Chapter 20 Northern Europe 1400 - 1500
Europe in the 15 th  Century
The Art of Burgundy and Flanders
Figure 20-2  CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395–1406. Limestone with traces of paint...
Figure 20-3  MELCHIOR BROEDERLAM, outer wings of the Retable de Champmol. Annunciation and Visitation (above) and Presenta...
Figure 20-4  ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428....
 
 
 
 
 
 
Figure 20-5  JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, a...
Fig. 20-6 JAN VAN EYCK, Ghent Altarpiece (open)approx. 11’ 6" x 7’ 6".   Saint Bavo Cathedral, Ghent, Belgium, c...
 
 
6 th  or 7 th  century, Byzantine, Egypt
19-7  GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. van Eyck 1432 Giotto 1310
 
 
 
POLYKLEITOS, Doryphoros Polykleitos, Doryphoros, High Classical, Greece
 
 
PRAXITELES, Aphrodite of Knidos. Praxiteles, Aphrodite, Late Classical Greece
 
 
Figure 20-6  JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, app...
 
 
 
Figure 20-1  JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 8" x 1’ 11 1/2". Nati...
 
Figure 20-1  JAN VAN EYCK, detail of Giovanni Arnolfini and His Bride, 1434.
 
 
 
Jan van Eyck, The Annunciation c. 1435 Oil, transferred from wood to canvas, 93 x 37 cm National Gallery of Art, Washington
Figure 20-8  ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, ap...
Figure 20-8  Detail Joseph with the body of Christ © 2005 Saskia Cultural Documentation, Ltd.
Figure 20-9  ROGIER VAN DER WEYDEN,  Saint Luke Drawing the Virgin , ca. 1435-1440. Oil and tempera on wood, 4’ 6 1/8” X 3...
Figure 20-10  HUGO VAN DER GOES, Portinari Altarpiece (open), from Sant’Egidio, Florence, Italy, ca. 1476. Tempera and oil...
 
Figure 20-13 Left Panel © 2005 Saskia Cultural Documentation, Ltd.
Figure 20-13 Right Panel © 2005 Saskia Cultural Documentation, Ltd.
 
Portraiture and the Growing Interest in Secular Art
Jan van Eyck,Portrait of an Old Man c. 1435 Silverpoint, 212 x 180 mm Kupferstichkabinett, Dresden In the 15th-century Net...
Fig. 20-7  Jan Van Eyck, Man in a Red Turban, 1433,Oil on wood,1’1” X10”, National Gallery, London
 
Figure 20-10  ROGIER VAN DER WEYDEN,  Portrait of a Lady , ca. 1460. Oil on panel, 1’ 1 3/8" X 10 1/16". Nationa...
France
Figure 20-15  Limbourg brothers (Pol, Hennequin, Herman), January, from Les Très Riches Heures du Duc de Berry, 1413–1416....
Figure 20-16  LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416....
LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), February, from Les Très Riches Heures du Duc de Berry,  1413–1416. Ink on vell...
The Development of Graphic Art <ul><li>Examine the development of graphic art, especially in Germany in the 15 th  Century...
Figure 20-22  MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480–1490. Engraving, approx. 1’ 1&quot; x 11&quot...
 
End of Chapter 20 <ul><li>The economic prosperity of Northern Europe and its impact on artistic output </li></ul><ul><li>T...
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15thc northern europe

