Art History B, Week 3 Notes
Art History B, Week 3 Notes ARH 025VL
Kutztown University of Pennsylvania
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This 5 page Class Notes was uploaded by Kayla Mathias on Sunday September 18, 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 76 views. For similar materials see Art History B in Art History at Kutztown University of Pennsylvania.
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Date Created: 09/18/16
Art History Notes—Week 3 Philip the Good was a big supporter of the arts and took care of Jan van Eych’s family after he died. Jan van Eych, Arnolfini Portrait, 1434 -Additive composition -2.75’x2’ -Italian merchant and his wife are painted in rich colors -3 functions: 1) portrait, 2) religious scene (exchange of wedding vowssacramentsacred ritual), and 3) legal document -Mirror painted on the wall shows two witnesses in the door way and van Eych signed the painting saying he was there. -Lit candle represents God’s presence -Subjects are also in their stocking feet, meaning they are standing on “holy” ground -Dog represents that they will be loyal and faithful to each other -Whisk broom represents a good, clean household will be kept -Fruits on the windowsill represent that Mr. Arnolfini will be a good provider -Mrs. Arnolfini is standing next to the bed and looks pregnant (though she isn’t), signifying fertility Jan van Eych, Man in a Red Turban, 1433 -Still in original frame with the specific date -13”x10.25” -Front-facing face rather than side profile -Believed to be van Eych Rogier van der Weyden, Descent from the Cross, 1433 -Student of Campin, influenced by van Eych -8.5’x7’ -painted to look like it’s in a box (meant to look like a colorful sculpture) -Integrated Composition: figures are placed more naturally) -Lots of emotion is shown -Mary’s and Jesus’ hands are placed next to each other to show the difference between life and death (even though Mary is very pale due to fainting) -Skull is a memento mori (reminder of death) -The point of the painting is to get the viewer to feel empathy Hugo van der Goes, Portinari Altarpiece, 1476 -Triptych -Commissioned by an Italian merchant —He and his wife are in the outer panels with their patron saints -Continuous Narrative: Mary and Joseph traveling to Bethlehem and the wise men going to see Baby Jesus are all in the background -Disguised symbolism: Wheat=bread=holy communion, flower vase with grape leaves=wine=holy communion -Jesus is laying on the ground to foreshadow his crucifixion -The painting being rather dark indicates what was going on politically in the culture at the time (political unrest) Early Italian Renaissance Florence: city-state, “cradle of the Renaissance”, Republic -Actually an oligarchy (basically run by rich families) -There were many guilds that also held a lot of power -Medieval Style: towers and pointy windows -Early Italian Renaissance Style: Arches and bays (kind of looks like horse stables) Italian Renaissance -Humanism: interest in what it is to be a human being from a philosophical viewpoint) -Hunger for knowledge -Looking to the past rediscovery of old writings: classic, Greek and Roman writing (Greco-Roman tradition) -Brunelleschi was in influential architect of the time Brunelleschi, Foundling Hospital, started 1419 -Commissioned by two guilds -Orphanage for abandoned babies -Façade (front of the building): arches and columns—idea came from Roman architecture (Coliseum) -Brunelleschi spent 2 years studying Roman architecture -Arcade: series of arches -Bay: unit including each arch and space behind it (a cube shape and very symmetrical) -All parts of architecture relate to each other Brunelleschi, Santo Spirito, 1434-46 -Floor plan: cross-shaped (Basilican church) 1. Nave (long corridor) 2. Transept (cross arms) 3. Crossing (cross intersection) 4. Side Aisle (along the outside of the church) 5. Side Chapel (small spaces on the outside of the side aisles) -Lots of domes and squares Brunelleschi’s Revolution -Everything is based on mathematics and geometry, as well as Roman monuments Alberti, San Andrea, 1470 -Refurbished a pre-existing building -Studies ancient Roman architecture -Used the “triumphal arch” idea and built one into the front of the churchtriumphal churchChurch Triumphant -Studied ancient architectural theoryexterior reveals interior -Similar floor plan to the basilica designs, but no side aisles -Barrel vault ceiling (extended arch) and was supported by walls instead of pillars