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- DIPTYCH of MARTIN VAN NISWENHOVEN
- Hans Memling
- 1480
- -convex mirror-> suggests Martin is sitting next to Virgin
- -Virgin's drapery breaking frame
- -Martin has look of genuine awe-> raised eyebrows
- -selfless devotion
- -contrast in facial expressions between Viring and Martin
- -different levels of reality yet suggestions of common space
- -icon and narrative coming togher
- -windows provide alternate reality
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- LAST JUDGEMENT ALTARPIECE
- Hans Memling
- 1470
- -heaven on right panel, hell on left, judgement in middle
- -not demons/monsters-> "you are you're own downfall"
- -deep landscape-> looking back through time
- -doors: donors and sculptures of Virgin&Child, St. Michael
- -very realistic, no second guessing/thinking
- -sculpture IS sculpture, figures ARE figures
- -both figures looking up in devotion
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- SEVEN JOYS OF THE VIRGIN
- Hans Memling
- 1480s
- -continuous, consecutive narrative across landscape
- -attempt to show everything
- -looses all drama of the individual scenes
- -brings time and space together (unlike Eyck, time happens beyond space)
- -complete confined image (no questions left unanswered)
- -no personal relationship to scene
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- ALTARPIECE OF THE HOLY SACREMENT
- Dirc Bouts
- 1464
- -four scenes of prefiguration of the Last Supper
- -diagonal lines break up landscape into triangles providing recession in space
- -stoic faces-> shift from the "spaced-out" expression-> becomes serious
- -"gathering of mana"(bottom left) dark, deep landscape
- -central panel-> serious apostles; great space (windows= thresholds)
- -deep spaces on wings, contained space in center
- -not as graceful as Rogier's
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- ST. ERASMUS ALTARPIECE
- Dieric Bouts
- 1466
- -getting his guts spun on spindle, grizzly, gory
- -forshortening and great depth
- -grizzly details, spinner bitting lips
- -observers, saints in wings
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- VIENNA DIPTYCH
- Hugo Van Der Goes
- 1470
- -two narratives put together as diptych
- -outside of left wing: "St. Genevive" painted in resi
- -figures in Fall of Man similar to Eyck's Ghent Altarpiece
- -figures of Adam and Eve-> Adam blank gaze
- -Eve- contrapposto, caught in a pose of reflection (indecision)
- -diagonal lines echoed between the two panels
- -Deep Parody-> dawned on Eve, not on Adam
- -two types of 'fall'-> fall of man, fall off the cross
- -both negative sad subjects
- -unusual to have two narrative scenes (usually donor and Madonna&Child)
- -looking at Van Eyck on left, Rogier on right
- -digests their work, doesn't imitate
- -right, figures not as graceful as Rogiers but just as emotionally charged
- -Hugo has hark vision
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- DEPOSITION DIPTYCH
- Hugo Van Der Goes
- 1480
- -takes single scene and seperated into two subjects: Christs descent and Mary's sorrow (reaction)
- -genuine gestures and facial expressions
- -series of falling lines and diagonal, assymetric
- -even though christ isn't full length there's a great sense of weight of the dead body
- -body tipped toward viwer(eucharistic presentation)
- -the half portrait of figures draws you in more
- -feel like you're part of the scene
- -left panel toward viewer, right at angle
- -dynamic composition
- -closterphobic space-> figures taking up almost all of composition
- -ups the devotional anty
- -isolating scene from narrative context but gaining devotional quality
- -removed from time and space
- -cut off by frame->infers continuation beyond
- -all figures facing Christ-> brings eyes to him
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- MONFORTE ALTARPIECE
- Hugo Van Der Goes
- 1472
- -based on the Columba Altarpiece by Weyden
- -shifted figures, to an angle (Mary, kitty corner)
- -viewer brought into scene, under the roof
- -seems 3D, orthoganal lines in architecture
- -great baby! mortal, human
- -landscape: great, group of people hanging out, water reflection
- -amazing faces- Baltizar, amazing 3D, great shadows on face
- -Joseph put right on threshold of profane and sacred
- -in doorway, serious face with ferrow brow
- -quiet and demure Madonna- more somber
- -hands of figures are highlighted (strange lighting)
- -Caspar is now the center figure, Mary to side
- -move away from iconic Virgin central
- -Mary has a gravitational force-> all the figures seem to be pulled toward her
- -Columba- figures flattened, no gravity, panned out->Very Different
- -move to Modernity-> takes Mary out of central axis
- -puts beholder in her place
- -figure on center axis (in background) blatanly looks away from the sacred (heretic)-> thought to be Hugo Van Der Goes self-portrait
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ADORATION OF THE MAGI copy after lost Van Der Goes
- -has a left->right composition narrative
- -strong linear flow
- -thought to have been before Monforte Altarpiece
