Italy shouldn't get all the credit.. Van Eyck figured out how to do oil painting (or at least perfect it) and realism started here in Flanders.
For Ms. Fuentes AP Art History Class
Jan van Eyck was one of the greatest revolutionaries in art. He radically changed the way in which men look at the natural world. His artistic achievements were well-known in Renaissance Italy. Vasari, who wrote about Van Eyck a hundred years later, wrongly attributed the discovery of oil painting to him. Only a few years after his death in 1441, Jan van Eyck was being hailed on both sides of the Alps as one of the greatest painter of the age.
Despite Van Eyck’s great fame, little is known of his life except for his last years. For the last 16 years of his life, he worked at the court of Philip the Good, The Duke of Burgundy. The Duke made use of his skills as both painter and diplomat, sending him on numerous secret missions.
The works of Jan van Eyck are celebrated for their visual splendor and precision of detail. Their brilliant colours and magnificent definition are due to Jan’s refinement of the oil-painting technique and died even before the great High Renaissance master painters were even born.
Jan van Eyck was one of the greatest revolutionaries in art. He radically changed the way in which men look at the natural world. His artistic achievements were well-known in Renaissance Italy. Vasari, who wrote about Van Eyck a hundred years later, wrongly attributed the discovery of oil painting to him. Only a few years after his death in 1441, Jan van Eyck was being hailed on both sides of the Alps as one of the greatest painter of the age.
Despite Van Eyck’s great fame, little is known of his life except for his last years. For the last 16 years of his life, he worked at the court of Philip the Good, The Duke of Burgundy. The Duke made use of his skills as both painter and diplomat, sending him on numerous secret missions.
The works of Jan van Eyck are celebrated for their visual splendor and precision of detail. Their brilliant colours and magnificent definition are due to Jan’s refinement of the oil-painting technique and died even before the great High Renaissance master painters were even born.
Art History Survey II: 15th &16th Century Art in Northern Europe/Iberian Peni...Paige Prater
A introduction to key artists, regions, religions, and history of the northern Renaissance and Iberian peninsula. Based off of Stokstad's Art History textbook, Volume II, 3rd edition.
17th Century Art in EuropeCounter-Reformation.docxRAJU852744
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez.
17th Century Art in EuropeCounter-Reformation.docxaulasnilda
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez ...
For Ms. Fuentes 2-D Art 2/3 Class - examples and instructions for the art unit on Serendipity. There will still be surprises or happy accidents in class... :)
Review for AP Art History exam with this brief slidecast comparing NeoClassical painter David with the Romantic painters that follow. For educational purposes ONLY... all images courtesy of Wikipedia Commons.
Images used with permission from Pearson in conjunction with Art History ed. 3 by Stokstad. OK to use for educational purposes only. For Ms. Fuentes AP Art History class....
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
5. Champmoi Altarpiece, Meichior Broererlam, 1393-99, Oil on Wood Panel STUDENT PRESENT ON OIL PAINTING & PAINTING IN THE NETHERLANDS & FLANDERS
6. Man in a Red Turban , Jan van Eyck, 1433 Early N. Renaissance Possibly self portrait Lettered, educated artist, diplomat.. Rose above level of craftsman Brother Hubert was also artist Pioneered oil painting and atmospheric perspective Paintings full of iconography (symbolism) WHY WAS OIL PAINTING SO IMPORTANT (STUDENT PRESENTATION) Flashcard
7. Marriage of Arnolfini (Double Portrait), Jan van Eyck, 15 th century Northern Renaissance - Early Flashcard 1 st full length portrait ; SIGNED Mirror was not a cliché, new feature Signed with text indicating this was like a marriage certificate Full of iconography; marriage bed window was outside/man’s world, 1 candle represented God in the chandelier, dog respresents fidelity, See your notes for more details.
8. Ghent Altarpiece, Closed, Anunciation with Donors 1432 (flashcard) GET NOTES FROM STUDENT PRESENTATION Donors praying in corner, annunciation (Mary) in upper section, statues in center are painted. Considered to launch Northern Renaissance!! Van Eyck master of perspective, oil painting in layers, humanism in figures portrayed Hubert & Jan van Eyck
11. Rogier Van der Weyden Portait of a Lady (Flashcard) 1455 - oil & tempera on wood panel Popularized half lengh pose, ¾ profile Triangular composition GET NOTES FROM CLASS & VIDEO
12. Deposition , Rogier Van de Weyden, 1435 Oil on wood panel Flashcard… Moving forms, S-curve Showed individualized grief
13. Rogier van der Weyden, Last Judgment Altarpiece (closed), shownig donors N. rolin & Guigone de salins, oil on wood panel
14. Rogier van der Weyden, Last Judgment Altarpiece (open) IMPORTANCE OF OIL PAINTING – GLAZES -brilliant colors -more realistic modeling of figures -could be reworked -
15. Oil painting even spread as far as Spain & Portugal Nuno Goncalves painted this piece Saint Vincent with the Royal Portuguese Family 7’ x 4’, 1465 IT ALL STARTED IN THE NORTH… FLANDERS, NETHERLANDS, BELGIUM…
16.
