The Northern Renaissance, which refers to the Renaissance within Europe, but outside of Italy, was characterized by the rapid developments in fine art. Panel paintings, advanced oil painting techniques, expressive altarpieces, as well as woodcuts and other forms of printmaking were common features of Northern Renaissance art. Centered in Flanders (modern day Belgium and the Netherlands), increased prosperity and wealth broadened the group of patrons for artists of the Northern Renaissance. Bankers, merchants, and other upper middle class workers became common benefactors of the arts. Due to the larger consumer group, most of the artwork produced in Flanders at this time was more secular than religious and the focus was put on realism rather …show more content…
than idealistic art. Jan Van Eyck is an artist who illustrates many common features unique to the Northern Renaissance in all of his pieces. Jan Van Eyck was born in modern day Belgium around 1390.
Early in his career as an artist, he is credited with the perfection of oil paint, a common medium of Northern Renaissance art. Oil paint is made by adding pigment to linseed or walnut oil and dries slowly allowing the painter more time to make revisions and add detail. It also has a luminous quality that permits the artist to capture rich colors. Van Eyck would eventually settle in Bruges, Flanders to work as the painter and in the valet de chamber (court) of Philip the Good. It is in Flanders that he became one of the most well known panel painters of the 1400s and the Northern Renaissance. Van Eyck’s artwork, especially his panel paintings, contain an abundance of symbolism and have been the focus of many studies in art. Jan Van Eyck’s ability to add a storyline to his artwork through his careful addition of detailed iconography has led to various theories as to what he was attempting to portray through his work. The Arnolfini Portrait, one of Jan Van Eyck’s masterpieces, is also one of his most studied pieces as the symbolism is exceptional and an influence to many subsequent …show more content…
artisans. The Arnolfini Portrait was painted by Jan Van Eyck around 1434 and shows a man and a woman standing together in their traditional Flemish home. According to many art historians, the subjects are identified as the Italian merchant, Giovanni Arnolfini and his wife, Giovanna Cenami. Like other Northern Renaissance artistic pieces, The Arnolfini Portrait seems to be more secular than religious, although there are religious aspects within the piece. Van Eyck used an oil-based paint for this portrait, which is reflected in the exquisite details and vibrant colors. The iconography in The Arnolfini Portrait seems to be endless. Social status of the subjects, infidelity and fertility, and the occurrence of a wedding seem to be repeating themes within the piece. Some symbols seen have widely known meanings that fit with the wedding scene theory while others have been assumed based solely on theories that are fitting to the time period and setting of the portrait. The social status and wealth of patrons was often depicted within artwork, and sometimes over exaggerated, during the Northern Renaissance. The Arnolfini Portrait holds many symbols that suggest wealth and a high status of the couple in focus. The most obvious element that suggests a high status is the clothing the couple is wearing. Both the male and female are wearing products that made Flanders the trading center of the time: fur, silk, wool, linen, and gold. The amount of material that is needed to make a gown as large and voluminous as the one the woman wears in Van Eyck’s portrait would be extremely costly. In fact, the fur lining seen in the dress is made from one of the most expensive furs of the time, squirrel. The male’s clothing also shows wealth and status. The color of the material (a dark plum) alone makes his robe costly, as dark, cool dyes were harder to produce. Wealth is also portrayed in The Arnolfini Portrait by the presence of oranges. Jan Van Eyck purposefully makes the oranges visible, while attempting to casually place them in the Flemish home. Below the window, on the left side of the painting, a handful of oranges are seen. At this time, “oranges were a rare delicacy… prized for their culinary properties,” and had to be imported, costing a large amount of money. The fact that the couple could afford to have oranges casually sitting in their house proves the wealth of the couple. The oranges also represent the couple’s social status. Oranges were a common symbol used to represent the Medici family, a family which first attained wealth in Florence, Italy through its success in commerce and banking, and then took on political power and spread throughout Europe. It can be assumed that Giovanni Arnolfini worked for the Medici family due to the oranges in his house and the time period in which the portrait was painted. Working for the Medici family required a high status in society. The