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| Fame rivaled Jan van Eyck. Assistant in the workshop of Robert Campin. Became renowned for his dynamic compositions stressing human action and drama. Concentrated on Christian themes, and moved observers emotionally by relating to sufferings of Christ. |
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| Commissioned for the Louvain Guild of Archers. Oil painting allows light to reflect for deeper color and slow drying allows more detail. Gothic detail of bows to represent guild. Skull reminds us of death and represents our mortality with the possibility of salvation. Mary's blue robe represents royalty. The stage represents "mystery Plays" that focuses the audiences attention on the characters. |
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| Weyden: St. Luke Drawing the Virgin |
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| Probably painted for the Guild of St. Luke. Set in contemporary setting making it not a mystery play. St. Luke (the patron saint of painters) is doing a silver point drawing which is poetic due to tarnish, reminds us of mortality. Pays tribute to the profession of painting by highlight the history of painting The Virgin is nursing baby Jesus, a popular image of the time. The ox carved into the bench is a symbol of St. Luke. The carving on the Virgin's armrest is of Adam (symbol of Christ) and Eve (symbol for the Virgin) represent the redemption of humanity from the original sin. Use of approximate perspective. St. Luke may be a self-portrait of Rogier. Landscape in the window. |
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| Artists began to view themselves with higher esteem, and believed there a be a holy nature about art. Thus painters began putting self portraits in their work. |
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| Northern Europe renaissance |
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Instability in the due to the 100 years wars mainly between France and England; the weakness of kings gave rise to powerful dukes.
The Holy Roman Empire (centered in Germany) was untouched by 100 years war and maintained a strong economy which gave rise to German art patrons.
Great schism cause a divide between northern and southern Europe.
Recognizable landscapes in the windows or background.
Scenes of the everyday life such as peasants working the fields.
International Gothic style- a focus on surface details rather than underlying structures.
Integration of the secular and sacred.
Use of cross hatching in metal work. |
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| Hugo van der Goes: Portinari Altarpiece |
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| Commissioned to be norther renaissance style, which represented a new cosmopolitan idea of art, by Tommaso Portinari (agent of the Medici family). Depicts multiple scenes with the Portinari family with their patron saints. Hierarchical scale of people, because Goes did not want to seem equal to religious figures. Scene of adoration of Christ. The tilted ground Mary kneels on may reflect a mystery play. Angels look "well to do" and fancy. The wheat in the scene represents Bethlehem (the house of bread) and is also a symbol of the flesh of Christ. Flowers: orange lilies- the passion of Christ, white iris- purity. The blue collard, salt of the earth, shepherds are in awe of the scene. |
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Iconography- The use of symbols in visual art
Triptych- A picture or relief carving on three panels, typically hinged together vertically and used as an altarpiece.
Mystery play- A popular medieval play based on biblical stories or the lives of the saints.
Book of prayer- A collection of prayers that was meant to be used privately. Took the place of "psalters" and contained a calender of religious feasts.
Print- an artwork on paper, usually produced on multiple impressions.
Edition- a set of prints from a single print surface.
Intaglio printing- A printing process that uses an etched or engraved plate; the plate is smeared with ink and wiped clean, then the ink left in the recesses makes the print.
Relief printing- requires artists to conceptualize their images negatively that is, they remove the surface areas around the images. Thus, when the printmaker inks the surface, the carved-out areas remain clean, and a positive image results when the artist presses the printing block against paper. Because artists produce woodcuts through a subtractive process (removing parts of the material), it is difficult to create very thin, fluid, and closely spaced lines. As a result, woodcut prints tend to exhibit stark contrasts and sharp edges.
Humanism- An outlook or system of thought attaching prime importance to human rather than divine or supernatural matters.
Quatrefoil- An ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or four-leaf clover.
Rustication- rough unfinished masonry to emphasize the vision between stone
Dressed masonry- smoothed finished stones |
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| Limbourg brothers: Les Très Riches Heures du Duc de Berry (The Very Sumptuous Hours of the Duke of Berry) |
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| Nephews of Jean Manuel. Pioneered illusionistic capabilities of illuminated manuscripts. Produced for their uncle Jean, the duke of Berry, and the brother of King Charles V. Represented the 12 month terms associated with seasonal tasks and zodiac signs, alternating from peasant to nobility. Captures the relationship of the duke and the peasants. Peasants do not look disgruntled with their work, an image of flattery to the duke showing his compassion. Growing interest in artistic naturalism seen in the convincing shadows of the characters. As a whole, Les Très Riches Heures reinforced the image of the duke of Berry as a devout man, cultured bibliophile, sophisticated art patron, and powerful and magnanimous leader. Further, the expanded range of subject matter, especially the prominence of genre subjects in a religious book, reflected the increasing integration of religious and secular concerns in both art and life at the time. Art historians do not know which brother drew what due to collaboration. |
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| Jean Fouquet: Melun diptych |
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| The story goes: Etienne Chavalier was close the King Charles VII whose mistress Agnes Sorel died poisoned with mercury (possible murder/use of makeup). This makes the addition of a personal narrative. The Virgin is modeled after Agnes Chavalier commissioned this for King Charles. The pale characters may represent purity. The kneeling Chavalier is seen as a devout Christian. The representation of the pious donor with his standing saint recalls Flemish art, as do the three-quarter stances, the sharp, clear focus of the portraits, and the painting medium (oil on wood). Saint Steven is shown holding a rock representing his martyrdom, death by stoning. Use of an actual setting. Integration of sacred and secular (northern renaissance). |
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| Tilman Riemanschneide: Assumption of the Virgin from Cregligan Altarpiece |
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| Incorporates intricate Gothic forms especially in the canopy. The central panel depicts the Assumption of the Virgin, when the Virgin Mary dies and becomes queen of heaven. Expressions of sadness, awe, and bewilderment. Wooden retable is like a stain glass tracery and were popular commissions for German churches. |
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| Martin Schongauer: Saint Anthony Tormented by Demons |
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| Example of artists mastery of metal work. Use of cross-hatching which Schongauer probably developed himself. |
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| Southern Europe renaissance |
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Use of parallel hatching.
