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Late gothic (north)

Late gothic (north). Christine, Ashley, Sharon, Shechenah.

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Late gothic (north)

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  1. Late gothic (north) Christine, Ashley, Sharon, Shechenah

  2. Jan van Eyck. Ghent Altarpiece (closed)*framing is attributed to his brother*for the illiterate, the altarpiece stood for the doctrines and narratives of the church *depicts the donors as pious individuals.*Grisaille (monochromatically painted to look like statues)

  3. Jan van Eyck. Ghent Altarpiece (open) from St. Bavo Cathedral (Ghent, Belgium), completed 1432, oil on wood

  4. Philip the Good, Duke of Burgundy/ Ghent Altarpiece (a polyptych)/ depiction of God the Father

  5. depiction of Adam and Eve

  6. Adoration of the Lamb/ Fountain of Life/ unifying horizon line

  7. Images of the Blessed (Left to Right: Just Judges, Warriors of Christ, Holy Hermits, and Holy Pilgrims)

  8. use of exotic trees/ scientific and inquiring mind invades the world of Gothic vision

  9. Lotte Brand Philip. Reconstruction of the Ghent Altarpiece

  10. Jan van Eyck. The Virgin of Chancellor Nicolas Rolin,c. 1437, oil on panelthe Burgundian Netherlands/ Chancellor Nicolas Rolin/ lavish and luxurious scene

  11. detailed landscape/ Treaty of Arras (Treaty of 1435, between King Charles VII of France and Duke Philip the Good of Burgundy. France and Burgundy reconciled. Philip recognized Charles as king of France and received the Somme towns. He was exempted from homage to the crown. Charles VII agreed to punish the murderers of Philip's father, Duke John of Burgundy. )

  12. Jan van Eyck. Annunciation, c. 1435, oil on canvas

  13. Jan van Eyck. Giovanni Arnolfini and his Bride, oil on wood

  14. Giovanni Arnolfini/ discarded shoes/ Giovanna Cenami

  15. fruit on the window sill/ crystal prayer beads/ single lit candle

  16. St. Margaret and the bed/ the whisk broom/ image of the dog/ joining of the hands

  17. Jan van Eyck’s signature and the mirror

  18. Jan van Eyck. Madonna with Canon van der Paele, oil on wood

  19. *The exquisite brocades, furs, and silks are shown in an extraordinarily lifelike and brilliant way confirming their reality, their tangibility.  *This picture hung in the choir of the now destroyed collegiate church of St. Donatian in Bruges, mirrors the real location. *Van derPaele would therefore have been able to see himself in the very place of his depicted vision and so "prove" to the world at large the reality of his divine experience.

  20. Jan van Eyck. Man in a Red Turban, oil on wood

  21. Right: Jan van Eyck. Portrait of Margareta van Eyck, 1439, oil on woodBelow: Jan van Eyck. Portrait of Baudouin de Lannoy(detail), oil on wood

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