17. Virgin & Child, 1450 Jean Fouquet Example of court style painting in France Richness of Burgundy area Fouquet was influenced by Flemish painting Red & blue cherubs tapestry like background
18. Book of Hours (Tres Riches Heures), illuminated book on parchment, flashcard Limbourg Brothers, Early Northern Renaissance ---portrayed peasant laborers!!!
19. Elaborate tapestries w/real gold,silver threads were made for upper classes Many destroyed during French revolution Unicorn is found at the Fountain Also “decorative” arts with expensive materials, finely worked, popular to show richness & importance
20. Saint Ursula Reliquiary (Painted & gilded oak) 34” x 36” x 13” 1489, Bruges, Belgium Richly detailed paintings
21. Well of Moses, Dijon, France; Claus Sluter Large limestone sculpture, originally painted Very individualized & detailed Horizontal draperies Sculpture freed from architectural setting as in Gothic times Inset – Death of the Virgin, Gothic period, Strasbourg Cathedral
22. The Merode Altarpiece (open), Triptych of the Annunciation, oil on wood, Robert Campin. 1425-28. FLASHCARD – GET NOTES FROM STUDENT PRESENTATION Hint: 3-D realism, iconography. Donors shown..tiny Christ child in window , Joseph’s carpentry shop = City of Bruges.. Lily? Symbol of??????
24. Hugo van der Goes-student of van der Weyden Combined intellectual of van Eyck with emotions of van der Weyden Portinari Altarpiece (detail from open panel), 1474, Tempera & oil on wood panel PAINTED PEASANTS (like Limbourg Brothers… ) unheard of.. Reality coming into contact with divine… Did show medieval tradition of different sized people … Children also portrayed Iconography Christ threatened by evil…
25. Center panel of Portinary Altarpiece by Van Goes Angels are small, peasants large
28. Printmaking – woodblock Explosion of learning in Europe Demand for books Artists began drawing on to the blocks for the craftsmen to cut the blocks and print Illustrated stories, medical treatises, Bibles, etc.
29. Demons tormenting Saint Anthony… Engraving, 1480 Engraving allows more fine details and shadings Demons are physically torturing the impassive Saint Anthony in this piece.
30. Role of Women in the Arts Some women worked as illuminators or learned from fathers/husbands Mary of Burgundy was famous patron of the arts, shown here in a book of the hours created for her.
Editor's Notes
Artist: n/a Title: Fifteenth-Century Northern Europe and the Iberian Peninsula Medium: n/a Size: n/a Date: n/a Source/ Museum: n/a
Artist: Melchior Broederlam Title: Champmol Altarpiece Medium: Oil on wood panel Size: 5'5¾" X 4'1¼" (1.67 X 1.25 m) Date: 1393–99 Source/ Museum: Musée des Beaux-Arts, Dijon
Artist: Jan van Eyck Title: Man In A Red Turban Medium: Oil on wood panel Size: 13 ⅛ X 10¼" (33.3 X 25.8 cm) Date: 1433 Source/ Museum: The National Gallery, London
Artist: Rogier van der Weyden Title: Double Portrait, traditionally known as Giovanni Arnolfini and His Wife, Giovanna Cenami Medium: Oil on wood panel Size: 33 X 22½" (83.8 X 57.2 cm) Date: 1434 Source/ Museum: The National Gallery, London
Artist: Jan and Hubert van Eyck Title: Ghent Altarpiece (closed): Annunciation with Donors Medium: Oil on panel Size: height 11'5". Date: Completed 1432 Source/ Museum: Cathedral of Saint Bavo, Ghent, Belgium
Artist: Jan and Hubert van Eyck Title: Ghent Altarpiece (open): Adoration of The Mystic Lamb Medium: Oil on panel Size: 11'5¾" X 15'1½" (3.5 X 4.6 m) Date: Completed 1432 Source/ Museum: Cathedral of Saint Bavo, Ghent
Artist: n/a Title: Art and Its Context: Altars and Altarpieces Medium: n/a Size: n/a Date: n/a Source/ Museum: n/a
Artist: Rogier van der Weyden Title: Portrait of A Lady Medium: Oil and tempera on wood panel Size: 14 1⁄16 X 10 ⅝ " (37 X 27 cm) Date: c. 1455 Source/ Museum: National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection (1937.1.44)
Artist: Rogier van der Weyden Title: Deposition Medium: Oil on wood panel Size: 7'2 ⅝ " X 8'7 ⅛ " (2.2 X 2.62 m) Date: Before 1443, possibly c. 1435–38 Source/ Museum: From an altarpiece commissioned by the Crossbowmen’s Guild, Louvain, Belgium / Museo del Prado, Madrid
