Chapter 20Northern Europe1400 - 1500

Europe in the 15th Century

The Art of Burgundy and Flanders

Figure 20-2 CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon,

France, 1395–1406. Limestone with traces of paint, figures approx. 6’ high.

Figure 20-3 MELCHIOR BROEDERLAM, outer wings of the Retable de Champmol. Annunciation and Visitation (above) and Presentation and Flight into Egypt (right), from Chapel of the Chartreuse de Champmol, Dijon, France, installed 1399. Panels, each

5’ 5 3/4” x 4’ 1 1/4”. Musée de la Ville, Dijon.

Figure 20-4 ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956).

Flanders

Figure 20-5 JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium,

completed 1432. Oil on wood, approx. 11’ 6" x 7’ 6".

Fig. 20-6 JAN VAN EYCK, Ghent Altarpiece (open)approx. 11’ 6" x 7’ 6". Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

6th or 7th century, Byzantine, Egypt

19-7 GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310.

van Eyck

1432Giotto 1310

POLYKLEITOS, Doryphoros

Polykleitos, Doryphoros, High Classical, Greece

PRAXITELES, Aphrodite of Knidos.

Praxiteles, Aphrodite, Late Classical Greece

Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

Figure 20-1 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 8" x 1’

11 1/2". National Gallery, London.

Figure 20-1 JAN VAN EYCK, detail of Giovanni Arnolfini and His Bride, 1434.

Jan van Eyck, The Annunciationc. 1435Oil, transferred from wood to canvas, 93 x 37 cmNational Gallery of Art, Washington

Figure 20-8 ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3" x 8’ 7". Museo del Prado, Madrid.

Figure 20-8 DetailJoseph with the body of Christ

© 2005 Saskia Cultural Documentation, Ltd.

Figure 20-9 ROGIER VAN DER WEYDEN, Saint Luke Drawing the Virgin, ca. 1435-1440. Oil and tempera on wood, 4’ 6 1/8” X 3’ 7 5/8”. Museum of Fine Arts, Boston. (Gift of Mr. and Mrs. Henry Lee Higginson)

Figure 20-10 HUGO VAN DER GOES, Portinari Altarpiece (open), from Sant’Egidio, Florence, Italy, ca. 1476. Tempera and oil on wood, 8’ 3 1/2" x 10’ (center panel), 8’ 3 1/2" x 4’ 7 1/2" (each wing). Galleria degli Uffizi, Florence.

Figure 20-13 Left Panel

© 2005 Saskia Cultural Documentation, Ltd.

Figure 20-13 Right Panel

© 2005 Saskia Cultural Documentation, Ltd.

Portraiture and the Growing Interest in Secular Art

Jan van Eyck,Portrait of an Old Manc. 1435

Silverpoint, 212 x 180 mmKupferstichkabinett, Dresden

In the 15th-century Netherlands, drawings were not yet regarded as works of art in their own right. They were not seen as independent representations, merely as aids to the creation of a complete work which might be a painting, a sculpture, or a tapestry. Their constant use in workshops, and the fact that they were handed on from artist to artist - whether as a legacy to a painter's successors, or on loan from one master to another - led to wear and tear on the drawings themselves, so that in the end they had to be replaced, and the originals were thrown away Consequently, only a fraction of the huge number of drawings that must have existed in the stocks of Netherlandish workshops has been preserved. North of the Alps, (Web Gallery of Art)

Fig. 20-7 Jan Van Eyck, Man in a Red Turban, 1433,Oil on wood,1’1” X10”, National Gallery, London

Figure 20-10 ROGIER VAN DER WEYDEN, Portrait of a Lady, ca. 1460. Oil on panel, 1’ 1 3/8" X 10 1/16". National Gallery, Washington, D.C. (Andrew W. Mellon Collection).

France

Figure 20-15 Limbourg brothers (Pol, Hennequin, Herman), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2" x 5 1/2". Musée

Condé, Chantilly.

Figure 20-16 LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October, from Les Très Riches Heures du Duc de

Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly.

LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), February, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly.

The Development of Graphic Art

• Examine the development of graphic art, especially in Germany in the 15th Century.

• Understand the processes that were developed in relief and intaglio printmaking.

Figure 20-22 MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480–1490.

Engraving, approx. 1’ 1" x 11". Metropolitan Museum of Art, New York (Rogers Fund, 1920).

End of Chapter 20

•The economic prosperity of Northern Europe and its impact on artistic output

•The growing prosperity of merchants and their patronage of the arts- portraiture, devotional images

•The Limbourg Brothers and their innovations in manuscript paintings -- greater sense of three-dimensionality, aristocratic style, elegant, careful rendition of the visible world

•The invention of oil painting, invention of moveable type, and their impact on artistic production

•Flemish painting – use of oil paint, disguised symbolism, and fascination with capturing the visible world

•Woodcuts, engravings and the production of multiple images