NORTHERN EUROPE, GARDNER CHAPTER 20-2 PP
ROGIER VAN DER WEYDEN Rogier van der Weyden, Deposition, center panel from triptych, Louvain, Belgium, ca. 1435, oil on wood Dynamic compositions stressing human action and drama Shallow stage for figures jammed into a confining space Great attention to details Strong emotional impact of the scene -> depiction of desolating anguish -> passionate sorrow -> depiction of the agony of loss Patrons of the archers’ guild symbolized in crossbows in the corners Figures in mirrored compositions -> Christ and Mary
THE ARTISTS PROFESSION IN FLANDERS Guilds controlled the Flemish artists’ profession Apprenticeship -> then became a journeyman -> then became eligible to become a master and apply for admission to the guild Through the guild the artist obtained commissions The guild enforced quality control Women were excluded from apprenticeship as they involved living in homes of male masters Later from the 16 th century on women were excluded academic training -> figure painting involved dissection of cadavers and study of the male nude models Most often women artists were trained by their fathers and husbands
SAINT LUKE Rogier van der Weyden, Saint Luke Drawing the Virgin, ca , oil and tempera on wood Probably commissioned by the Guild of Saint Luke -> the artists in Brussels Some believe that the figure of Saint Luke is a self-portrait of Rogier Recording of every detail w/loving fidelity to optical appearance Ox on right -> symbol of Saint Luke Carved armrest -> Adam, Eve, Serpent -> reminds viewer that Mary is the new Eve and Christ is the new Adam who will redeem humanity from Original Sin
PORTRAIT OF A LADY Rogier van der Weyden, Portrait of a Lady, ca. 1460, oil on panel Private portrait -> dress and bearing imply noble rank Lowered eyes, tightly locked fingers, and fragile physique = pious and reserved demeanor
PETRUS CHRISTUS Robert Campin, Jan van Eyck, and Rogier van der Weyden = first generation of the “Northern Renaissance” Second generation -> 2 nd half the 15 th century Petrus Christus, A Goldsmith in His Shop, 1449, oil on wood, 3’3” x 2’10” Traditional interpretation -> Saint Eligius -> marriage couple selecting rings -> betrothal girdle on the table as a symbol of chastity -> crystal container for Eucharist wafer on right = scene of a religious nature
PETRUS CHRISTUS More recent scholarship -> painting should be seen in context of the tradition of vocational paintings for installation in guild chapels Commissioned by goldsmiths’ guild in Bruges -> Saint Eligius was the patron saint of smiths New interpretation = depiction of an economic transaction and focuses on the goldsmiths’ profession Objects depicted serve as advertisement for the guild -> raw materials like stones, beads, crystal, coral, pearls and finished products like rings, buckles, brooches Convex mirror shows another couple and street outside the shop
DIRK BOUTS Dirk Bouts, central panel of The Last Supper, , oil on wood, St. Peter’s, Louvain, Belgium Influence of Italian painting -> one of the earliest Northern European paintings to use a VANISHING POINT -> all of the orthogonals lead to single vanishing point in the center of mantelpiece above Christ’s head Less the Biblical drama of the Last Supper than the seriousness of the sacrament being created Four contemporaries appear as servants -> perhaps they are the patrons of the painting
HUGO VAN DER GOES Hugo van der Goes, Portinari Altarpiece, from Sant’Egidio, Florence, Italy, ca. 1476, tempera and oil on wood Rare instance of the awarding of a major commission in Florence to a Flemish painter Central image is the Adoration of the Shepherds Portinari, the patron of the painting, his family and their patron saints appear on the wings Mary is the central figure -> Christ placed on a sheaf of wheat symbolizing the Eucharist -> from the right rear enter the shepherds -> wintry northern landscape unify the three panels -> flowers symbolize the sorrows of the Virgin -> variation of in the scale of figures/scenes in the background
HANS MEMLING Hans Memling, Virgin with Saints and Angels, center panel of the Saint John Altarpiece, Hospitaal Sint Jan, Bruges, Belgium, 1479, oil on wood, 5’8”x5’8” Exudes opulence -> rich colors, tapestries and brocades, balanced and serene, sparkling and luminous colors, execution of highest technical quality = all characteristics of 15 th century painting