Artist: Rogier van der Weyden Title: Last Judgment Altarpiece (closed), showing donors Nicolas Rolin and Guigone de Salins Medium: Oil on wood panel Size: height 7'4 ⅝ " (2.28 m) Date: n/a Source/ Museum: Musée de l’Hôtel-Dieu, Beaune, France
Artist: Rogier van der Weyden Title: Last Judgment Altarpiece (open) Medium: Oil on wood panel Size: open: 7'4 ⅝ " X 17'11" (2.25 X 5.46 m) Date: After 1443, c. 1445–48 Source/ Museum: Musée de l’Hôtel-Dieu, Beaune, France
Artist: Nuño Gonçalves Title: Saint Vincent with the Portuguese Royal Family Medium: Oil on wood panel Size: 6'9¾" X 4' 2⅝" (2.07 X 1.28 m) Date: c 1465–67 Source/ Museum: Panel from the Altarpiece of Saint Vincent / Museu Nacional de Arte Antiga, Lisbon
Artist: Jean Fouquet Title: Virgin and Child Medium: Oil on wood panel Size: 37¼ X 33½" (94.5 X 85.5 cm) Date: c. 1451 Source/ Museum: Right wing of the Melun Diptych / Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium
Artist: Paul, Herman, and Jean Limbourg Title: January: The Duke of Berry at Table, Très Riches Heures Medium: Colors and ink on parchment Size: 8 ⅞ X 5 ⅜ " (22.5 X 13.7 cm) Date: 1411–16 Source/ Museum: Musée Condé, Chantilly, France
Artist: n/a Title: Unicorn is Found at the Fountain Medium: Wool, silk, and silver- and gilt-wrapped thread (13–21 warp threads per inch) Size: 12'1" X 12'5" (3.68 X 3.78 m) Date: c. 1495–1505 Source/ Museum: From the Hunt of the Unicorn tapestry series. The Metropolitan Museum of Art, New York. Gift of John D. Rockefeller Jr., the Cloisters Collection, 1937 (37.80.2)
Artist: Hans Memling Title: Saint Ursula Reliquary Medium: Painted and gilded oak Size: 34 X 36 X 13" (86.4 X 91.4 X 33 cm) Date: 1489 Source/ Museum: Memling Museum, Hospital of Saint John, Bruges, Belgium
Artist: Claus Sluter Title: Well of Moses, Detail of Moses and David Medium: Limestone with traces of paint Size: height of figures about 5'8" (1.69 m) Date: 1395–1406 Source/ Museum: The Chartreuse de Champmol, Dijon, France
Artist: Robert Campin Title: Mérode Altarpiece (Triptych of The Annunciation) (open) Medium: Oil on wood panel Size: center 25 ¼ X 24 ⅞ " (64.1 X 63.2 cm) each wing approx 25 ⅜ X 10¾" (64.5 X 27.6 cm) Date: c. 1425–28 Source/ Museum: The Metropolitan Museum of Art, New York. The Cloisters Collection, 1956 (56.70)
Artist: Robert Campin Title: A Flemish City Medium: Oil on wood panel Size: wing approx. 25 ⅜ " X 10¾" (64.5 X 27.3 cm) Date: c. 1425–28 Source/ Museum: Detail of right wing of the Mérode Altarpiece (Triptych of the Annunciation / The Metropolitan Museum of Art, New York. The Cloisters Collection, 1956 (56.70)
Artist: Hugo van der Goes Title: Portinari Altarpiece (open) Medium: Tempera and oil on wood panel; Size: center 8'3½" X 10' (2.53 X 3.01 m), wings each 8'3½" X 4'7½" (2.53 X 1.41 m) Date: c. 1474–76 Source/ Museum: Galleria degli Uffizi, Florence
Artist: Hugo van der Goes Title: Portinari Altarpiece (open) Medium: Tempera and oil on wood panel Size: center 8'3½" X 10' (2.53 X 3.01 m), wings each 8'3½" X 4'7½" (2.53 X 1.41 m) Date: c. 1474–76 Source/ Museum: Galleria degli Uffizi, Florence
Artist: Hugo van der Goes Title: Portinari Altarpiece (open) Medium: Tempera and oil on wood panel Size: center 8'3½" X 10' (2.53 X 3.01 m), wings each 8'3½" X 4'7½" (2.53 X 1.41 m) Date: c 1474–76 Source/ Museum: Galleria degli Uffizi, Florence
Artist: Hugo van der Goes Title: Detail of Angels and a Still Life f rom the center panel of the Portinari Altarpiece Medium: n/a Size: n/a Date: n/a Source/ Museum: n/a
Artist: n/a Title: The Buxheim Saint Christopher Medium: Hand-colored woodcut Size: 11 ⅜ X 8 ⅛ " (28.85 X 20.7 cm) Date: 1423 Source/ Museum: Courtesy of the Director and Librarian, the John Rylands University Library, the University of Manchester, England
Artist: Martin Schongauer Title: Demons Tormenting Saint Anthony Medium: Engraving Size: 12 ¼ X 9" (31.1 X 22.9 cm) Date: c. 1480–90 Source/ Museum: The Metropolitan Museum of Art, New York. Rogers Fund, 1920 (20.5.2)
Artist: n/a Title: Page with Thamyris Medium: Ink and tempera on vellum Size: n/a Date: 1402 Source/ Museum: From Giovanni Boccaccio’s De Claris Mulieribus (Concerning Famous Women) Bibliothèque Nationale de France, Paris