciple of Jesus) are painted on the front in grisaillepainting illusion that looks like sculpture -Inside panels: Adam and Eve with Cain and Abel painted above them in grisaille. Extreme detail throughout the whole thing. In the middle, the Virgin Mary and John the Baptist are sitting on either side of God. At God’s feet, there is a crown that represents Jesus. Below these figures, there is a scene from post- judgement paradise in which people are partaking in Eucharist (holy communion)wine and bread are believed to become the literal blood and body of Christ. There is the fountain of eternal life -Atmospheric perspective: loss of detail as distance from the foreground of the painting increases. The horizon starts to get hazy
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