  1. 1. Chapter 20 Northern Europe 1400 - 1500
  2. 2. Europe in the 15 th Century
  3. 3. The Art of Burgundy and Flanders
  4. 4. Figure 20-2 CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395–1406. Limestone with traces of paint, figures approx. 6’ high.
  5. 5. Figure 20-3 MELCHIOR BROEDERLAM, outer wings of the Retable de Champmol. Annunciation and Visitation (above) and Presentation and Flight into Egypt (right), from Chapel of the Chartreuse de Champmol, Dijon, France, installed 1399. Panels, each 5’ 5 3/4” x 4’ 1 1/4”. Musée de la Ville, Dijon.
  6. 6. Figure 20-4 ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). Flanders
  7. 13. Figure 20-5 JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6&quot; x 7’ 6&quot;.
  8. 14. Fig. 20-6 JAN VAN EYCK, Ghent Altarpiece (open)approx. 11’ 6&quot; x 7’ 6&quot;. Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6&quot; x 15’.
  9. 17. 6 th or 7 th century, Byzantine, Egypt
  10. 18. 19-7 GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. van Eyck 1432 Giotto 1310
  11. 22. POLYKLEITOS, Doryphoros Polykleitos, Doryphoros, High Classical, Greece
  12. 25. PRAXITELES, Aphrodite of Knidos. Praxiteles, Aphrodite, Late Classical Greece
  13. 28. Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6&quot; x 15’.
  14. 32. Figure 20-1 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 8&quot; x 1’ 11 1/2&quot;. National Gallery, London.
  15. 34. Figure 20-1 JAN VAN EYCK, detail of Giovanni Arnolfini and His Bride, 1434.
  16. 38. Jan van Eyck, The Annunciation c. 1435 Oil, transferred from wood to canvas, 93 x 37 cm National Gallery of Art, Washington
  17. 39. Figure 20-8 ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3&quot; x 8’ 7&quot;. Museo del Prado, Madrid.
  18. 40. Figure 20-8 Detail Joseph with the body of Christ © 2005 Saskia Cultural Documentation, Ltd.
  19. 41. Figure 20-9 ROGIER VAN DER WEYDEN, Saint Luke Drawing the Virgin , ca. 1435-1440. Oil and tempera on wood, 4’ 6 1/8” X 3’ 7 5/8”. Museum of Fine Arts, Boston. (Gift of Mr. and Mrs. Henry Lee Higginson)
  20. 42. Figure 20-10 HUGO VAN DER GOES, Portinari Altarpiece (open), from Sant’Egidio, Florence, Italy, ca. 1476. Tempera and oil on wood, 8’ 3 1/2&quot; x 10’ (center panel), 8’ 3 1/2&quot; x 4’ 7 1/2&quot; (each wing). Galleria degli Uffizi, Florence.
  21. 44. Figure 20-13 Left Panel © 2005 Saskia Cultural Documentation, Ltd.
  22. 45. Figure 20-13 Right Panel © 2005 Saskia Cultural Documentation, Ltd.
  23. 47. Portraiture and the Growing Interest in Secular Art
  24. 48. Jan van Eyck,Portrait of an Old Man c. 1435 Silverpoint, 212 x 180 mm Kupferstichkabinett, Dresden In the 15th-century Netherlands, drawings were not yet regarded as works of art in their own right. They were not seen as independent representations, merely as aids to the creation of a complete work which might be a painting, a sculpture, or a tapestry. Their constant use in workshops, and the fact that they were handed on from artist to artist - whether as a legacy to a painter's successors, or on loan from one master to another - led to wear and tear on the drawings themselves, so that in the end they had to be replaced, and the originals were thrown away Consequently, only a fraction of the huge number of drawings that must have existed in the stocks of Netherlandish workshops has been preserved. North of the Alps, (Web Gallery of Art)
  25. 49. Fig. 20-7 Jan Van Eyck, Man in a Red Turban, 1433,Oil on wood,1’1” X10”, National Gallery, London
  26. 51. Figure 20-10 ROGIER VAN DER WEYDEN, Portrait of a Lady , ca. 1460. Oil on panel, 1’ 1 3/8&quot; X 10 1/16&quot;. National Gallery, Washington, D.C. (Andrew W. Mellon Collection).
  27. 52. France
  28. 53. Figure 20-15 Limbourg brothers (Pol, Hennequin, Herman), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2&quot; x 5 1/2&quot;. Musée Condé, Chantilly.
  29. 54. Figure 20-16 LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly.
  30. 55. LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), February, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly .
  31. 56. The Development of Graphic Art <ul><li>Examine the development of graphic art, especially in Germany in the 15 th Century. </li></ul><ul><li>Understand the processes that were developed in relief and intaglio printmaking . </li></ul>
  32. 57. Figure 20-22 MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480–1490. Engraving, approx. 1’ 1&quot; x 11&quot;. Metropolitan Museum of Art, New York (Rogers Fund, 1920).
  33. 59. End of Chapter 20 <ul><li>The economic prosperity of Northern Europe and its impact on artistic output </li></ul><ul><li>The growing prosperity of merchants and their patronage of the arts- portraiture, devotional images </li></ul><ul><li>The Limbourg Brothers and their innovations in manuscript paintings -- greater sense of three-dimensionality, aristocratic style, elegant, careful rendition of the visible world </li></ul><ul><li>The invention of oil painting, invention of moveable type, and their impact on artistic production </li></ul><ul><li>Flemish painting – use of oil paint, disguised symbolism, and fascination with capturing the visible world </li></ul><ul><li>Woodcuts, engravings and the production of multiple images </li></ul>

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