The Rise of Painting in the Burgundian Netherlands

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Presentation transcript:

The Rise of Painting in the Burgundian Netherlands

Map of the Burgundian Netherlands

Hubert and Jan van Eyck, Ghent Altarpiece (closed), oil paint on oak, St. Bavo Cathedral, Ghent, Belgium, shortly before and after 1432, dimensions: 11’ 5’’ x 15’ 1’’ (when open) Patrons: Joos (Jodocus) Vijd and his wife, Elisabeth Borluut

Adoration of the Lamb

Pictor hubertus eeyck · maior quo nemo repertus Inscription on the Ghent Altarpiece: Pictor hubertus eeyck · maior quo nemo repertus Incepit · pondus · que johannes arte secundus Frater perfecit · judoci vyd prece fretus versu sexta mai · vos collocat acta tueri The painter Hubert van Eyck, a greater man than whom cannot be found, began this work. Jan, his brother, second in art, completed the weighty task at the request of Joos Vijd. He invites you with this verse, on the sixth of May [1432], to look at what has been done.

U. S. Army Lieutenant Daniel J U.S. Army Lieutenant Daniel J. Kern and German art conservator Karl Sieber examining the Ghent Altarpiece looted by the Nazis and discovered hidden in the Altaussee salt mines in Austria in 1945

Rogier van der Weyden, The Exhumation of St. Hubert, ca. 1435-1440

Throne of Mercy, detail of an embroidered altar frontal, 15th century

Crucifixion Altarpiece, sculpture by Jacques de Baerze, polychromy by Melchior Broederlam, Carthusian monastery at Champmol, Dijon, France, 1391-1399

Crucifixion Altarpiece (closed), painted wings by Melchior Broederlam, Chartreuse de Champmol, Dijon, France, 1391-1399

Statue of the Virgin and Child (Virgin of Jeanne d’Évreux), silver gilt and enamel, 1339 (height: 2' 3.5'')

Jan van Eyck (ca. 1390–1441) as court painter 1422–1424 In the service of John of Bavaria, Count of Hainaut-Holland 1425–1441 In the service of Philip the Good, Duke of Burgundy; employed as the duke’s valet de chambre

TEMPERA. A painting technique using pigments TEMPERA A painting technique using pigments mixed with egg yolk, glue, or casein. OIL PAINTING A painting technique using pigments mixed with drying oils (usually linseed or walnut).

Egg tempera dries quickly does not lend itself to broad application applied thinly and evenly in tightly placed, regular, parallel strokes opaque: colors applied next to, rather than on top of one another colors remain true to the mineral pigments Oil paint takes hours, even days to dry allows for blending of colors and the creation of new tones allows for gradual transitions translucence: what is beneath shows through consistency of the medium is adjustable greater variety in the size of brushes and the ways in which colors is applied unlike tempera’s smooth appearance, oil can give texture

Jan van Eyck, St. Barbara, brush with ink, silverpoint, and pigment on oak, 1437

(“Jan van Eyck made me 1437”) IOHES DE EYCK ME FECIT 1437 (“Jan van Eyck made me 1437”) Jan van Eyck, St. Barbara, 1437