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- MADONNA of CANONICUS VAN DER PAELE
- JAN VAN EYCK
- 1436
- -strange tiny hands
- -madonna has jewels on cuffs (illusion)
- -amazing naturalism (old man)-> illusion of wrinkles
- -endless symbolic images, in some sort of round building (apse?)
- -no direct connection to outer world- except small windows
- -figure all same scale, round room creates enclosure
- -intimate; incredible effects of gold
- -different levels of artifice
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- ST LUCY ALTARPIECE
- DOMENICO VENEZIANO
- 1445
- -two urban saints and two nature saints-> balance and equality
- -spacial confusion-> where in the church are they?
- -not much concern with reflective light-> like van eyck
- -figures placed in separated 3 portals
- -madonna's huge; not intimate (distanced form view)
- -figures both looking inward and outward
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- WINGS of DRESDEN ALTARPIECE
- JAN VAN EYCK
- 1430
- -annunciation scene, statue of Gabriel and mary
- -marble frames
- -consistent light source
- -illusionistic -> painted in resi
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- ANNUNCIATION DIPTYCH
- JAN VAN EYCK
- 1434
- -illusionistically painted, in resi
- -reflections in back
- -suggestion of depth between frame and painting
- -straight forward narrative
- -writing on frame
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- LEAL SOUVENIR
- JAN VAN EYCK
- 1432
- -portrait- internality, all painted
- -hands very important! interplay of hands and head
- -what they do? what they think?
- -blocky features-> doesn't look like aristocrat
- -'souvenir' means memorial
- -reference to gravestone, lightly leaning on stone
- -figure comes out of darkness
- -many different languages painted
- -head and face larger than body
- -likely to have been commissioned by Philip the Good
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- MAN WITH the RED TURBAN
- JAN VAN EYCK
- 1433
- -interiority to portrait
- -possibly self-portrait, gold frame with date 1483 OCTOBER
- -why do we think that? looking out, NO hands
- -can barely make out outline of body
- -great description-> 5 oclock shadow, fur collar, veins
- -illusionistic, realistic
- -no setting but freat depth, brings face forward
- -text says "jan van eyck made me" "as best I can"
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ar 
- ARNOLFINI WEDDING
- JAN VAN EYCK
- 1434
- -Giovani Arnolfini- wealthy banker (involved with Philip Good court)
- -portrait of wedding, one of FIRST in domestic portraits
- -beginning of portraits in a context (interior)
- -sacredized domestic interior with tons of symbols
- -taking off shoes= sacred ground
- -dog-> fidelity and lust
- -candle- symbol of christ
- -still like on table- passage of time, fruit that rots
- -convex mirror in back; hands join in front of gargole (protection and lust)
- -so many day to day associations
- -light from window lights her up
- -hes next to window-> connected to outside world; defined by light and shadow
- -she's next to bed-> domestic; lit up with color
- -undercurrent of sexuality- suggestive, skirt lifted
- -he's inward thinking whereas she is looking out, at him
- -above convex mirror written on wall "Jan Van Eyck was here"
- -convex mirror-> 2 people between couple, witnesses
- -most illusionistic passage in painting
- -see more of them, the landscape, and the table in mirror
- -2 doorways on background-> portals of reality
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- LAS MENINAS
- VELASQUES
- 1556
- -man on left, very dark and elegant
- -princess dressed in white, courtly figures surrounding her
- -people in back defined by light and shadow-> most real
- -palace interior, one main light source
- -strange reversal , with 8ft canvas in foreground
- -room full of painting collection
- -king and queen depicted in background through mirror
- -more depth to space
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- ROLIN MADONNA
- JAN VAN EYCK
- 1433
- -chancellor Rolin at highest devotion, having vision of madonna and child
- -in Renaissance period loggia
- -Nicolas Rolin-> powerful banker and head-chopper
- -has a lot to pray for
- -above him on column capital depict negative scenes of bible (expulsion, drunken..)
- -above Virgin is positive scene from bible
- -no introducing figure between Rolin and madonna; direct relationship
- -Rolin outward looking-> almost looks through Virgin; Madonna inward looking
- -Virgin and Rolin same size and level
- -Rolins hands same height as baby jesus
- -Rolin visibly aware of his wrongdoings-> face is reflective
- -LANDSCAPE very important!
- -bridge connects vineyard to cityscape (city of god)-> also connects Rolin and Virgin
- -Triple portal- trinity
- -three part separation: rolin/jesus/virgin, vineyard/water/city, trinity
- -emphasis on opposition!! vertical/horizontal
- -outward and inward theme: rolin/virgin, 2 figures on balcony, 2 peacocks
- -line of tiles between rolin and virgin lead eyes straight to landscape
- -INTERIORITY OF VISION
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- ST BARBARA
- JAN VAN EYCK
- 1437
- -illusionistic frame
- -painted to look like incised marble
- -painted to resemble drawing
- -she aligned with tower behind her, robe spread out
- -tower still being built
- -back to church, looks inward
- -new for sketch-like art to be signed and framed
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- SAINT LUKE PAINTING the VIRGIN
- DIRCK BAEGERT
- 1470
- -small triptych, joseph and small jesus working on right
- -st luke writing gospel on left, dog domesticates scene
- -middle, virgin seemingly in church
- -old testament left, new on right
- -full of windows and doorways-> realities
- -convex mirror in background-> levels of seeing
- -radically different time periods in panels
- -not continuous narrative
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