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Lecture 10

ARTHI 6B Lecture 18: Lecture #10

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University of California - Santa Barbara
Art History

1. What does “Renaissance” mean in the context of northern Europe? Curiosity about the individual ● Portraiture ● Self aware artist Curiosity about the natural world ● Descriptive naturalism 2. How does patronage shape the form and content of art in northern Europe? Courts and the development of Ars Nova Wealthy urban patrons and domestic art ● New forms of portraiture Wealthy urban patrons and devotioanl art ● Books of Hours ● Altarpieces 3. How do devotional practices lead to distinctive forms of pictorial narrative? Desire for mystical experience Empathetic viewingExxtermely humanisiing images Desrie to flesh oout sparse biblical narratives Mages to evoke emotions-- narrative and descriptive natalism Alberti’s “On Painting” discusses the development of art theory and critical audiences. Leon Battista Alberti= architect and theorist. Discusses new status of artist, makes painting like a liberal art, rather than craftsman. New kind of audience. Created a critical vocabulary for judging art. Northern Renaissance ● Netherlands, Belgium, Luxembourg, Burgundy ● 1400s-1500 Cultural developments ● Development of urban centers and trade ● Wealthy burgher class needing goods ● Printing press Artistic developments ● Oil paints= translucent, layered, gentle gradation of color, blending ● Guilds and workshops Renaissance in Italy ● “Rebirth” of the classical ● Classical antiquity= Greek and Roman world (5th cen BC- 4th cen AD) ● Natural world ● Illusion of reality ● Art theory Renaissance in the North ● Natural world ● Perfection of creation, sense of wonder ● Illusion of reality ● No interest in classical antiquity ● Ideas of art pictorially Rogier van der Weyden, St. Luke Painting the Virgin, 1435-40, oil on panel Patron: St. Luke’s Guild (painters and sculptors) Display context: chapel of St. Catherine, St. Gueule (Brussel’s main church) ● St. Luke is painting the virgin. ● He miraculously arrived in the room with the virgin and child and painted their portrait. ● Naturalising figures, don't even have halos, look like any mother and child (we know who it is because we know the biblical story) ● Very complex and illusionistic space ● Column with barrier leads to gardens, then the city beyond ● Figures very close to us in the foreground ● Virgin is shown as divine with a cloth of honor above her ● Ox (Luke’s evangelist symbol) ● Very naturalised, subtle symbolism ● Convincing depiction of textures ● Gentle gradations of color ● urban/rural landscape ● Used to justify sacred images ● Artist interested in elevating their craft by making it more noble (religious image) ● Details demonstrate the skills of the artist ● Narrative image, portraiture in a unified space ● Mathematics (perspective) to create realistic and illusionistic interiors/spaces ● Durer= “Artist should have knowledge of traditions… theory”. Why is St. Luke important to painters? Official painter of Brussels How can this painting be read on multiple levels? How does this work connect to the broader context? Painter’s guild asked for he work, shows the growth of artists. Painter’s Guild= a workshop of artists ● Master and many young apprentices ● Apprentices 12-14 years ● About ⅓ masters ● Guild system important in Renaissance ● Different people learning different skills ● Very collaborative ● Regulated the profession of art ● Supported to rising wealthy burgher class ● Sold works at fairs Limbourg Brothers, Les ̀ Riches Heures du Duc de Berry, France, 1413-16, illuminated manuscript Artists: Patron: Duc de Berry ● Collector of art ● 300 manuscripts ● 10 castles, 50 swans, 1500 dogs, etc ● Love of the rare, fine and rich ● Son, brother, uncle of three French kings ● Loved small exquisite objects ● Three Limbourg Brothers got years to work ● Met during the etrenne (trade
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