female in Jan Van Eyck’s Arnolfini Portrait seems to be pregnant, and many symbols found within the piece suggest the idea of pregnancy and fertility, as well as infidelity. Giovanna Cenami’s pregnancy being such a prominent focus of Jan Van Eyck’s painting is an obvious symbol that represents infidelity and fertility. Her pregnancy being portrayed in the portrait also highlights the fact that her child is illegitimate. This is unusual for this time period, as children born out of wedlock often were not accepted in society. Jan Van Eyck almost advertises the illegitimate child by painting Giovanna’s pregnancy in a portrait that was meant to hang within the couple’s home. The dog, which stands in the foreground of the portrait, may also be a symbol of infidelity or simply may be the couple’s pet. However, because of the specific breed of dog, which usually represents infidelity, it can be assumed that the dog was placed within the painting as a form of iconography. In general, a dog within a piece of art can represent loyalty or unconditional love. This symbolism is also fitting for the portrait as many art historians consider the painting to be a wedding scene. Unconditional love may be portrayed by the dog as a way of saying the couple will still love their child, even though born out of wedlock. Another symbol of fertility within The Arnolfini Portrait by Jan Van Eyck is a wooden carving that is seen on the back of a chair in the room. Seen below the chandelier, slightly to the right of the midline, the wooden carving is seen. The carving, which overlooks the woman in the painting, represents St. Margaret, the patron saint of childbirth. This iconography is ensuring a safe and healthy birth of the child Giovanna Cenami seems to be pregnant with. One of the most prominent theories of The Arnolfini Portrait is that it is a wedding scene. Jan Van Eyck’s iconography within the painting is supportive of this theory in many ways. For instance, there is a single candle in the chandelier. In the Northern Renaissance era, it was common for a single, lit candle present for the endurance of any wedding ceremony. The significance of the single candle is the representation of the presence of God during the marriage. This candle is especially important in the wedding portrayed by Van Eyck, as it took place at the couple’s home, rather than a holy church or cathedral. Another symbol that supports the wedding theory is the position at which the couple stands and rests their hands. The formality of the situation, and the way the male raises his right hand in the air suggests that he is taking an oath of some kind. The female also seems to be making an oath, seen by the way she rests her hand on his. Assuming that the subjects are vowing to each other confirms the idea that a marriage is taking place. On the very bottom of the portrait, in the left hand corner, Jan Van Eyck adds a pair of typical Flemish sandals. The meaning of this iconography has long been debated and there have been two very strong outcomes as to what Jan Van Eyck was attempting to say with the shoes. First, many scholars say the shoes are simply a wedding gift, which was often seen during the Renaissance. However, other scholars believe the shoes are Giovanni Arnolfini’s. Looking closely at the painting, it can be determined that the male is indeed shoeless and only wearing stockings. Art historians believe that the fact that the man is not wearing shoes attests to the sacredness of the marriage. Jan Van Eyck’s most influential iconography of all time is the convex mirror seen hanging on the back wall of The Arnolfini Portrait.
Many artisans following, during and after the Renaissance era, would repeat this aspect of Van Eyck’s work. Within The Arnolfini Portrait, the convex mirror plays an extremely important role in the wedding scene theory. Looking into the mirror, a reflection of the entire room is seen, including the married couple as well as two other figures. The presence of two other individuals in the room (including the painter) infers that witnesses were present at the wedding, making the marriage legitimate. The inscription above the mirror reads “Jan Van Eyck was here, 1434” acts as a witness signature, making the portrait a legal
document. Jan Van Eyck, a distinguished painter of the Northern Renaissance, shows strong iconography in all of his painting, especially The Arnolfini Portrait. The plentitude of symbols in this portrait seem to fit into three main themes: wealth, fertility and infidelity, and marriage. Although long debated, the overall assumption is that Jan Van Eyck’s work is a wedding portrait, doubling as a legal document of the marriage. Jan Van Eyck’s style and use of symbolism has proven to be persuasive and seen in later works of art. The Arnolfini Portrait will continue to be studied and debated by students, art historians, and other artists, as the iconography and stylistic mysteries within are mesmerizing and long lasting.
