AP Art History Chapter 20

Petrus Christus, A Goldsmith in His Shop, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed.

Michel Wolgemut, Tarvisium, Nuremberg Chronicle, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale.

Martin Schongauer, Saint Anthony Tormented by Demons, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two yo

Dirk Bouts, Last Supper, Altarpiece of the Holy Sacrament, Belgium, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here.

Hugo van der Goes, Portinari Altarpiece, Florence, Italy, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here.

Konrad Witz, Miraculous Draught of Fish, Altarpiece of Saint Peter, Switzerland, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here.

Veit Stoss, Death and Assumption of the Virgin, Poland, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here.

Tilman Riemenschneider, The Assumption of the Virgin, Creglingen Altarpiece, Germany, 15th century

A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists' keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer's space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and here.

Melchior Broederlam, Retable de Champmol, chapel of Chartreuse de Campmol, France, 15th century

Meanwhile the right-hand panel shows characteristics of International Gothic illuminations of the day. The opulent landscape (inspired by Italian painting) with a genre-like scene - Joseph is depicted drinking from a bottle - is rather unusual for altarpieces. However, the realistic portrayal and delicate nuances of colour surpass any miniature painting found in books. The continuous extension of the landscape from the foreground into the background is another innovation.

Rogier van der Weyden, Deposition, Belgium, 15th century

Rogier van der Weyden, original name Rogier de la Pasture (born 1399/1400, Tournai [Belgium]—died June 18, 1464, Brussels), Northern Renaissance painter who, with the possible exception of Jan van Eyck, was the most influential northern European artist of his time. Though most of his work was religious, he produced secular paintings (now lost) and some sensitive portraits. Rogier was the son of a master cutler, and his childhood must have been spent in the comfortable surroundings of the rising class of merchants and craftsmen. He may even have acquired a university education, for in 1426 he was honoured by the city as "Maistre (Master) Rogier de la Pasture" and began his painting career only the next year at the rather advanced age of 27. It was then, on March 5, 1427, that Rogier enrolled as an apprentice in the workshop of Robert Campin, the foremost painter in Tournai and dean of the painters' guild. (Campin is also believed to have been the painter long identified only as the Master of Flémalle.) Rogier remained in Campin's atelier for five years, becoming an independent master of the guild on August 1, 1432. From Campin, Rogier learned the ponderous, detailed realism that characterizes his earliest paintings, and so alike, in fact, are the styles of these two masters that connoisseurs still do not agree on the attribution of certain works. But the theory that the entire sequence of paintings credited to Campin (who, like Rogier, did not sign his panels) are actually from the brush of the young Rogier cannot be maintained. Careful study of secure works by Rogier and by his colleague in Campin's workshop, Jacques Daret, permit scholars to reestablish a basic series of works by the older master and to distinguish the style of these from that of Rogier.

Rogier van der Weyden, Saint Luke Drawing the Virgin, 15th century

Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden. Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus. The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape. The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.

Claus Sluter, Well of Moses, Chartreuse de Campmol, France, 15th century

The Chartreuse de Champmol, formally the Chartreuse de la Sainte-Trinité de Champmol, was a Carthusian monastery on the outskirts of Dijon, which is now in France, but in the 15th century was the capital of the Duchy of Burgundy. The monastery was founded in 1383 by Duke Philip the Bold to provide a dynastic burial place for the Valois Dukes of Burgundy,and operated until it was dissolved in 1791, during the French Revolution. Called "the grandest project in a reign renowned for extravagance", it was lavishly enriched with works of art, and the dispersed remnants of its collection remain key to the understanding of the art of the period.

Jan van Eyck, Ghent Altarpiece (closed), Saint Bavo Cathedral, Belgium,15th century

The Ghent Altarpiece (or the Adoration of the Mystic Lamb, Dutch: Het Lam Gods) is a very large and complex 15th-century Early Flemish polyptych altarpiece in St Bavo's Cathedral, attributed to the brothers Hubert and Jan van Eyck, and considered a masterpiece of European art and one of the world's treasures.

Jan van Eyck, Ghent Altarpiece (open), Saint Bavo Cathedral, Belgium, 15th century

The Ghent Altarpiece (or the Adoration of the Mystic Lamb, Dutch: Het Lam Gods) is a very large and complex 15th-century Early Flemish polyptych altarpiece in St Bavo's Cathedral, attributed to the brothers Hubert and Jan van Eyck, and considered a masterpiece of European art and one of the world's treasures. The panels are organised in two vertical registers, each with two sets of foldable wings with inner and outer panel paintings. The upper register of the inner panels contains form the central Deësis of Christ the King, Virgin Mary and John the Baptist. They are immediarly flanked, in the next panels by music playing angels, and, on the far outermost panels, the naked figures of Adam and Eve. The four lower-register panels are divided into two pairs; sculptural grisaille paintings of St John the Baptist and St John the Evangelist, and on the two outer panels, donor portraits of Joost Vijdt and his wife Lysbette Borluut. The central panel of the lower register shows a gathering of saints, sinners, clergy and soldiers attendant at an adoration of the Lamb of God. There are several groupings of figures, overseen by the dove of the Holy Spirit.

Jan van Eyck, Giovanni Arnolfini and His Bride, 15th century

The chandelier, stained glass windows, intricately woven rug, sandals, fur-trimmed robes, mirror, dog, and oranges are all signifiers of incredible wealth in 15th century Belgium. Many of these images also do double duty, indicating not only wealth but also conveying allusions to religious and fertility motifs. The chandelier has one lit candle, which represents the seeing eye of God; the mirror is decorated with scenes from the Passion of Christ; and an unblemished mirror is also a symbol of the piety of Mary, Mother of God. There are also rosary beads hanging next to the mirror. Oranges represent fecundity in art, as does the red bed. There is a figure on the finial of St. Margaret, the patron saint of pregnancy and childbirth, while the cherry tree outside the window is a symbol of love.

Robert Campin, Merode Altarpiece, 15th century

The fifteenth century Flemish oil painting known as the Merode Altarpiece (c.1425), is a domestic altarpiece painted by the Flemish artist Robert Campin (1378-1444), also known as the Master of Flemalle. Taking its name from the aristocratic Merode family of Belgium who owned it during the nineteenth century, this masterpiece of Christian art from the early Northern Renaissance consists of three panel paintings, and depicts the moment when the archangel Gabriel announces to the Virgin Mary that she has been chosen by God to be the mother of Jesus. Now in the Metropolitan Museum of Art (Cloisters), New York, the work is also known as The Annunciation Triptych.

Rogier van der Weyden, Portrait of a Lady, 15th century

The stylish costume does not distract attention from the sitter. The dress, with its dark bands of fur, almost merges with the background. The spreading headdress frames and focuses attention upon her face. Light falls with exquisite beauty along the creases of the sheer veiling over her head, and gentle shadows mark her fine bone structure. In contrast to the spareness of execution in most of the painting, the gold filigree of her belt buckle is rendered with meticulous precision. The scarlet belt serves as a foil to set off her delicately clasped hands.

Jan van Eyck, Man in a Red Turban, 15th century

This famous Flemish painting, known officially as Portrait of a Man, but commonly referred to as Man in a Red Turban, or Portrait of a Man in a Red Turban, is one of several famous panel paintings by the Flemish painter Jan Van Eyck (1390-1441), one of the foremost pioneers of the early Netherlands Renaissance.