ARTHLecture5Part2

ARTHLecture5Part2 - Van der Weyden: Van der Weyden:...

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Unformatted text preview: Van der Weyden: Van der Weyden: Deposition from the Cross Rogier van der Weyden, Deposition, for Church of Notre­Dame­hors­les­ Murs, Louvain (Belgium), c. 1435, oil o/wood Example of a triptych (two­ winged altarpiece) One of the first oil paintings in the history of art; use of glazes Brilliance of color Van der Weyden: Van der Weyden: Deposition from the Cross Commissioned by Archer’s Guild in Louvain Hidden crossbow symbolism in spandrels (corners with tracery ornaments) Crammed space: figures are bowing to fit into the “box” Same emphasis on richness of cloth as in Van Eyck: typical for Flemish painting Van der Weyden: Van der Weyden: Last Judgment for a Hospital Rogier van der Weyden, Last Judgment Altarpiece, Hôtel­Dieu (General Hospital), Beaune (France), c. 1444­1448, oil o/wood Another example of a polyptych (multi­panel altarpiece) Commissioned for the hospital in the town of Beaune Van der Weyden: Van der Weyden: Last Judgment for a Hospital Donor: Nicolas Rolin, depicted in prayer with his wife on outer panels Rolin: Chancellor (governor) of Burgundy Territory, appointed by Philip the Good Sickness: seen as punishment sent from God; prayer as part of cure Van der Weyden: Van der Weyden: Last Judgment for a Hospital Iconographic program: Christ in majesty in the center Judgment Day scene Archangel Michael weighs the souls (Medieval theme, see: tympanum of Autun Cathedral) Left: Way to Paradise; Right: Way to Hell Van der Goes: Van der Goes: The Northern Renaissance in Italy Hugo van der Goes, Portinari Altarpiece (open), Church of San’Egidio, Florence, c. 1476, tempera and oil o/wood Unique case of a Flemish artist commissioned to create altarpiece for a family chapel in Florence Portinari: Medici agent and ship owner Van der Goes: Van der Goes: The Northern Renaissance in Italy Iconography: Wings>praying donors with patron saints Central panel: Adoration of the Christ child, angels, shepherds, Magi; Northern European landscape, types of sitters Iris and Columbine flowers: Sorrows of the Virgin Work stirred a sensation among Italian artists and patrons: unlike anything ever seen before Memling: Memling: Mystical Union Hans Memling, Saint John Altarpiece, Hospitaal Sint Jan, Bruges (Belgium), 1479, oil o/wood Patrons: Siblings in the Order of the Hospital of Saint John in Bruges Memling: Memling: Mystical Union Memling’s specialty: Madonna images Central panel Virgin with saints and angels Purpose of commission: celebration of the Mystic Marriage of Saint Catherine of Alexandria Appealing storyline for nuns: a mystical marriage with Jesus Christ Wealth of cloth, material goods; but: spiritual Christian iconography Campin: Campin: An Altarpiece for Private Devotion Robert Campin (Master of Flémalle), Mérode Altarpiece, c. 1425­1428, oil o/wood Small­scale altarpiece for a private home Increasing emphasis on private devotion and prayer Time leading up to the Reformation (Martin Luther) Different purpose relevant for iconography Campin: Campin: An Altarpiece for Private Devotion Left panel: Patron Peter Inghelbrecht and wife in adoration; hortus conclusus (Lat. closed garden); apparent middle class status of sitters Central panel: Annunciation>interior setting typical for a middle­class Flemish home Right panel: Joseph (a carpenter) making mousetraps>allegory for trapping the devil; Realistic rendering of details: tools of a carpenter Bouts: Bouts: A Flemish LastSupper Dirk Bouts, Last Supper, From: Altarpiece of the Holy Sacraments, Saint Peter’s, Louvain (Belgium), 1464­1468, oil o/wood Donor: Louvain Confraternity of the Holy Sacrament New Testament Last Supper in a typically Flemish interior Single­point perspective Members of the Confraternity included as attendants in the Biblical event Bosch: Bosch: A Vision from Heaven and Hell Hieronymous Bosch, Garden of Earthly Delights, 1505­1510, oil o/wood One of the most remarkable works of fantastic art ever created Triptych format Life as carnal orgy with deeply moralizing overtones Exterior panels: earth as disc Bosch: Bosch: A Vision from Heaven and Hell Garden of Earthly delight: Nudity associated with sin The Garden: a circus of carnal desires Completely a figment of the artist’s imagination Fountain­like structures: Alchemical apparatuses; Alchemy>artificial creation of Gold, philosopher’s stone Bosch: Bosch: A Vision from Heaven and Hell Side panels offer visions of Heaven and Hell Heaven Serene, like pre­ lapsarian Eden Hell: most exquisite tortures, often hermetic imagery (difficult to interpret) Religious work of art? Hardly. Residence of Henry III of Nassau, Regent of the Netherlands Intention?: satire, pornography, moral warning, all of the above? Bosch: Bosch: A Vision from Hell Schongauer: Schongauer: Punishment in Hell as a Print Martin Schongauer, Saint Anthony Tormented by Demons, c. 1480­1490, engraving Invention of printmaking in 15th century: Gutenberg (letterpress>movable type), woodcuts, intaglio prints (incised surface plates), e. g. engravings Schongauer: Schongauer: Punishment in Hell as a Print Schongauer uses all refinements, tonal nuances that new printmaking technique has to offer Iconography remarkably similar to Bosch Creepy daemons torture virtuous Saint Anthony (desert saint) ...
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This note was uploaded on 02/08/2012 for the course ARTH 1440 taught by Professor Camerlenghi during the Fall '11 term at LSU.

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