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MAP 20-1 France, the duchy of Burgundy, and the Holy Roman Empire in 1477.
Artist: Claus Sluter
Title: Well of Moses
Period:1395–1406
Style: Late Medieval
Medium: Limestone with traces of paint, Moses 6 high
Description: Chartreuse de Champmol,Dijon, France
-The Well of Moses, a symbolic fountain of life made for the duke of Burgundy, originally supported a Crucifixion group. Sluter’s figures recall the jamb statues of French Gothic portals but are far more realistic.
Used to be "The Great Cross" but the cross is no longer there. For monks to gain inspiration and continuously pray for duke of Burgundy. Monastery is inspiration for prayer of monks.
-Six prophets in niches with enframing colonettes are on each side of the hexagon. They include Moses, David, Jeremiah, Zechariah, Daniel, and Isaiah--all of whom carry banderoles with their prophesies. Their expressions and gestures indicate the urgency of their prophesies
Moses- seems theatrically angry. The dramatic folds in the voluminous drapery add to the expression of the figure. The horns on his head are typical in medieval art--a mistranslation of the Bible for "rays" of light.
Angels-The angels with their outstretched wings arch above the prophets and provided a transition with the original Calvary grouping above the pedestal.
Claus Sluter, Well of Moses, Christ, 1395-1406
Artist: Robert Campin (Master of Flémalle)
Title: Mérode Altarpiece
Period:ca.1425–1428
Style:
Medium: Oil on wood, center panel 2' 1 and 3/8" x 2' and 7/8", each wing
Description: Metropolitan Museum of Art, New York (The Cloisters Collection, 1956)
-Campin set the Annunciation in a Flemish merchant’s home in which the everyday objects represented have symbolic significance. Oil paints permitted Campin to depict all the details with loving fidelity.
-Triptych panel
Artist: Melchior Broederlam
Title: Retable de Champmol, from the chapel of the Chartreuse de Champmol, Dijon, France, installed 1399.
Period:
Medium: Oil on wood, each wing 5' 5 and 3/4" x 4' 1 and 1/4".
Description: Musée des Beaux-Arts, Dijon.
-This early example of oil painting reveals an attempt to represent the three-dimensional world on a two-dimensional surface, but the gold background and flat halos recall medieval pictorial conventions.
Artist: Jan van Eyck
Title: Ghent Altarpiece (closed)
Period: completed 1432
Medium:Oil on wood, 11' 5" x 7' 6"
Description: Saint Bavo Cathedral, Ghent, Belgium
-Monumental painted altarpieces were popular in 15th-century Flemish churches. Artists decorated both the interiors and exteriors of these hinged polyptychs, which often, as here, included donor portraits.
Title: Ghent Altarpiece (open)
Period:completed 1432
Medium:Oil on wood, 11' 5" x 15' 1"
-In this sumptuous painting of salvation from the Original Sin of Adam and Eve, God the Father presides in majesty. Van Eyck rendered every figure, garment, and object with loving fidelity to appearance.
Artist: Jan Van Eyck
Title: Giovanni Arnolfini and His Bride
Period: 1434
Medium:Oil on wood, 2'9" x 1' 10 and 1/2"
Description: National Gallery, London
-Van Eyck played a major role in popularizing oil painting and in establishing portraiture as an important art form. In this portrait of an Italian financier and his wife, he also portrayed himself in the mirror.
Title: Man in a Red Turban (self portrait)
Period:1433
Medium: Oil on wood, 1' 1 and 1/8" x 10 1/4"
Description: National Gallery, London.
-Man in a Red Turban seems to be the first Western painted portrait in a thousand years in which the sitter looks directly at the viewer. The inscribed frame suggests it is a self- portrait of Jan van Eyck.
Artist: Rogier van der Weyden (ca. 1400-1464)
Title: Deposition, center panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium
Period: ca.1435
Medium: Oil on wood, 7' 2 and 5/8" x 8' 7 and 1/8".
Description: Museo del Prado, Madrid
-Deposition resembles a relief carving in which the biblical figures act out a drama of passionate sorrow as if on a shallow theatrical stage. The emotional impact of the painting is unforgettable.
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