Chapter 17 and th and 16 th Century Art in Northern Europe and Mannerism

New Painting Techniques Concern with accurate and precise details Symbolism grew more important Oil painting was developed Originally tempera- dry pigments with egg yolk Now- dry pigment mixed with oils, turpentine and varnish Artists used it for transparent glazes and created a transparent glossy surface Advantage- slowed down drying time and the finished painting looked as if it glowed from withing

Robert Campin AKA- Master of Flemalle

Merode Altarpiece

3 panels- triptych Left- donors kneeling in the garden Middle- Mary receiving news from angel Gabriel Right- Joseph in carpentry shop

Merode Altarpiece Symbolism Left- donors, garden Middle- towel (Jewish religion), Holy Spirit (flying in), lillies (purity), candle Modern home and perspective (?) Right- mousetraps (Christ bait for Satan)

Jan van Eyck Credited with developing new painting technique Made Flanders the art center of Northern Europe

The Arnolfini Wedding Portrait 1434 Giovanni Arnolfini and his bride, Jeanne de Chenay ( a rich merchant who sold silk brocade and luxury goods) Looked for the best artist available The is a pictoral wedding certificate

Red- symbol of passion Statue of St. Maignet- patron saint of pregnancy Single burning candle- symbol of God’s presence and luck in conceiving a child Innocence suggested by fruit on table and windowsill~ fertility- “fruit of the womb” Shoes removed as a sign of the holy event taking place Mirror- shows reflection of room, backs of Giovanni and bride and 2 people standing in the doorway (witnesses to exchanging of vows) Illustrated 10 passions of Christ around mirror Latin inscription above mirror- Jan Van Eyck was here

Realism and Emotionalisn Roger van der Weyden ( ) Emphasized emotional impact of subject matter

van der Weyden Descent from the Cross Part of a tritypch Emotional S shape of Christ and S shape of Mary 10 figures in shallow space skull -death

16 th Century Mannerism A deliberate revolt by artists against the goals of the Renaissance Protestant Reformation- movement by a group of Christians led by Martin Luther who left the Church in revolt to form their own religion in 1517 The Protestant Reformation, the French Invasion of Italy in 1524 and the French defeat of Rome in 1527 brought an era of tension and disorder Mannerism preferred imbalance Nervous art Human figures are in impossible poses with unreal proportions Slender figures, elegant and graceful

Parmagiannino Madonna with the Long Neck (1535)

Madonna with the Long Neck Questions- Inside or outside? Enormous figure Christ child looks lifeless; unnatural proportions Neck concealed and looks unattached All other figures look all over and pay little attention to the baby Jammed figures Man in background reading scroll

El Greco Born in Greek island of Crete and nicknamed El Greco after settling in Toledo, Spain in 1577

The Burial of Count Orgaz 1586 Hired to paint burial of count who died 200 years ago Took 2 years to complete He considered it his greatest work Count- deeply religious man who commanded people to donate cattle, wine, firewood and chickens to the Church of St. Tome` Rumor has it that when the count died,, 2 saints came down from heave3nand placed the count in the tomb with their own hand Eventually the people stopped paying $ to the church and a church trial was held. After all of the testimony was heard, a decision was that the villagers would continue to pay The painting was meant to remind the villagers of their eternal debt to Count Orgaz and the church

The Burial of Count Orgaz 1586

Shows witnesses to the miracle, a priest saying mass and heaven opened in glory Young boy in lower left pointing to the scene Richly dressed figures are the 2 saints Pale color of the count=death Winged angel-carried the soul of the count Clouds- Christ giving judgment El Greco- center figure staring at you Mannerism ended with El Greco in Spain

16 th Century Art of Northern Europe Albrecht Durer ( ) German Artist who went to Italy to study art, perspective and theories of proportion and then appied it to his own art

Knight, Death and the Devil 1513 Figures represent death and the devil Rider (Christian soldier) rides along the road of faith towards heavenly Jerusalem (top of work) Dog- symbol of loyalty Knight- plagued by hideous horseman-death, who threatens to cut him before his trip Behind him lurks the devil who hopes the knight will loose his courage and turn back

Knight, Death and the Devil The Knight (Knight, Death and the Devil) Dürer, Albrecht (engraver), 1513 print: engraving on laid paper: 249 x 193 mm (sheet); 378 x 241 mm (original mount)

Hieronymous Bosch Interesting artist and Flemish painter Mirrored the growing fears of the people People felt that the religious conflicts were a sign of evil and that God would punish them This gave the artist the subject matter Bosch’s paintings were meant to be viewed in 2 ways- stories and symbolic messages Good vs evil Magical beliefs, astrology and religious cults Traces of humor- devil as a fool or clown

Hieronymous Bosch Death and the Miser

Death and the Miser Hieronymous Bosch Story- no matter how evil a man has been during his life, if he asks for forgiveness before dying, he can be saved Old miser shown on sickbed Death enters the room At death, miser is torn between good and evil Angel points to the crucifix for miser to place his trust in God At the same time, the devil tempts him with a bag of money Miser looks at the crucifix and reaches for the money Man at the bottom id the miser in an earlier life clenching rosary and adding to pot with the other

The Garden of Earthly Delights

The world, by Hieronymus Bosch ( ) Triptych of the Garden of Earthly Delights by Hieronymous Bosch The world is on the outside and is closed

The Garden of Earthly Delights Interior center panel of the garden

Salvador Dali As compared to Hieronymous Bosch