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- BEARING OF THE CROSS
- Hieronymus Bosch
- 1500-10
- -turns mankind into demons
- -Christ (and veronica) shown as good and the rest are evil
- -taken out of narrative, and frozen in time
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- PRADO EPIPHANY
- Hieronymus Bosch
- 1510
- Exterior:
- -shous the mass of St. Greggory
- -compared to Ghent Altarpiece:
- -donors have similar position (but not in niche)
- -unlike the radual progression of Ghent
- -levels of reality
- -odd progression through artificial world of resi
- -leaps from donors to life of Greggory
- -not orderly and clear progression
- -difficult for viewer to move closer to Christ
- Interior- Adoration of Magi:
- -Joseph oddly in backgroun, not behind Mary, like usual
- -landscapes full of death and violence
- -strange scene of battle
- -entire world of evil in background
- -devil figure "anti-christ" coming out of shed
- -standing in threshold
- -closed negative medieval world view
- -usually a stronger architectural setting-> warped around Mary
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- ADORATION OF THE MAGI
- "Ufizzi Altarpiece"
- Albrecht Durer
- 1504
- -borrowed from Weyden's 'Columba Altarpiece'
- -figures spaced out rythmically- creates narrative
- -two main figures on central axis (looking 2 ways)
- -used archetecture to frame figure and moving left->right into distance
- -borrowed from Goes' 'Monforte'
- -Mary moved off central axis
- -partially seen architecture to create orthogonal lines
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- PAUMGARTNER ALTARPIECE
- Albrecht Durer
- 1504
- -huge leaps in scale, time, and space
- -St. George and St. Eustis n outer panels portrayed as the faces of the donors
- -figures who arrive in background-middle SIMILAR to shepherds arriving in Portinari
- -large jumps in scale cause viewer to be aware of where they are
- -provides different points of view of different people
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- NATIVITY "WEIHNACHTEN"
- Albrecht Durer
- 1504
- -completly different exerience-large jumps in scale cause viewer to be aware of where they are-provides diferent points of view of different people
- -no focus on one character, more focus on architecture, Mary in the shadows
- -humility in the hunched over figures
- -incredible description of the variety of textures- layers of architecture
- -where the darkest shadows lay the holy
- -narrative described through texture and depth
- -amazing use of shapes
- -you, the beholder becomes actively involved
- -print invites quiet meditation
- -more of a private piece (treasure) than large painting
- -functions as domestic interior (endless thresholds)
- -texture comes from interest in narrative
- -Center of Experience Shifting from Work of Art itself to the Beholder
- -as a graphic artist, Durer had a tremendous amount of freedom in content
- -incredibly motivated-could crank out etchings way faster than paint
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- LIFE OF VIRGIN- 17 woodcut series
- Albrecht Durer
- 1511
- -arches and architecture refer to Portinari and Columba
- -work as threshold
- -also refers to Weyden's Miraflores Altarpiece
- -arch acts as instant reality added, thresholds
- -creates a left->right movement, continuous narrative
- -'Annunciation', 2nd in cycle- complicated layering (overlapping arches)
- -plays with openness and closure
- -'Nativity', shepherds entering threshold (portinari)
- -throughout cycle, viewer stands to the left of each image->forcing is to want to move right
- -recalls the Stein Quad-> dynamic and self conscience response; shifts in scale and perspective
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- COAT OF ARMS OF DEATH
- Albrecht Durer
- 1503
- -drawing upon old chivalric characters ('the wild man')
- -commentary on culture; floating on white page
- -associations, to viewer: beware, be aware
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- PROMENADE
- Albrecht Durer
- 1504
- -play on medieval life
- -death behind them
- -strong woman, looking off, not paying attention to man
- -sex and death go together
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- FALL OF MAN
- Albrecht Durer
- 1504
- -quoting Apollo Belvedere and Venus, classical figures
- -classical contrapposto pose
- -figures stand in front of forrest and their light coloring make them stand out(statuesque)
- -figures fill frame
- -forrest suggested as wild unknown realm
- -classical idealized figures infront of wild unknown forrest setting
- -Durer refuses to make entirely idealised image- uses forrest to play off the figures
- -not very integrated into background
- -dark and unclear forrest breaks frame while figures fit perfectly
- -ideal figures about to FALL into dark reality
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- COLUMBA ALTARPIECE
- Rogier Van Der Weyden
- 1455
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