Gardner’s Art Through the Ages, 13e

Chapter 20 Northern Europe, 1400 to 1500 Gardner’s Art Through the Ages, 13e 1

Europe in the 15th Century 2

Understand the effect of political power in the development of Northern European art. Examine the variety and types of media used in art in this period. Identify specific artists, their respective styles, and their key works of art. Understand the integration of sacred and secular power and wealth, along with its resultant display in art. Goals 3

Examine the effect of political power on the sumptuous art forms that developed in the 15th Century. Examine the results of Burgundian wealth and largesse directed to art. Understand the growth of public devotional art, the artists, new art media and new illusionistic devices developed. The Art of France and Flanders 4

Examine the sumptuous art forms that developed in the 15th Century. Explore French manuscript illumination and the new spatial and illusionistic devices used in art. The Very Sumptuous Hours 5

Figure 20-2 CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395–1406. Limestone with traces of paint, Moses 6’ high. 6

20-2A CLAUS SLUTER, Virgin and Child, saints, and donors, portal of the chapel of the Chartreuse de Champmol, Dijon, France, 1385–1393. 7

Figure 20-3 MELCHIOR BROEDERLAM, Retable de Champmol. from the chapel oft he Chartreuse de Champmol, Dijon, France, installed 1399. Oil on wood, each wing 5’ 5 3/4” X 4’ 1 1/4”. Musée des Beaux-Arts, Dijon. 8

Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). 9

Figure 20-5 JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11’ 6" X 7’ 6". 16

Figure 20-6 JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11’ 5" X 15’ 1”. 17

Figure 20-1 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 9" X 1’ 10 1/2". National Gallery, London. 18

20-5A JAN VAN EYCK, Madonna in a Church, ca. 1425–1430. Oil on wood, 1’ 1/4" X 5 1/2". Gemäldegalerie, Staatliche Museen zu Berlin, Berlin. 19

Figure 20-7 JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, 1’ 1 1/8” X 10 1/4". National Gallery, London. 20

Figure 20-8 ROGIER VAN DER WEYDEN, Deposition, center panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, 7’ 2 5/8" X 8’ 7 1/8". Museo del Prado, Madrid. 21

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) 22

Figure 20-10 ROGIER VAN DER WEYDEN, Portrait of a Lady, ca. 1460. Oil on panel, 1’ 1 3/8" X 10 1/16". National Gallery, Washington, D.C. (Andrew W. Mellon Collection). 23

Figure 20-11 PETRUS CHRISTUS, A Goldsmith in His Shop, 1449. Oil on wood, approx. 3’ 3" X 2’ 10". Metropolitan Museum of Art, New York (the Robert Lehman Collection, 1975). 24

Figure 20-12 DIRK BOUTS, Last Supper central panel of the Altarpiece of the Holy Sacrament, Saint Peter’s, Louvain, Belgium, 1464–1468. Oil on wood, 6’ X 5’. 25

Figure 20-13 HUGO VAN DER GOES, Portinari Altarpiece (open), from Sant’Egidio, Florence, Italy, ca. 1476. Tempera and oil on wood, 8’ 3 1/2" X 10’ center panel, 8’ 3 1/2" X 4’ 7 1/2" (each wing). Galleria degli Uffizi, Florence. 26

Figure 20-14 HANS MEMLING, Virgin with Saints and Angels, center panel of the Saint John Altarpiece, Hospitaal Sint Jan, Bruges, Belgium, 1479. Oil on wood, 5’ 7 3/4" X 5’ 7 3/4" (center panel), 5’ 7 3/4" X 2’ 7 1/8" (each wing). 27

Figure 20-15 LIMBOURG BROTHERS (POL, JEAN, HERMAN), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 7/8" X 5 3/8". Musée Condé, Chantilly. 28

Figure 20-16 LIMBOURG BROTHERS (POL, JEAN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, 8 7/8" X 5 3/8”. Musée Condé, Chantilly. 29

Figure 20-17 JEAN FOUQUET, Melun Diptych. Étienne Chevalier and Saint Stephen, (left wing), ca. 1450. Oil on wood, 3’ 1/2” X 2’ 9 1/2”. Gemäldegalerie, Staatliche Museen, Berlin. Virgin and Child, (right wing) ca. 1451. Oil on wood, 3’ 1 1/4” X 2’ 9 1/2”. Koninklijk Museum voor Schone Kunsten, Antwerp. 30

Figure 20-18 VEIT STOSS, The Death and Assumption of the Virgin (wings open), altar of the Virgin Mary, church of Saint Mary, Kraków, Poland, 1477–1489. Painted and gilded wood, central panel 23’ 9” high. 31

Figure 20-19 TILMAN RIEMENSCHNEIDER, The Assumption of the Virgin, center panel of the Creglingen Altarpiece, Herrgottskirche, Creglingen, Germany, ca. 1495–1499. Lindenwood, 6’ 1” wide. 32

Figure 20-20 KONRAD WITZ, Miraculous Draught of Fish, from the Altarpiece of Saint Peter, from Chapel of Notre-Dame des Maccabées in the Cathedral of Saint Peter, Geneva, Switzerland, 1444. Oil on wood, approx. 4’ 3” X 5’ 1”. Musée d’art et d’Histoire, Geneva. 33

Figure 20-21 MICHEL WOLGEMUT and shop, Tarvisium, page from the so-called Nuremberg Chronicle, 1493. Woodcut,1’ 2” X 9”. Printed by ANTON KOBERGER. 34

Figure 20-22 MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480–1490. Engraving, 1’ 1/4" X 9". Fondazione Magnani Rocca, Corte di Mamiano. 35

Understand the need for sacred sculpture and new sacred art. Examine the growth of devotional altarpieces, the media, and individual artists. Burgundian Wealth and Art 36

Examine the large numbers of private and public devotional art created at this time. Identify specific artists, their respective styles and their key works of art. Understand the relationship between religious and secular authority in the development of art. Examine the rise of portraiture and self-portraits. 20.2 Flemish Public and Private Devotional Art 37

Examine the complex illusionary images of the Flemish artists, especially noting the development of a single vanishing point. Flemish Public Devotional Art 38

Examine the private devotional art created at this time. Understand the illusionistic devices in painting, the atmosphere of the private home, and the attention to symbolism. Private Images 39

Examine the rise of portraiture and self-portraits and the social and economic factors that made portraiture desirable. Portraiture and the Growing Interest in Secular Art 40

Understand the royal court art in France and the integration of the sacred and the secular in art. Examine the art that developed in Germany and in the Holy Roman Empire. Comprehend the variety and types of media used in art in this period. Identify specific artists, their respective styles, and their key works of art. Examine the development of graphic art, especially in Germany in the 15th Century. 15th Century French and German Art 41

Understand royal court art and the integration of the sacred and the secular. Identify specific artists, their styles, media and works of art. French Sacred and Secular Art 42

Examine the art patronage interest in private piety and familiar themes. Identify specific artists, styles and works of art. 15th Century German Art 43

Examine the development of graphic arts, especially in Germany in the 15th Century. Understand the processes that were developed in relief and intaglio printmaking. Development of Graphic Arts 44

What were some of the most important innovations in art media and spatial techniques at this time? How does the court and wealthy merchant patronage shape the content and appearance of religious and secular art? Why does the portrait – absent in art for nearly 1000 years – return in this period? Discussion Questions 45

Gardner’s Art Through the Ages, 13e