Chapter 20 Early Renaissance and Late Medieval

Subject matter: Christianity, urban & domestic settings and portraiture, increasing interest in the individual Style: accuracy in detail, use of symbolism, close observation Intense realism (even unflattering) Crowded compositions Influence of International Gothic in early Northern Renaissance art

Characteristics of Early Italian Art

He widespread the adoption of oil paints and focused on clarity of detail and representation of objects ranging in scale from large to almost invisible.

Jan Van Eyck

Man in A Red Turban, Jan Van Eyck Sitter looks directly at the viewer. Inscribed frame means it is probably a self portrait. Heightened sense of detail.

Pg. 543

Last Supper from the centre panel of the Altarpiece of the Holy Sacrament, Dirk Bouts Renaissance linear perspective and use of vanishing point. Flemish servants in a religious scene. Concentration on Christ performing a ritual from the liturgy of the Christian Church.

Pg. 547

Portinari Altarpiece Open, Hugo Van Der Goes Realistic details and brilliant portrayal of human character according to their social status. Center panel is of the Adoration of the Shepard's and shows great solemnity. Symbolic objects. Revival of Medieval pictorial devices.

Pg. 547

Virgin with Saints and Angels, Hans Melming Exudes opulence, luminous colours and realistic depiction of rich tapestries and brocades. Balanced and serene composition. The gathering of all the many religious figures such as St. Joh the Baptist and Saints Catherine and Barbara represents the mystic marriage of Saint Catherine of Alexandria.

Pg. 548

Diptych of Martin Van Nieuwenhove, Hans Melming Diptych that shows the Virgin Mary and Baby Jesus visit the home of 23 year old Martin Van Nieuwenhove. Mirror reflects the three figures and unites the two paintings. Religious figures in a Flemish home.

Pg. 549

October, from Les Trés Riches Heures du Duc Berry, Limbourg Brothers Rendering of architectural details and convincing depiction of cast shadows. Depth of field. Focuses on peasantry and shows a sower and harrower on horseback and a washerwoman. The peasants don't seem discontented by their tasks.

Pg. 551

Melun Diptych Virgin and Child, Jean Fouquet Virgin has marble like flesh and is surrounded by red and blue cherubs. Realistic and 3/4 stances.

Pg. 552

Melun Diptych Étienne Chevalier and Saint Stephen, Jean Fouquet Realistic and 3/4 stance. Saint Stephen holds the stone of his martyrdom on top of a volume of holy scriptures. Highly ornamental architectural setting. Pious kneeling donor with a standing patron.

Pg. 552

Death and Assumption of the Virgin, Veit Stoss Altarpiece. Figural ornamental element from vocabulary of Gothic art. Heightened emotion. Wings portraying scenes from lives of Christ and Mary. Emotional piece as Christ's disciples congregate around the dying Virgin.

Pg. 553

Miraculous Draught of Fish from the exterior wing of Altarpiece of Saint Peter, Konrad Witz Biblical story on Lake Geneva. One of the first 15th century works that depicts a specific locale. Noteworthy water effects. Shows Peter, the first pope, trying to walk on water like Jesus.

Pg. 553

Radeburga page from Nuremberg Chronicle, Michael Wolgemut and shop Early example of woodcut illustrations in printed books. More than 650 pictures included detailed views of generic towns.

Pg. 555

Saint Anthony Tormented By Demons, Martin Schongauer, Metal engraving by using a burin to incise lines in a copper plate. Marvellous variety of tonal values and textures. Revolving thorn bush of spiky demons who claw at soft flesh. Very fluid and aggressive.

Pg. 556

Dynamic compostions stressing human action and drama. He concentrated on Christian themes.

Rogier Van Der Weyden