Italy was under constant fluctuations in the economic and political spheres in the 15th century, which gave rise to princely courts. Condottieri (military leaders) with large numbers of mercenary troops at their disposal played a major role in the ongoing struggle for power.
The association of humanism with education and culture appealed to accomplished individuals of high status, and humanism had its greatest impact among the elite and powerful. These individuals were in the best position to commission art. As a result, humanist ideas permeate Italian Renaissance art. The intersection of art with humanist doctrines during the Renaissance is evident in the popularity of subjects selected from classical history or mythology; increased concern with developing perspectival systems and depicting anatomy accurately; revival of portraiture and other self-aggrandizing forms of patronage; and citizens’ extensive participation in civic and religious art commissions.
The best known Italian renaissance patrons were the Medici family.
Creation of the Platonic Academy of Philosophy, and the rise of neoplatonism
Emulation of classical style |
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| Woodcuts, engravings, and etchings |
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| Gutenberg's movable type provided new media in Europe, which gave rise to woodcuts and eventually engravings. Involves the transfer of ink from a printing surface to paper. During the 15th and 16th century artists typically used the relief and intaglio methods of printmaking. Paper and ink was chosen carefully to make proper effect. |
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The beginning of 15th century Florentine art. Sponsored by the wool merchants guild. Prestigious because the front faced the Florence cathedral. Artists must submit their scene of the sacrifice of Issac. The scene is also a symbol of freedom and Rome. There were two finalists: Filippo Brunelleschi and Lorenzo Ghiberti. Both used French Gothic quatrefoil frames and depicted the same moment.
Brunelleschi: represents all characteristics of the biblical narrative, yet awkward and confusing, not as intense, has a Gothic rocky landscape.
Ghiberti: Greek like, classical figures which reflects interest in humanism, with appreciation of the male nude, winner of the contest |
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| Ghiberti: Gates of Paradise |
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| On the eastern side of the Florence cathedral. Michelangelo coined the name "Gates of Paradise". Incorporated perspective humanism, symbolism,relief, contraposto. All of which reflects classical Greece and Rome. Created the illusion of space using two types of perspective: linear and aerial. The figure style mixes a Gothic patterning of rhythmic line, classical poses and motifs, and a new realism in characterization, movement, and surface detail. |
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| Constructing a convincing illusion of space in two-dimensional imagery while unifying all objects within a single spatial system. Fascination during the Renaissance, but goes as far back as the Greeks and the Romans. Can either be linear or atmospheric perspective. Linear perspective (developed by Brunelleschi) can be either one point or two point perspective. |
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| Donatello: St. Mark, Or San Michelle |
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| Commissioned by the guild of linen drapers whose patron saint is St. Mark. Introduced contrapposto into early Renaissance sculpture St. Mark's clothes fall like drapery creating a naturalist hanging and folding. The first Renaissance statue with clothing that does not conceal but rather accentuates the body. |
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| Commissioned by the Medici family. At the time Florence felt like the underdog around competing republics, similar to the story of David. First nude statue since ancient times. Although the sculpture is a throwback to ancient times, it is a Christian figure instead of pagan. |
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| Gentile de Fabrino: Adoration of the Magi from Strozzi chapel |
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| International Gothic style. Fabriano insterted himself and Strozzi family (wealthiest family in Florence) into painting. Use of foreshortening. Naturalistic details with the use of three quarter figures. Maybe the first nighttime nativity scene with the source of light coming from baby Jesus. Combination of late Gothic with naturalistic elements. |
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| Epitome of innovative spirit of painting in early 15th century Florence. Nobody is recognized more for contributing so much to a new style. Artistic descendent of Giotto |
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| Episode of the Gospel of Matthew. Masicco divided that narrative into three episodes within the same fresco. Lights the scene from a specific source outside the scene. |
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| Used math to convey perspective, if fact, some art historians believe Bruelleschi may have collaborated with Masaccio. Made in two parts: top- Jesus on the crusifix with God and donors, bottom- tomb containing a skeleton. The vanishing point of the composition is at the foot of the cross. With this point at eye level, specta- tors look up at the Trinity and down at the tomb. About five feet above the floor level, the vanish- ing point pulls the two views together, creating the illusion of a stone structure that transects the wall’s vertical plane. Whereas the tomb ap- pears to project forward into the church, the chapel recedes visually behind the wall and ap- pears as an extension of the spectators’ space. This adjustment of the pictured space to the viewer’s position was an important innovation in illusionistic painting. The bottom tomb reminds the despair of death but as one raises their head hope of resurrection and eternal life becomes apparent. |
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| Fra Angelico: Annunciation |
