Author: Jan van Eyck

Giovanni Arnolfini and His Bride

1434

Early Renaissance

Oil on wood. A wedding portrait. Man standing next to window to show his connection to the outside world while woman is standing near the bed to show her association with home. She could be looking down as a sign of submission. The color red to show passion, the dog to mean fidelity, the shoes to show marriage and are also given to the bride by the groom as a wedding gift. The oranges to show the Medici family? The mirrow shows a reflection of the artist and the witness to further prove that this was a wedding portrait. The stations of the cross around the mirror. Rosary and a dusters next to it. Their dress to show nobility - more expensive furs. Way she holds her dress to look pregnant is a way to make her look more fertile and desireable. The is a candle only above his head, possible to show his importance or that maybe the bride died after the portrait was made.

Author: Robert Campin (Master of Flémalle)

Mérode Altarpiece (open)

ca. 1425-1428

Early Northern Renaissance

Oil on wood. Joseph was shone which was unusual back then. He's shown as a carpenter which is what he was- making a mouse trap to signify Christ capturing evil. The patrons are shown in the garden. There is also a rose bush in the background. There is a tiny angel in the upper left corner of the centerpiece to show Mary being impregnated. Movement shown by russeling of pages and a blown out candle (fresh as Mary hasn't looked up yet). The candle also acts as a premonition of Christ's crucifixtion. Baptism is shown by the pot and towel. Mary looks age appropriate. This painting shows them in the North rather than the Middle East tp bridge a gap and to show an attachment. Finally, the table looks slanted to serve as a reminder that this was a supernatural scene.

Author: Jan van Eyck

Ghent Altarpiece (closed)

completed 1432

Early Northern Renaissance

Oil on wood. The two patrons of the piece are shown kneeling in prayer on the bottom corners. They are facing the statues of St. John the Baptist and St. John the Evangelist. The middle shows an annunciation scene in an old flemish town. The top shows the prophets Micah and Zachariah and two greco-roman sibyls which were mythological propheteses whose writings where used to interpret Christ prophecies.

Author: Jan van Eyck

Ghent Altarpiece (open)

completed 1432issance

Early Northern Renaissance

Oil on wood. Christ is seen in the top middle as God the Father wearing rich red robes. By his feet is a crown to show that he is the ruler of the world and on his head is a triple crown like the Pope's to show that he is the most important. The his right, our left is the Virgin Mary, the Queen of Heaven, wearing a crown with 12 stars. To his left, our right, is John the Baptist- perhaps to show that John was a forerunner of Christ. On the sides are a choir of angels and Adam and Eve to show that even the first sinners will be redeemed. On the bottom center panel the lamb stands dignified with its blood pouring into a chalice to signify the sacrifice of the Son of God. On the left of the middle scene appear prophets, on the right the 12 desciples and martyrs, in the back right appear virgin martyrs and the back left are holy confessors. The four outer wings show the four cardinal virtues: hermits-temperence, pilgrims-prudence, knights-fortitude, and juges-justice. The whole piece shows the cycle of Christianity and the success of it in heavenly Jerusalem.

 Author: Rogier van der Weyden

Deposition

  ca. 1435

Early Northern Renaissance

Oil on wood. Center panel of a triptych. The skull and bone on the floor could mean that the location is where Christ was crucified. Mary and Christ have the same pose and both have the support of those around them. The man in red is John the Evalgelist and Mary Magdaline could be the one by Christ's feet. The man behind Christ is the one that asked for his body to be taken down and properly buried. The stigmata  (the piercing of Christ's hands and feet) show Christ's purity and man's hatred side by side. Grief is shown very vividly by the people covering their faces and very realistic looking tears. There is a rhythm to everyones movements.

Author: Hugo van der Goes

Portinari Altarpiece

ca. 1476

Early Northern Renaissance

Temepra and oil on wood. Everyone is centered around baby Jesus. Mary and Joseph are shown looking solemn and grim while expecting what to come. The three shepards are also shown looking worn and bowing to Christ. The Portinari family who are the patrons of this piece are shown on the wings with their patron saints. The architechture unifies the three panels. The iris and columbine flowers signify the Sorrows of the Virgin. The 15 angels symbolize the 15 joys of Mary. The wheat symbolizes Bethlehem which is a reference to the Eucharist. The harp of David signifies Christ's ancestry. There are small scenes painted on the top to show the flight into Egypt, the annunciations of the shepards and the arrival of the maji.