-
- HOURS of the DEAD from Rohan Heures
- ROHAN MASTER
- -man's soul being carried away by demon
- -rigormortus, unidealized, cramed in teh frame
- -man speakds to god in latin, god speaks back in french
- - rohan messing with the religion
- -huge weary figure of god
-
- 3 LIVING 3 DEAD
- PSALTAR OF BONNE of LUXEMBOURG
- 1440
- -3 aristocrats doing their thing, falconing
- -3 dead gesturing to aristocrats
- -luxury associated with death (and sexuality)
-
- WELL of MOSES
- CLAUS SLUTER
- 1400
- -traditional medieval format, renaissance face
- -short and stout (away from Int'l style) heavy drappery
- -Issiah on well represents physical gravity=moral weight
- -relective of Donatello's Zucconi
-
- PORTAL of CHARTREUSE de CHAMPMOL
- CLAUS SLUTER
- DIJON
- ~1400
- -figures half Int'l style half Renaissance
- -personal relation happening across architectural space
- -dynamic, symmetrical
- -looking at an act of devotion, still
- -hierarchy, the virgin large
- -flowing drappery
-
- SEILERN TRIPTYCH
- 1420
- ROBERT CAMPIN
- -altarpiece, awkward arches, gold background (embossed with grapevines)
- -subject: the deposition (body and blood of christ over altar)
- -donor on left panel, observing
- -emotion in faces, suggestion of continuous narrative
- -discontinuous setting
-
- MARRIAGE of the VIRGIN
- ROBERT CAMPIN
- 1420
- -altarpiece
- -virgin pushed out of frame, suggests movement
- -lots of different distinguished faces
-
- GLORIFICATION of the VIRGIN
- ROBERT CAMPIN
- 1420
- -landscape and cityscape on horizon
- -heavy throne, too big
- -disjunctive, supposed to be having a vision but looking at other guy
-
- DIJON TRIPTYCH
- ROBERT CAMPIN
- -sculpture on teh inside, guilded wood
- -paintings on outside, 4 stories of life of mary and christ
- -architecture used to frame saints
- -looks like late gothic cathedral
- -abstract symbolism holds all of teh stories of christ together
- -awkward perspectove of architecture
- -divide stories by interior and exterior
- -guilded frame and carvings make it an object
- -sculpture take precedent over painting
-
- TRINITY with the PIETA
- JEAN MALOUEL
- 1400
- -tondo, shape of circular painting
- -no setting, gold sky:abstract, lifted out of our time and place
-
- CHRIST on the CROSS and MARTYRDOM of ST DENIS
- JEAN MALOUEL
- 1416
- -crucifiction in center, lively narrative
- -gold sky
- -see st denis getting head chopped off
- -trying to be held together by crucifiction, doesn't flow
- -halo stays on beheaded head
-
- DIJON NATIVITY
- ROBERT CAMPIN
- 1420
- -first scene of nativity in realistic landscape
- -birth of christ, only one figure in aristocratic garb
- -realism as description->naturalistic
- -virgin gown similar to salting madonna
- - first real cast shadows in western art
- -great landscape (atmospheric effects)
- -sun rising- naturalistic
-
- MADONNA AND CHILD BY FIRESIDE
- from HERMITAGE DIPTYCH
- ROBERT CAMPIN
- 1430
- -first sacred in domestic interior-> humanizes Virgin
- -sacred portrait of madonna-> looking down on scene, see more
-
- SALTING MADONNA
- ROBERT CAMPIN
- 1430
- -lots of texture, fur, woven wood, wood
- -scene of city out window-> realistic domestic
- -bold image of madonna, massive earthy figure
- -window->relationship between interior and exterior
- -seemingly in castle->wall out window and way up high
- -more to experience than what is visable
- -radical! altar and eucharist in domestic
- -interval between illusion and reality
-
- MADONNA and the CAT
- REMBRANDT
- 1654
- -window acts as halo, throne up high on left
- -serpent coming out from her dress
- -most real are the hardest to see-> faces and gestures
- -most true is most ambiguous
-
- MERODE ALTARPIECE
- ROBERT CAMPIN
- 1425
- -1st scene of Annunciation in a domestic interior
- -commissioner on left panel
- -no halo, so God the father, Virgin doesn't know Gabriel is there yet
- -commisioner opening door, letting angel into Virgin's room, interupting her day-> angel placed above virgin
- -moving from one reality to another
- -approximate one point perspective in middle panel (we are looking down)
- -everyday light of candle is taken over by divine light entering window
- -smoke from candle, great detail
- -great detail and naturalism (door-nails and hinges)
- -left panel-great detail, birds, scene through gates
- complete paradox: small door, elongated beach, upturned table
- -doorway and windows everywhere-> levels of reality
- -Joseph building mousetraps-> temptation (mouse trap out window- in world)
- - cityscape in background
- -all the tools are very descriptive
-
- DRESDEN TRIPTYCH
- JAN VAN EYCK
- 1437
- -st michael on left with commissioner
- -st catherine on right with little book of hours
- -all around frame, inscriptions, also around virgin's dress
- -unbelievable details
- -imperial image of madonna and child, regal
- -eyck more naturalistic and illusionistic he became the more powerful he became
- -illusion of gold, nicer/prettier faces than campin
- -takes decorative and beauty and heightens them to the point where they come back down to our world
- -connections to int'l style but something different
- -constant questions of proportional relationships
- -frame-> illusion of carved (but painted) inscriptions
- -madonna in bright red large robe, great baby
- -in church but has aristocratic cloth of honor
- -sense of formality, centralized
- -st Catherine covered in jewels and velvet-> very internalized
- -incredible landscape-> makes scene relatable
|
|
