ART 102 Chapter Notes - Chapter 18: International Gothic, Champmol, Carthusians

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17 Sep 2016
Department
Course
Professor
15th Century
Early Renaissance in Northern Europe (Stokstad 563-585)
Renaissance a result of the rise of a wealthy middle class and their support of scholarship,
literature and the art; “rebirth”
accurate visual depictions of the natural world
three-dimensionality of subject(s) with shadow and light
spatial setting
intuitive perspective scale diminishes as it gets farther away
atmospheric & aerial perspective used in landscapes where things in distance become less
distinct and less colorful
individual personalities
life like qualities
artist begin to sign work
Flanders & greater Netherlands (Belgium, Luxembourg, Netherlands
ameture/ non expert public express personal and civic pride by creating pieces directed
towards the community (paintings, sculptures etc.)
merchants were strong backbone of Northern renaissance
Church and the royal and noble courts still held a lot of power
tension between common folk and royalty and church
Jan van Eyck painted double portrait for Giovanni Arnolfini
dukes of Burgundy most powerful in N Europe in 15h cent.
Burgundy
Flemish
Netherlandish centers of finance and trade
Ghent, Bruges, Tournai & Brussels
Duke Philip the Bold (Burgundy) acquired Netherlands
brother to Charles V France
not same interests even in 100 years war where England was common enemy
because Burgundy & England both invested in Flanders
brother to Jean duke of Berry (influential in renaissance arts; favored
International Gothic Style)
International Gothic Style
emerged late 14th cent. from papal court in Avignon (S France)
artist from Italy, France and Flanders worked side by side
slender, graceful, posed figures
delicate features
framed by big hair and headdresses
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