ARTH 375 Lecture Notes - Saint Veronica, Panel Painting, Master Bertram

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Published on 21 Apr 2013
School
Queen's University
Department
Art History
Course
ARTH 375
February 5, 2013
Test Format
-three sections
-terms and concepts: 4ish terms discussed in class; extra by
identifying painting where a detail came from (20 mins)
-slide ID (20 mins) 8 and 9 is painting haven‟t seen (4 mins)
>2 mins for each
>key words, why is this work important, why did we discuss it
>give current locations (but key words )
>inches fine, centimetres better (for dementions) always height then
width
-short essay (20 mins)
-not only important painter of his generation (van eyck)
>Master of Flemalle (perhaps same person as Robert Campin) and
Rogier van der Wyden
-dendrochronology and infrared reflectography (possible terms?)
-Tournai (in Flanders)
Master Flemalle
-early 19th c trained stylistic analysis and connoisseurship occurs>
able to distinguish one hand from the other
->exepttion of 1902 v important in development
-workshop production> usually not produced by single hand; even van
eyck had artisans
>had to be member of guild, do masterpiece to become master, etc.
>journeymen got name because moved around for work, had to adapt
their styles to the masters they worked for
-Master Flemalle coined by Hugo von Tschudi> named after three
panels
>discovered in mid-19th century
-St Veronica with the Pseudarium (face of chist)> Vera Icon (where
veronica comes from)
-Madonna and child in centre
-left panel: Throne of Grace/Throne of Mercy> trinity with dead Christ
>god the father holds dead chrsit, dove of holy spirit there
>grisaille (usually exterior of tryptick etc)
-Named the three “Flemalle panels”
Maste Flemalle, The Virgin Mary Nursing the infant Jesus
-tall, verticle dimensions point to it having been wing of a tryptyck
-modelled through line and rhythm rather than color and light like van
eyck
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-cloth of honor behind: makes space very shallow
>also difference than van eyck, he had more sense of depth
Veronica
-also cloth of honor
-difference in how they depict folds: bodies seem heavier, folds are
harder, more linear, emphcizes the verticality of a figure
Throne of Mercy
-heavy folds again
-painted pice of sculpute: imitation sculpture
-three paintings side by side in 2008-2009 Frankfurt and Berlin
-all roughly same size
-reverse of them are gone, planed away
-1990s it was thought to be winfs of triptych with veronica and mary
on interior and throne of mercy reverse of veronica
>has to do with direction of the figures
-with dendrochronology
>veronica made out of two panels, throne of mercy out of three> so
how could it be the reverse then? Thus no way they could be front or
back of same panel
-it could have been part of a carved alterpiece, etc. but we don‟t know
-suggested that these paintings were the wings of der Weydon
„Descent from the Cross‟ (only one who thinks this but imp scholar)
Master Flemalle, Entombment triptyck, 1425
-left wing: donor with three crosses, Christ down, the thieves up (good
and bad thief)> good thief directed towards the body of Christ
-central panel: dead chrsit with two Marys, john Baptist, etc.
-right: resurrection with the sleeping soldiers
-typical iconography for passion of chrsit
>however usually done in sculpture
-however the use of gold leaf very traditional, almost old fashion
(guilded background)
MF, The Bad Thief (fragment), 1430
-bad thief on guilded back
-he‟s turning away from chrsit
-heavy contours, strong folds, modeling is bold almost harsh
-very different take from van eyck> more 3D muscular, but doest
strike prof as painted after life
>realism not main intention here, but to overwhelme
-emphasis on linear
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-background as well as ropes and wounds
-corpse, already passed away, all pale
Master Bertram, The Creation of the Animals
-gold background> old fashion esp after van eyck
MF, Christ Blessing with the Virgin in Prayer
-christ jesture of blessing
-fingers placed on edge of frame> ART NOVa (new art) introduced by
van eyck (elements of it) but with old fashion continuing
-cracks on chrsits face> retouched, prob had been vandalized during
reformation. Protestants didn‟t accept the worships of images
-windows painted in the reflection of gem> really well done
MF< Portrait of Sout Man
-something naïve about it when compare it to van eyck
-see emphasis on linearity
-paint layers more semi opaque, semi transparent> sculbulb
>unlike a glaze that is transparents (jewel like character of van eyck)
-almost characature
MF, Virgin and Child before Firescreen, 1430
-seems characture like or naïve like as above
-a combo of types of virgins
-hard folds, paper folds
-fire screen used as backdrop for the head of the virgin
-zoom into background (window>landscape)
>increadible amount of detail> figures on horse, selling copper pots
MF (or workshop of Rogier van derWeyden) Wings of the „Werld‟
Altarpice, 1438
-from this group, many look alike thus attributions difficult to make
-ex same bench used in Master Merode triptych
MF, Merode triptyck, 1425-1428
-central panel annunciation
>not looking at angel
>in an interior (curious)
-left wing: patrons; stairs entering and door thus painter found it
important to separate the space
-right wing: joseph carpenter in workshop
>suggests they were already married but not true
-The donnors >background image similar to previous window scene>
suggests workshop copied over and over again
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Document Summary

Terms and concepts: 4ish terms discussed in class; extra by identifying painting where a detail came from (20 mins) Slide id (20 mins) 8 and 9 is painting haven t seen (4 mins) >key words, why is this work important, why did we discuss it. >inches fine, centimetres better (for dementions) always height then width. Not only important painter of his generation (van eyck) >master of flemalle (perhaps same person as robert campin) and. Early 19th c trained stylistic analysis and connoisseurship occurs> able to distinguish one hand from the other. Workshop production> usually not produced by single hand; even van eyck had artisans. >had to be member of guild, do masterpiece to become master, etc. >journeymen got name because moved around for work, had to adapt their styles to the masters they worked for. Master flemalle coined by hugo von tschudi> named after three panels. St veronica with the pseudarium (face of chist)> vera icon (where veronica comes from)

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