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Renaissance in the NorthThe Renaissance spread across all of Europe, but the visual style of Northern artists during the 1400s and
1500s was very different from their Italian counterparts. Artists working in Belgium and Holland used everyday objects as religious symbols, creating sharply focused pictures filled with great detail. Hard
edge realism was generally an important element, with an emphasis on tangible textures.
Later, in the sixteenth century, Germany became the Northern European art center.
The greatest innovation was the new medium of oil paint, which replaced tempera and fresco. Oil paint can be applied in transparent layers, called glazes, which allows the color to glow vividly. Colors could also be blended more easily with these slow drying paints.
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FLEMISH and DUTCH ARTISTS
Robert Campin/Master of Flemalle (1378-1444)Jan van Eyck (1390-1441)
Rogier van der Weyden (1399-1464)Hans Memling (1440-1494)
Hieronymus Bosch (1450-1516)Pieter Bruegel (1525-1569)
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Robert Campin/ Master of Flemalle (1378-1444)Merode Altarpiece/ Oil on wood, ca.1425
This is a Bible scene painted in the setting of a contemporary Flemish dwelling. The two people depicted in the left panel paid for this painting project. Notice awkward use of
perspective and abrupt shifts in scale; the people on the left are too big for the doorway. See detail on next slide...
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Robert Campin/ Master of Flemalle (1378-1444)Merode Altarpiece detail “Anunciation” Oil on wood, ca.1425
The objects are all symbols; for example, the vase of lilies stands for purity.
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Robert CampinMaster of Flemalle
(1378-1444)Merode Altarpiece
detail “Annunciation” Oil on wood, ca.1425
The objects are all symbols; for example,
the vase of lilies stands for purity.
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Robert Campin Master of Flemalle (1378-
1444)Merode Altarpiece detail
Oil on wood, ca.1425
Here we see Joseph, the father of Jesus, in his
carpentry shop. He has made a mousetrap, to
symbolize Christ’s appearance in the world in human form as a means of
fooling and catching the Devil.
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Robert Campin/Master of Flemalle (1378-1444)Portrait in Oil
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Robert Campin/ Master of Flemalle (1378-1444)Portrait in Oil
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Jan van Eyck (1390-1441) Ghent Altarpiece Oil on panel 11.5 x 15’, 1432
Notice a great amount of rendered detail and a close attention to the effects of light as it describes form. Detail follows...
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Jan van Eyck (1390-1441)
Ghent Altarpiece, 1432
detail: Adam & EveOil on panel
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Jan van Eyck (1390-1441)“Arnolfini Wedding,”
1434Oil on panel, 32 x 23”
Light enters through the window on the left and
illuminates all the objects which are rendered in
great detail. The objects are symbolic; the man’s
raised right hand and dog are symbolic of fidelity, the cast aside shoes indicate that the couple stand on holy ground, the peaches
ripening on the table behind the man on the left
represent fertility.On the next slide we see
the details of the reflection in the rear mirror...
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Jan van Eyck (1390-1441)“Arnolfini Wedding,” detail 1434
Oil on panel, 32 x 23”
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Jan van Eyck (1390-1441)
“Annunciation” Oil on panel
The artist has taken an unusual
viewpoint, showing this religious scene
from above.
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Jan van Eyck (1390-1441)Possible Self-
PortraitOil on panel
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Jan van Eyck (1390-1441)Virgin and
Christ BabyOil on panel
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Jan van Eyck (1390-1441) “Crucifixion
and Last Judgement”Altarpiece in Metropolitan Museum of
Art, NYCOil on panel
1430
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Jan van Eyck (1390-1441)
“Man in a Blue Turban”
Oil on wood
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Rogier van der Weyden
(1399-1464)“Portrait of a
Lady”Oil on panel 14.4” x 10.5”
Notice the delicate handling of the
transparent fabric which covers the
woman’s forehead, the strong, bold shapes and the intense contrast which give this
image its graphic power.