At this time, the Renaissance brought back the interest in the natural and secular world after many years of Christian church doctrine. Therefore, the Renaissance is a rebirth to represent the material world, portray the human body accurately and use scientific ways to create linear and atmospheric perspective to reproduce the appearance of the natural world. However, the Renaissance not only occurred in Italy, but also in the Low Countries that are located in the north of the Alps such as Belgium and Netherlands, which is where the piece was painted.
Regardless of taste, an appreciator of art should be able to recognize when an artist exerts a large amount of effort and expresses a great amount of creativity. Understanding the concepts incorporated by truly talented artists helps the viewer better understand art in general. Both Van Eyck and Velasquez are examples of artists that stood out in their time due to their unique vision and their innovative style, and are therefore remembered, recognized, and praised even centuries after their works were completed.
The European Renaissance occurring from 1450 to 1650, marked a change that led to many developments in art, religion, literature and the economy. The impact of the Renaissance changed the thinking and life. The society saw a rise in creativity, in ambition and in politics. During the Renaissance (the rebirth) achievement in art especially rose, though depending on where the Renaissance was, it was a different experience all around. Renaissance art in Italy and southern Europe had more of a grecian theme, while northern Renaissance focused more on life and mythology.
The two painters Jan Van Eyck (c.1390-1441) and Hans Memlinc (d.1494) are both considered great masters of Northern Art. Van Eyck is known for his execution of naturalistic detail and creating translucency in his panels. Memlinc is known for his financially minded cornucopia of work and for revolutionising the genre of portraiture. However, their differences are more pointed than there similarities. Both artists are mindful of the traditions of the Flemish school, such a the use of light to create a sense of the third dimension on the panel and the importance of landscape and background. Both artists worked in Bruges at some point; Van Eyck was an earlier master who moved to Bruges in 1430 until his death. Memlinc was German but settled there in 1465 until his death. The paintings by Van Eyck that shall be discussed are The Ghent Altarpiece, Madonna with Chancellor Rolin, Portrait of a Man and The Portrait of Giovanni Arnolfini and his Wife. The paintings by Memlinc that will be discussed are The Diptych of Maarten Nieuwenhove, Portrait of a Young Man Before a Landscape and The Donne Altarpiece.
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
Vanitas paintings are a part of a genre of still life paintings created in the 16th and 17th centuries. These type of paintings are symbolic and portray biblical and Christian ideologies, reflecting how short and temporary life on earth is when compared to the permanence of Christian values. The Latin noun vānĭtās means “emptiness”, which further helps to depict these Christian ideologies and how worthless it is to pursue earthly goods that will only give temporary happiness. Many of these Vanitas Paintings are painted in darker color schemes to help set the somber mood.
During the 15th century, as the Renaissance flourished in Italy, a separate movement of the Renaissance emerged in the Netherlands. The Netherlands, located north of Italy, independently developed a distinct artistic style that incorporated Gothic influences and emphasized observation of nature, symbolism, and attention to detail. Both Flemish and Italian artists were focused on accurately depicting physical realism through the use of chiaroscuro and linear perspective. However, some Italian artists such as Fra Angelico focused on spiritual message rather than naturalism. Each regions’ styles also often vary in materials and theme. For example, Flemish paintings integrated religious themes into secular settings. This was the result of wealthy patrons and merchants commissioning a broader expanse of subjects in Northern art. Italian Renaissance art, however, was predominantly religious. Giant altarpieces were created mainly for public display in churches and
One of the most noteworthy northern European writers of the Renaissance was the Flemish painter, Jan van Eyck. Although there are few records about his early life and rise to prominence, the Van Eyck family was well regarded within the Burgundian Netherlands which allowed historians to surmise that he was born in the 1380s. After years of travelling through various northern courts and gaining esteem, Jan van Eyck painted perhaps his most famous work, The Arnolfini Double Portrait. This work has been the subject of a great deal of critical analysis as a piece of Renaissance art. Some historians have found that the work is demonstrative of artistic and social ideals that were both ahead of its time and touted the line of controversy. However, taking into account the painting’s patronage, symbolism, artistic style, and function, it becomes clear that The Arnolfini Double Portrait is an exemplar of the Renaissance era artistic conventions and is not as difficult to parse as some critics would believe. In order to discuss the painting in its entirety, it is necessary to explore the context of the painting’s creation.
