6. northern europe

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6. northern europe

  1. 1. The Renaissance in Northern Europe Dates 1420 – 1520
  2. 2. Painting in 15th century Flanders Characteristics  Solemn facial features and awkward unreal figure postures  Less emphasis on perspective than in Italy  Sacred scenes often portrayed in ordinary domestic interiors  Space was often distorted to fit aspects of domestic life  Devices like mirrors were used to reflect hidden sides of a room  Landscape was often depicted through an open window  Atmospheric perspective used in landscape  Close observation of nature by artists  Detailed perfection in the painting of flowers, jewels, shiny metal, glass, fur, velvet and other expensive fabrics In the cities of Ghent and Bruges (modern day Belgium)
  3. 3. Materials and techniques  Oil painting on wood panel  This was slow drying and allowed artists to blend the colours and make changes more easily  It dried to a hard, opaque, enamel like finish with a shiny velvety texture
  4. 4. Jan Van Eyck  Worked for time with his brother Hubert  Perfected skills in oil painting to a very high level  Developed ‘atmospheric perspective’ - the blurring of colours and shapes in the distance  Painted very fine realistic detail
  5. 5. Madonna of the Chancellor Rolin 1422 Jan van EYCK Musée du Louvre Paris
  6. 6. The Ghent Altarpiece 1432 – closed doors Hubert and Jan van EYCK Cathedral of St Bavo Ghent Belgium
  7. 7. The Ghent Altarpiece 1432 – open doors Hubert and Jan van EYCK Cathedral of St Bavo Ghent Belgium
  8. 8. The Ghent Altarpiece (details) God Almighty Virgin Mary 1426-29 Cathedral of St Bavo Ghent Belgium
  9. 9. Adoration of the Lamb - Central panel from The Ghent Altarpiece 1425-29 Hubert and Jan van EYCK Cathedral of St Bavo Ghent Belgium
  10. 10. The Arnolofini Marriage  An Italian merchant Giovanni Arnolfini and his fiancée Giovanna Cenami of Bruges  The painting celebrates their betrothal  Painted in minute detail Symbolic details include:  Shoes to suggest a holy place  The dog for faithfulness in marriage  The bride’s ‘pregnancy’ children to come  Reflection of the artist in the mirror between the figures suggests he is a witness  His name written in Latin on the wall translates to ‘Jan Van Eyck was here 1434’
  11. 11. Portrait of Giovanni Arnolfini and his Wife1434 Jan van EYCK National Gallery, London
  12. 12. Portrait of Giovanni Arnolfini and his Wife (detail)1434 National Gallery, London
  13. 13. Portrait of Giovanni Arnolfini and his Wife (detail) 1434 National Gallery, London
  14. 14. The Renaissance in Germany  Albrect Dürer  A educated and well travelled man  He was also a humanist  Northern humanism was different to the Italian and had a strong spirit of religious reform  He was very influenced by Italian art but remained very much his own person with his own ideas  His works include a remarkable series of self portraits  His made his first drawing of himself at just 13 years old
  15. 15. Self-Portrait at 26 1498 Albrect Dürer Museo del Prado, Madrid
  16. 16. Self-Portrait in a Fur-Collared Robe 1500 Albrect Dürer Alte Pinakothek, Munich •The artist portrays a Christ like image of himself •This was a statement of his faith •His talents were God given because God had created man •It is man’s duty to to follow Christ’s example
  17. 17. Dürers woodcuts and engravings  Dürer was an excellent draftsman  He worked mainly as a graphic artist  He took advantage of new technology as an opportunity for production and distribution.  He used wood engraving blocks and copper plates to make copies.  His own publishing business of printed graphics was equal to that of his work as a painter
  18. 18. The Revelation of St John: 4. The Four Riders of the Apocalypse 1497-98 Woodcut, Albrect Dürer Kupferstichkabinett, Staatliche Kunsthalle, Karlsruhe
  19. 19. All images from Web Gallery of Art www.wga.hu
  20. 20. Acknowledgements Art Associates Maria Moore Margaret O’Shea Local Facilitator Team Aine Andrews Joe Caslin Jane Campbell Siobhan Campbell Niamh O’Donoghue Niamh O’Neill Keith O’Rahilly Sheena McKeon Tony Morrissey Monica White Many thanks to the following for their invaluable contribution to the European Art History and Appreciation series of workshops and resource materials. PDST Professional Development Service for Teachers
  21. 21. PDST Professional Development Service for Teachers The PDST is funded by the Department of Education and Skills under the National Development Plan 2007 - 2013 Cultural & Environmental Education Professional Development Service for Teachers (PDST) Dublin West Education Centre, Old Blessington Road, Tallaght, Dublin 24 National Co-ordinator Conor Harrison Mobile: 087 240 5710 E-mail: conorharrison@pdst.ie Administrator Angie Grogan Tel: 014528018 Fax: 014528010 E-mail: angiegrogan@pdst.ie.

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