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Rogier van der Weyden (1399-1464)
“Annunciation” Oil on panel
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Rogier van der Weyden (1399-1464)
Crucifixion Triptych, Oil on panel
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Rogier van der Weyden“Descent from the Cross” Oil on panel 7’x8’ 1435
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Rogier van der Weyden (1399-1464)Detail from Altarpiece, Oil on panel
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Rogier van der Weyden (1399-1464)
Man’s Portrait, Oil on panel
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Rogier van der Weyden (1399-1464)
Woman’s Portrait, Oil on panel
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Hans Memling (1440-1494)AnnunciationOil on panel
Memling was born in Germany but lived in Bruges, Belgium. He had studied under
Rogier van der Weyden.
Notice his interest in natural light, rigorous perspective, textures. and patterns both in the clothing and the
floor tiles.
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Hans Memling (1440-1494)
The Beheading of St. John the
BaptistOil on panel
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Hans Memling (1440-1494) Crucifixion, Oil on panel
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Hans Memling (1440-1494)
Man’s Portrait Oil on panel
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Hieronymus Bosch (1450-1516) Bosch was a Dutch painter with a vivid imagination; he
presents a world full of weird images and puzzling symbols.
His paintings are usually packed with tiny people, mostly naked, who are engaged in dozens of strange
activities.
Probably his most complex work is “The Garden of Earthly Delights,” seen in the next slide. It is a large
triptych...
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510Triptych Oil on panel 86” x 76”
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Hieronymus Bosch (1450-1516)
“The Garden of Eden”
1505-1510Left panel of
triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510, Middle panel of
triptych
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Hieronymus Bosch
(1450-1516)“Garden of Satan”
1505-1510Right panel of
triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510 Detail of triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510, Detail of triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510 Detail of triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510 Detail of triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510
Detail of triptych
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Hieronymus Bosch (1450-1516)“Garden of Delights” 1505-1510 Detail of triptych
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Pieter Bruegel (1525-1569) Bruegel’s early work shows the influence of Hieronymus
Bosch, but he developed his own style to became the greatest Low Country master of the 16th century.
Bruegel’s paintings are rich in narrative story-telling, frequently depicting the everyday lives of local,
ordinary people.
This artist’s inclusion of mountain landscapes in his pictures is quite unusual for painters living in the
lowlands of Belgium and Holland. Bruegel had travelled to Italy and apparently saw the Alps; he put this
imagery to use later on...
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Pieter Bruegel (1525-1569) “The Triumph of Death” 1562 Oil on wood panel 46” x 63”
The influence of Bosch is evident in this work.
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Pieter Bruegel (1525-1569) “Hunters in the Snow” 1565 Oil on wood panel 46 x 64”
Placing figures in a very deep, complex landscape was typical for Bruegel. Notice the dramatic mountains, which
do not exist in Belgium.
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Pieter Bruegel (1525-1569)“The Corn Harvest” Oil on wood panel 46” x 63”
Metropolitan Museum of Art, NYC
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Pieter Bruegel (1525-1569)“Peasant Wedding” 1567 Oil on wood panel 45 x
64”
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Pieter Bruegel (1525-1569)“ Landscape with the Fall of Icarus” 1567 Oil on wood panel 29”
x 45”
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Pieter Bruegel (1525-1569) “The Massacre of the Innocents” 1567 Oil on wood panel 43”
x 61”This image is an allegory showing the cruelties of Spanish
troops subduing a rebellion. The lowlands had recently broken away from Spanish rule.
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Pieter Bruegel (1525-1569) “Peasant Dance” 1567 Oil on wood panel 45” x 65”
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Pieter Bruegel (1525-1569) “The Parable of the Blind” 1568 Oil on wood panel 34”
x 61”This picture symbolizes the declining fortunes of the
country.
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Pieter Bruegel (1525-1569)