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| Angelico is a Dominican monk, who are known for their private prayer. The setting is in a private prayer room, which typically would have no wall or windows but this allows us to view the scene. Painted for the monastery. Use of classical idealism. Walled garden is symbol of Mary's chastity. Simple and direct, because it was meant to be a functional, devotional piece. Reflects the artists simple and humble character. |
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| Andrea del Castagno: The Last Supper |
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| Judas is sitting on the opposite side of the table and seen clutching a money bag. Due to artists ineptitude with perspective, the perspective shifts on the roof and the walls are not parallel. Story from the Gospel of Saint John. |
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| Fra Filoppo Lippi: Madonna and Child with Angels |
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| Mary is a beautiful woman and Jesus is a happy, plump baby. Used Female nun (who he eventually impregnated) and children as models. Mary and Jesus have halos, angels don't. Set in front of a window with a real landscape. He made the scene worldly, which further carried the humanization of the holy family. |
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| Botticelli: The Birth of Venus |
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| Paid for by Medici family. Used tempera even though oil was popular. Venus is reinterpreted as the celestial virgin in order to make sense of Roman pagan traditions in contemporary Christian times. Nudity was an innovation. Did not use perspective. Flora's cape and the trees in the background symbolized the Medici family whose names means "medicinal apple." Birth from water symbolized the purity of Mary. |
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| Antonio del Pollaiuolo: Battle of Ten Nudes |
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| Used contrapposto, foreshortening and perspective in order to best show the human form in various positions as opposed to contemporaries whose figures were usually restrained in motion. The character's muscles are at maximum tension. Represents the height of the Renaissance. |
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| Brunelleschi: The Dome of the Florence Cathedral |
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| After his disappointment from losing the baptistry door competition, Brunelleschi began making trips to Rome to study its monuments. He later developed his revolutionary system of linear perspective. In Florence, he was to build a giant 140 foot dome on top of the Florence Cathedral, a very difficult task. Referred to the plans of the Pantheon. Made it ogival for more stability. Made a shell to cover up the ribbing. Topped it with a heavy lantern to harmonize the century old building. |
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| Brunelleschi: Santo Spirito |
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| Commissioned by the church to make a fully classical style church due to revival interest in humanism and neoplatonic school. Same central plan (t shape) from the middle ages. Incorporated vaulted ceilings, a clearstory (a second one around the dome), flat roof (like Roman bascilica), round arches, Corinthian columns, and geometrically perfect shapes to reflect the harmony of nature. |
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| Michelozzo: Palazzo Medici-Riccardi |
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| Freestanding Corinthian columns. Open villa like a Roman villa. Influenced by Brunelleschi, he made it with his principles, but still has unique characteristics. Was an urban palace for the Medici family. Used for defense purposes, the lower level is stronger and does not have windows. Used stringcourses to divide each story. Dressed masonry on the top level so as not to seem imposing (reflection of their republic ideals). Heavy cornice at the top to cap off the building a define its proportions. Modeled after the Colosseum in Rome. Shows respect for and independence from the antique that is characteristic of the Early Renaissance in Italy. The colonnaded court of the palace closely resembles the nave of Santo Spirito. |
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| Leon Battista Alberti: Santa Maria Novella |
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| First to seriously study Vitruvius (Roman). Wrote: On the Art of Building, which discussed why classical ideals should be revived. It was important to emulate the ideal proportions but was given a medieval church to work with. Defined areas and related them in terms of proportions. Cornice separate the two levels. Believed that the eternal and universal validity of numerical ratios to be a source of beauty and a contemporary of his argues that the Christian religious truths were just as eternal and universal. |
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| Luca Signorelli: Apocalypse and Last Judgement |
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| Savanorola was recently executed for his reign of terror and Signorelli depicted him as the anti-Chirst. He even drew his ex girlfriend being tortured by demons |
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| Perugino: Christ Delivering the Key of the Kingdom to St. Peter |
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| Saint Peter was the first pope; this reinforces the position of the pope. Use of classical ideals, perspective, and other Renaissance techniques. The arches serve to show the close ties of Constantine and St. Peter, and of the basilica. |
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| Piero della Francesca: Flagellation of Christ |
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| Highly developed perspective to create an idealized world. Believed the highest beauty resides in forms that have the clarity and purity of geometric figures. Scholars debate who the people in the foreground are. The background is Jesus about to be whipped by soldiers. Due to increased trade especially in the east, influences from all around the world is becoming common. Scenes of Christ placed in contemporary reflect a belief |
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