ncc 15th c. n. europe
DESCRIPTION
TRANSCRIPT
![Page 1: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/1.jpg)
![Page 2: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/2.jpg)
Dukes of Burgundy—most powerful rulers of northern Europe for most of the 15th c.
– Philip the Bold of Burgundy– Jean Duke of Berry--enthusiastic art collector—
known for the Tres Riches Heures– Philip the Good of Burgundy—court painters Jan
van Eyck
![Page 3: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/3.jpg)
Burgundy and Flanders• In the 15th century, Flanders (more or less
equivalent to modern Belgium, Holland, and parts of northern France) was part of the Duchy of Burgundy, a region in what is today east-central France.
• Philip the Bold controlled Flanders. Through marriage he acquired Bruges (wool, banking)
• He built a major “charter house” in Dijon, France to be a ducal mausoleum.
![Page 4: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/4.jpg)
Charteuse (charter house) de Champmol
• One of Philip the Bold’s most lavish projects• Chartusian monks were dedicated exclusively
to prayer and solitary meditation.• The monks did not provide for themselves.
![Page 5: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/5.jpg)
Charteuse (charter house) de Champmol
• The monastery, intended to be the burying place of the Prince of Burgundy, Philip the Bold and his family.
• Claus Sluter—in charge of sculptural program• Melchior Broederlam—altarpiece—carved
and painted
![Page 6: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/6.jpg)
• Some Flemish sculpture shows an intense observation of natural appearances.
• In painting, the new oil technique was used to enhance the naturalistic representation of figures and objects with meticulous detail.
• In both sculpture and painting, textures are skillfully and minutely differentiated.
• Medieval ideas and conventions, however, persist in the treatment of space, scale, and figure proportions.
![Page 7: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/7.jpg)
Mosesrendered as physically and psychologically distinct individual--sad eyes, wrinkles
Sluter looked at the individual in new way--as a ponderous mass defined by voluminous drapery.
Claus Sluter, Well of Moses1395-1406
![Page 8: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/8.jpg)
![Page 9: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/9.jpg)
Nicola Piasan, Pisa pulpitClassical and Medieval Style: fusion of International Gothic and
northern realism
![Page 10: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/10.jpg)
International style characteristics:
• Slender, gracefully posed figures• Delicate features framed by masses of curling hair• Extraordinarily complex headdresses• Noble men and women in rich brocaded and
embroidered fabrics and elaborate jewelry• Landscape and architectural minaturized• Details of nature--leaves, flowers, insects, birds--
rendered by nearly microscopic detail• Spatial recession--rising tiled floors• Buildings open at front (ala stage set)• Fanciful mountains and meadows--high horizon
lines• Light, bright colors and liberal use of gold
![Page 11: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/11.jpg)
Melchior Broederlam• The Dijon Altarpiece• 1393-99
oil on panel 5’5 ¾”x4’1 ¼”
• Broederlam's use of oil paint had a strong impact on the painters of the following generation, including Robert Campin and Jan van Eyck.
• The spatial arrangements recall Duccio
![Page 12: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/12.jpg)
Outer wings Retalbe (altarpiece) de Champmol: Annunication and Visitation; Presentation and Flight into Egypt, installed 1339, Dijon. panels each 65x49”
![Page 13: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/13.jpg)
![Page 14: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/14.jpg)
![Page 15: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/15.jpg)
![Page 16: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/16.jpg)
![Page 17: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/17.jpg)
![Page 18: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/18.jpg)
![Page 19: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/19.jpg)
Although the perspective is far from fully developed, light and shadow are used to create a sense of depth in a very advanced fashion, and the realistic depiction of Saint Joseph was to become characteristic of Netherlandish painting.
![Page 20: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/20.jpg)
![Page 21: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/21.jpg)
LIMBOURG brothers (Herman, Jean, Paul)Flemish painters (b. 1370-80, Nijmegen, d. 1416, Nijmegen)The Limbourg Brothers began the Tres Riches Heures about 1413 (died of the Plague 1416…some pages unfinished)
Tres Riches Heures (Very Sumptuous Book of
Hours)Patron: John the Good..the
Duke of Berry
![Page 22: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/22.jpg)
Tres Riches Heures du Duc de Berry(The Very Sumptuous House of the Duke of Berry)
(1340-1416)"the king of the illuminated manuscripts"
• Calendar: zodiac signs and labors of the month
• Gospel readings: portraits of the evangelists• Little office of the Virgin (hours)
![Page 23: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/23.jpg)
The month of giving gifts (a custom which seems to have died out now). Jean de Berry himself can be seen on the right, wearing the brilliant blue robe.
John is singled out by the red cloth of honor with his heraldic arms--swans and the lilies of France--and by a large fire screen that circles his head liked a secular halo.
