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- METROPOLITAN DIPTYCH
- Jan Van Eyck
- 1438
- -depicts the key moment of history(crucifixion) and the end(last jedgement)
- -crucifixion, lots of figures, great landscape in back
- -Erythraean Sybil bottom right(red) INward looking
- -sense of cosmic(moon) interesting perspective
- -people breaking frame, tremendous range of response
- -amazing hell scene, no space- end of time
- -great demons and monsters, everyone getting eaten
- -skeleton giving birth to sinners
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- -iconic and timeless, just 4 most important figures
- -made christ look human, no neck
- -strong colored women (mary and magdalene) john looks weak
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- GHENT ALTARPIECE (closed)
- Jan Van Eyck
- 1432
- -prophets and sybils at top, annunciation in middle, comissioners and St John the baptist and john the evangelist at bottom
- -three distinct levels of realities
- -commissioners in niches like sculptures nect to St John's painted in resi
- -consistent east shadows throughout
- -intermediary level in middle
- _Gabriel and Mary have words coming out of them->speaking to eachother, Mary's words upside-down and backwards
- _Gabriel's wings bring color to area
- -Great naturalistic detail of light and reflection
- -incredible detail of town through windows
- -Transformatory Perspective--->Changes Level of Reality
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- GHENT ALTARPIECE (open)
- Jan Van Eyck
- 1432
- -variety of figure-> individuals, all ages and sizes
- -great detail of the new eden, recognizable flora and fauna
- -ongoing landscape-> road leading out
- -New Jeruselum in background
- -figures in bottom corners seem to be moving inward
- -variety of flora and fauna to represent his travels
- -great craggy rocks->nature represented as something barren and challenging
- -Adam and Eve fit into composition-> facing center
- -they have long lines, putting attention downward
- -we are looking up at them, while they look down
- -shame and humility defined by shadows
- -Adam has sunburned hand->representd as laborer->everyday man->vulnerable
- -Adam and Eve is Us, We are them
- -perspective, can see bottom of Adams foot
- -suggests we are at the bottom, working our way to the top- Jeruselum
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- DESCENT FROM THE CROSS
- Hans Memling
- 1480
- -copy after Hugo's, 15 yrs later
- -more symmetrical-> figures leaning out rahter than in
- -diagonal fall lines leadin out-> moves eyes away
- -no one is looking out ar viewer
- -none of the nourners are even looking at Jesus
- -figures aren't as powerful, distingenuine gestures
- _theatrical, actors, literal(tears)
- -stiff, dorky figures
- -tries to hard to connect the two panels
- -landscape takes away from drama
- -clarity of figures and sharpness-> loses drama
- -Christ looks much lighter, held up by findertips
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- DESCENT FROM THE CROSS
- Rogier Van Der Weyden
- 1435
- -no setting, gold background
- -compressed stage-like composition, range of emotion
- -glassy naturalistic tears roll down Mary and Mary Magdalene
- -very different than Jan Van Eyck; Rogier is after emitting devotion and emotion from viewer
- -balanced composition, figure distributed evenly
- -not rigidly symmetrical; rythm of figures "dance-like"
- -concerned with an isolated part of the narrative
- -wants to spark devotion and compassion
- -Mary depicts the ideal of "suffering with Christ"
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- ST. LUKE PAINTING THE VIRGIN
- Rogier Van Der Weyden
- 1435
- -Luke close to Madonna, examining her face-> Pure active looking, no thoughts
- -less seperation, opposition-> straightforwardly pious
- -simplified version of Eyck's landscape in Rolin Madonna
- -very different look on Luke's face than Rolin, artist, looking carefully
- -beams form cross- symbol of the world, at top of trinity portal
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- PORTRAIT OF A WOMAN
- Rogier Van Der Weyden
- 1440
- -hard to read her expression->firm jaw
- -turned in upon hersilf, great lips
- -hands importatn part of portraits->rings show status
- -understated sexuality, red belt, big lips, shear neckline
- -friction of tight but shear headdress
- -subtle tonality and use of planes
- -slanted eyes from pulled back hair, narrow shoulders, pale skin flattens her out
- -side glance, composition flattened from blank black background
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- CRUCIFIXION TRIPTYCH
- Rogier Van Der Weyden
- 1445
- -Mary Magdelene on left, St. Veronica on right
- -donors in iddle panel
- -more of a landscpae->depth
- -floating drapery adds triumphant note (coined by Rogier)
- -space between donors and figure->not actually there
- -donors obviously teo different devotions (up&across) unlike Jan's subtle interiority.exteriority
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- ENTOMBMENT
- Rogier Van Der Weyden
- 1450
- -speculated self-portrait of Rogier as Nicodemis (right of Christ)->sense of self
- -higher point of view, symmetrical
- -tomb laid down for viewer to see
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- LAST JUDGEMENT ALTARPIECE
- Rogier Van Der Weyden
- 1443
- -Rolin and wife- donors
- -St. Michael in middle
- -little glimpse into hell on right-> end of earth
- -move horizontally into hell->by choice
- -very different than Van Eyck's-> vertical, more dramatic
- -Michael very calm and angelic
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- ST. BRUNO- PORTRAIT OF A CARTHUSIAN
- Petrus Christus
- 1446
- -artifice in frame (engraving "Petrus Christus made me")
- -side glance of corner of eyes-> self-awareness
- -not the same iteriority as Van Eyck (not all the layers)
- -naturalistic fly walking across frame
- -suggestive that he's infront of window beacuse of lighting
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- ST. ELROY- PATRON SAINT OF GOLDSMITH
- Petrus Christus
- 1449
- -flat colors
- -levels of reality: convex mirror-> people in market, court, man, woman, and falcon (street empty)
- -reflection doesn't tie into scene
- -not that many levels-> not as much going on as Eyck
- -great detail in light reflections-> glass
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- PORTRAIT OF MADONNA AND CHILD IN AN INTERIOR
- Petrus Christus
- 1446
- -looks back to Campin and Van Eyck's interiors
- -not too much interest in scene
- -isolated iconic scene, no extended narrative
- -interior works only as a familiar space
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- NATIVITY
- Petrus Christus
- 1450
- -not many levels of reality, just carved wood
- -symbols: joseph's shoes off (acred ground)
- -landscape, sweet but not as interesting
- -threshold made by frame
- -no complexity to figures
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