Rogier van der Weyden, one of the three great Early Flemish artists and the most influential Northern painter of the 15th century, seems to be rejecting the detailed realism that is characteristic of the Northern Renaissance and is demonstrated in some of his own works. What are the consequences of Rogier van der Weyden’s choice to include a continuous grey wall for the meaning of the work as a whole? To answer this question it will be important to consider the sparse nature of the setting in its entirety, the color used throughout the composition, and the detailed portrayal of biblical characters. This analysis is important to consider because it can help interpret what caused Rogier van der Weyden to stray from the common style of the Northern
Philip, Lotte Brand. The Ghent Altarpiece and the Art of Jan Van Eyck. Princeton, N.J.: Princeton UP, 1971. Print.
Renaissance art is a component of the Renaissance, it was a period of literary, artistic, and scientific revival occurred in Europe in the sixteenth century. The key aspect of the Renaissance period as is the renewal of themes and art in Europe after the middle ages. For the first time, art enters the private sphere; the works are no longer just driven by religious or secular power, but enter houses. The renewal of philosophical reflection provides artists with new ideas. Painters and sculptors do not hesitate to represent the beauty of the naked human body. The four great masters of art create art forms that are still references for many artists from the renaissance till today.
The Renaissance was the rebirth of Europe and it all started in the city of Florence. Florence and everything that made a standard Renaissance city: painters, sculptors, writers, architects, and a vivid culture. Soon all of Europe would follow in Florence’s footsteps and “the setting is so rich, varied, rambunctious, and inventive as Italy in the Renaissance” (Cohen 1). The painters and sculptors defined Renaissance culture and could actually make a living because they were being sponsored.
The Italian Renaissance included some of the greatest artists we have ever seen from Leonard Da Vinci, to Michelangelo, and Raphael. The Renaissance took place from the late thirteenth to sixteenth centuries and is know as the ‘rebirth’. The idea that the rebirth of the arts after being asleep for a thousand years is an amazing thing to grasp. This time brought back light to liberal arts, which were on the brink of being extinct. (Murray 2) What is also interesting about art during this time was that most of the art had Christian in its roots, for example, Botticelli’s The Allegory of Spring (Faure 1) is said to have had a Christian interpretation. (Murray) “Every Italian artist, willingly took the title of architect, sculptor, and painter” (Faure 2). At the beginning of the fifteenth century, the Italian painters had asked the Flemish painters for their secret techniques because the Italians felt like the language of painting was one that was always meant for them. (Faure 4) The sculptors claimed their inspiration from ancient works. Lastly the Renaissance introduced idea of individualism, which helped the Italians get away from everything that was going on during that time. Art during the Renaissance included painting, sculpting and architecture, all of which were an important part in expressing the idea of individualism and making art what is is today.
Another piece that sparked my interest is called The Courtesan (after Eisen). It is another oil painting and was done in 1887 in Paris. Again the subject matter is the reason I am writing about this piece. I had never seen any eastern style art done by Van Gogh. While viewing it in the museum that was my first impression. I then thought that possibly his expressive brush strokes could be seen as similar to that of Japanese calligraphy. I am not sure if there is a direct correlation between the two. I did however find out that the "after Eisen" in the title refers to the Japanese artist Kesai Eisen.
The Renaissance was a time when people began to think and see things differently. It was a time for new innovations. People wanted to study the past and learn more about culture. People began to see important in human emotion, and they began to see that there was much more rather than just religion. Europe was facing many problems like the Black Death. But the problems caused a shift in the world view of people in 14th century Italy. During the early 1400’s, Europe witnessed a major rebirth of fine art painting, sculpture, drawing and architecture. Early Renaissance art had its birth of creativity and development in Florence, Italy, which eventually spread to Western Europe. Italy contained the status of being the richest trading nation with both Europe and the Orient, Italy was fortunate to be left with a huge repository of classical ruins and artifacts. In almost every town and city, examples of Roman architecture and sculpture, including copies of sculptures from Ancient Greece, had been familiar for centuries. The decline of Constantinople and the capital of the Byzantine Empire caused many Greek scholars to go to Italy, bringing knowl...