The Early Renaissance (1400-1500)
Look for:
- representation of natural world in a real way
- humanism - human values and interests
- ethics, philosophy, art, literature
- things that enrich human life
- individualism
- individual artists become famous
- individual artist styles
International Gothic Style (early 1400s)
- intuitive perspective - use objects to give sense of depth
- shifted space to show things to viewer
- attention to detail - expression
- lavish use of color
- very expensive materials used in creation
Limbourg Brothers, Les Tres Riches Heures du Duc de Berry, (February), 1413-1416, colors and ink on parchment
- illuminated
- calendar
- for private use - prayer, ritual
- focus on religious imagery
- real life activities, atmosphere, weather
- spatial recession = depth
- intuitive perspective
Robert Campin (Master of Flemalle), Merode Altarpiece, 1425, oil on panel
- in Flanders
- rich, sophisticated, lots of trade
- wealthy patrons
- active in the first half of the 16th century
- triptych - 3 panels
- altarpiece - placed behind a Catholic altar
- disgused symbols
- shadow and shading
- intuitive perspective
- bench and table twisted, people too big
- attempt to show all details
- Mary seated on floor = humble servant
- red dress = humble
- blue dress = Queen of Heaven
- gold trim on dress = suggests Queen status
- Holy Spirit in top left corner, turns Bible pages
- candle just blown out
- Holy Spirit just entered
- incarnation of Christ = new light
- lilies = purity and chastity
- vase materials = Eucharist
- basin with water and towel = purity, washing away sins
- vessels = people are vessels, Mary is a vessel
- Christ enters the window without breaking it, so Mary is impregnated
without losing virginity
- symbols set on diagonal, point to Mary
- partons looking on, not part of action
- sense that they helped make it happen
- rose without thorns = Virgin’s chastity, Christ’s sacrifice
- violets on ground = humility
- Joseph portrayed as a Reniassance artist
- making mousetrap to catch Satan
Jan Van Eyck, Anunciation, 1434-1436, originally oil on panel
- wanted to show world in a real way
- master of oil painting on panel
- layered glazes let light penetrate to white surface beneath = illuminate
- rays of light in back
- blue robe
- in a church = Mary as symbol of Christian church
- real gold for light and Gabriel’s robe
- aquamarine blue was very rare
- Gabriel and Mary actually speaking to each other
- spirit of Christ riding on rays of light
Jan and Hubert Van Eyck, Ghent Altarpiece (exterior), 1434-1436, oil on panel
- God the Father between Mary and St. John
- blue robe
- emphasis on richness of textiles
- bottom panel - mystic vision of adoration of Lamb of God
- Adam and Eve on either side
- naturalistic
- dark space behind emphasizes 3-dimensional model
- Eve may be pregnant
Jan Van Eyck, Portrait of Giovanni Arnolfini and His Wife/Arnolfini Wedding, 1434, oil on panel
- Arnolfini
- prosperous businessman in Flanders
- made money in textiles
- rich textiles in painting
- says “Jan Van Eyck was here” - he was a witness to the event?
- marriage? handing over legal matters to his wife?
- mirror = all-seeing eye of God / purity?
- passion of Christ depicted around mirror
- dog = fidelity
- bread = wealth
- shoes off = home is holy ground
- single candle = light of Christ / marriage candle
- fruit = fertility / uneaten fruit before The Fall
- carving of Saint of Childbirth
- rosary = Mary
- male figures more individualized
- female figures more idealized / generalized
Jan van Eyck, Man in a Red Turban, Flanders, 1433; oil on panel
- says “the best that I am capable of doing”
- sitter meets viewer’s gaze
Rogier van der Weyden, Portrait of a Lady, Flanders, 1460; oil on panel
- more emphasis on physical features
ITALY
Giotto
- most important artist in 14th century
- reintroduced painting, known for illusion and depth
Giotto, Arena Chapel, 1305-1306
-
Giotto, Lamentation, Arena Chapel, 1305-1306
- cliff with tree on diagonal
- people in different grounds
- foreshortening of angels
- figures with back to viewers - includes viewers in scene
- uses light and shading to show volume and weight
- emotion expressed more by angels than people
Reniassance = rebirth of classical period
- striving for order, perspective, rationality, and scientific objectivity
- direct quotations of ancient architecture and art
- change in status of artist
- patronage by private individuals and families
Brunelleschi, Church of San Lorenzo, 1421-1446; Florence, Italy
- one of the greatest architechts of the 15th century
- Basilica plan
- arches and columns
- regularity, similarity, and order
- clearly designed space
- dominated by horizontals for stable, calm space
- scientific / linear / one-point perspective
Donatello, Feast of Herod, 1423-1427
- founder of Italian Renaissance art
- people carved on top of each other
- arches recede into background
- scenes are lighter and smaller as they go back
- empty center leads eye to background with earlier scenes
- linear perspective
- all lines lead to one vanishing point
Donatello, David, 1440-1460(?)
- first life-size sculpture in Italy since classical times
- stylization / idealization of male nude
- contrepasto - weight shift
- not fully developed, boyishness
- supposed to show courage and strength
- helmeted head of Goliath at feet, stone in hand, victory wreath around
head
- symbol of Florentine victory
- commissioned by Medici family
Donatello, Mary Magdalen, 1430-50(?)
- ravaged by age, poverty, hermit life
- no earthly beauty, spiritual beauty
Masaccio, The Trinity, Santa Maria Novella, 1425-1427; Florence, Italy
- influenced by Brunelleschi’s architecture
- distanced columns
- ceiling
- uses linear / scientific perspective - ordered, rational
- “what you are, I once was. What I am, you will become.” - skeleton
- Mary - sorrowful, resigned, patient
- vanishing point at viewer’s eye level
- put nail at vanishing point and tie strings for lines
- fresco technique - painting on fresh, wet, plaster
- water-based paints mix with wet plaster
- chiaroscuro - modeled in light and shadow
Back