- -relationship of Caspar and figure behind him: -background figure possibly shepherd (clothing)
- -Caspar has blank stare (pure devotional seeing)
- -shepherd in contrapposto
- -he's the 'fool'-> always with the king
- -act as counterparts "Parodic Double"
- -shepherd defined by window
- -green and yellow are the colors of the fool
- -Caspar and fool on threshold of sacred and profane (limenal characters)
- -ambivilent characters-> positive and negative attributes
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- PORTINARI ALTARPIECE
- Hugo Van Der Goes
- 1475
- -landscapes in wings, motion pointing down and central to baby jesus
- -opposite directionals than Ghent Altarpiece
- -eyes start at bottom and end at topmiddle to God
- -this piece has a more oppressive tone (Goes' dark views)
- -left panel: St. Anthony, St. Thomas in winter, rocky landscape-> proves nature being potentially threatening
- -center panel: sacred circle of figures
- -liturgical and narrative elements
- -angels wearing robes associated with church
- -wheat on ground mimics body of christ
- -pushing scale-> levels of reality
- -dialouge of hands around circle
- -Mary dayk and somber (dark dress)
- -as shepherds enter the threshold of the shed-> becomes transformed (positive)
- -more resolved perspective than Monforte (hovering over scene)
- -Hugo's Monforte and this one are FIRST partial architecture in as altarpiece
- -use of orthoganal lines
- -careful, clear lay out of figures-> no overlap
- -darker imagry: Christ baby-> rigor mortus
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- ADORATION OF THE SHEPHERDS
- Hugo Van Der Goes
- 1480
- -plays with scale
- -made this before he became a monk-> heightened spirituality
- -figures fit together in space-> you can see everything
- -christ tipped up to view
- -makes it seem like an altar; Mary and Joseph praying at the altar
- -shepherds flying into scene
- - Mary on central axis, not Christ
- -orchestration of angels faces-> sight variations
- -prophets opening curtains-> showing antoher reality-> artificial time (theatre)
- -extreme jumps of scale: prophets 2x larger (half-portrait) than Mary and Joseph, angels tiny
- -angels there to invoke the liturgy, not just to fill space
- -prophets- one looks out, one looks in
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- DEATH OF THE VIRGIN
- Hugo Van Der Goes
- 1480
- -Christ and angels belong to a different scale than Mary and the apostles
- -also different faces (holy have rounder faces)
- -range of disturbing, deathly faces of prophets
- -aggitated bony hands (create a circle of hand gestures)
- -Mary-> oddly forshortened
- -oreal doesn't seem like 3D globe, but flat
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- NIGHT NATIVITY
- Geertgen Tot Sint Jans
- 1484
- -sweet and charming
- -darkness of painting make it half-length
- -the most sacred is most light->source of all light
- -figures don't have psychological depth
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- ST. JOHN BAPTIST IN WILDERNESS
- Geertgen Tot Sint Jans
- 1484
- -landscape beautiful; becomes extension of the interior mind
- -St. John in pose of Meloncholy
- -concern with your place in the world
- -thoughtful and quiet
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- MARY OF BURGUNDY- AT HER DEVOTION
- HOURS OF MARY OF BURGUNDY- illuminated manuscript
- 1475-82
- -sense of an open window- meant to be illusionistic
- -the vanity of worldly things in foreground
- -shown again in church scene- a vision
- -Madonna off-centered, informality, modernized
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- NAILING OF CHRIST TO THE CROSS
- THE HOURS OF MARY OF BURGUNDY
- 1475-82
- -items of luxury in foreground
- -entourage of people viewing Christ
- -figures looking over their shoulders bring the viewer in- let you know where you stand
- -can you get past your worldly desires to understand Christs crucifixion?
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- STEIN QUADRIPTYCH
- Simon Benning
- 1515-20
- -64 images on vellum painted in body color(5x7 cm each)
- -series of life of Virgin and Life of Christ
- -constant shift in scale and perspective
- -looks like an illuminated manuscript laid out
- -figures break frame
- -borrowing compositions from Weyden and Goes
- -emphasizes importance on the beholder
- -no full length figures- brings viewer in close
- -leaves image incomplete- for viewer to figure out
- -keeps motion in total piece
- -more privatized devotion "divotsio moderno"
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- CHRIST PRESENTED TO HIS PEOPLE
- Hieronymus Bosch
- 1500-10
- -looking back at Van Eyck
- -figures of donors painted over in bottom left
- -figures on bridge look like Eyck's Rolin Madonna
- -here figures look down- turns it into negative rather than the inward/outward figures of Eyck
- -all figures have grotesque heads- no ideal
- -don't have ability of the interiority
- -negative view of mankind
- -christ depicted as human, effected by crowd
- -figure looks like Adam being expelled (humility)
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