![Page 24: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/24.jpg)
![Page 25: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/25.jpg)
Tapestry on the back walls depicts scenes from Homer’s Battle of Troy…theatrical backdrop to court celebrations.Tapestries had three major themes: religion; courtly love and heroic themes.The story of the Trojan Was were particularly popular. The French royal family traced its ancestry back to the family of the great Trojan prince, Hector.
![Page 26: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/26.jpg)
February Winter in a peasant village.
The inhabitants of a farm are shown warming themselves
by the fire, while in the background daily life - cutting
wood, taking cattle to the market - goes on as normal.
International Gothic characteristics: high
placement of the horizon line, small size of trees and
buildings in relation to people, cutaway view of house (ala
stage).
![Page 27: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/27.jpg)
October Tilling and sowing are being
carried out by the peasants, in the shadow of the Louvre - Charles V's royal palace in
Paris.
![Page 28: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/28.jpg)
Flanders
• Strong economy based on wool, textile and international trade
• Patrons: civic groups, town councils and wealthy merchants
• Cities: self-governed and largely independent of the landed nobility
• Guilds oversaw nearly every aspect of their members’ lives
![Page 29: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/29.jpg)
Flemish artists:
• Known for exquisite illuminated manuscripts, tapestries and stained glass
• Perfected technique of painting with oil– Slow to dry– Luminous quality
Robert Campin (or Master of Flemalle) ran a workshop in Belgium
![Page 30: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/30.jpg)
Campin, Robert (the Master of Flemalle) Merode Altarpiecec. 1425 Triptych, oil on wood
The Annunciation was a popular subject but…Campin placed the supernatural event in and everyday setting.
![Page 31: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/31.jpg)
Lively narrative and bold three-dimensional treatment of figures reminiscent of the sculptural style of Claus Sluter
![Page 32: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/32.jpg)
![Page 33: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/33.jpg)
Donor portraits became popular in the 15th c.
Peter Inghelbrecht, wealthy merchant, his name means “angel bringer”
The wife’s name, Scrynmakers means “cabinet or shrine maker”
![Page 34: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/34.jpg)
Jan van Eyck
Campin’s contemporary…painted for the court of Philip the Good…
Jan perfected the medium of oil by building up his images in very thin
transparent oil layers.
![Page 35: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/35.jpg)
Philip the Good,(van der Weyden)Duke of Burgundy1419-1467
In 1430 Philip the Goodhanded Joan of Arc over to the English
![Page 36: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/36.jpg)
The Crucifixion and the Last Judgment (Metropolitan
Museum)
![Page 37: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/37.jpg)
Madonna in the Churchc. 1425
Oil on wood The asymmetric composition,
unusual at Van Eyck, is explained by the fact that this
panel was the left wing of a diptych.
![Page 38: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/38.jpg)
The Virgin of Chancellor Rolin
1435Wood, 66 x 62 cm
Musée du Louvre, Paris
![Page 39: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/39.jpg)
![Page 40: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/40.jpg)
![Page 41: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/41.jpg)
The Ghent Altarpiece (wings closed)
1432
Oil on wood
![Page 42: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/42.jpg)
![Page 43: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/43.jpg)
The Offering of Abel and Cain The Killing of Abel
![Page 44: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/44.jpg)
![Page 45: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/45.jpg)
![Page 46: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/46.jpg)
Man in a Turban1433
“As I can” (The best I am capable of doing)…
humanist spirit of the age and confident
expression of an artist who knows his
capabilities and is proud to display them.
![Page 47: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/47.jpg)
Giovanni Arnolfini, a prosperous Italian
banker who had settled in Bruges, and his wife
Giovanna Cenami, stand side by side in the bridal
chamber, facing towards the viewer. The husband is holding out
his wife's hand. “Johannes de eyck fuit hic 1434 (Jan van Eych
was present, 1434)
![Page 48: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/48.jpg)
![Page 49: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/49.jpg)
![Page 50: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/50.jpg)
• It is uncertain that the picture depicts an actual marriage ceremony. The Latin inscription on the back wall, 'Jan van Eyck was here/1434', has been interpreted as the artist's witness to their marriage, but may simply attest to his authorship of the painting,
• his creation of 'here'.
The mirror is the focal point of the whole composition.
![Page 51: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/51.jpg)
• The central motif of the painting, the so-called 'joining of hands', has long been recognized as a special gesture with a specific meaning. It has been the subject of debate for decades.
![Page 52: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/52.jpg)
• Oranges placed on the low table and the windowsill are a reminder of an original innocence, of an age before sin. Unless, that is, they are not in fact oranges but apples (it is difficult to be certain), in which case they would represent the temptation of knowledge and the Fall.
![Page 53: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/53.jpg)
• The small dog in the foreground is an emblem of fidelity and love.
![Page 54: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/54.jpg)
• The clogs and outdoor sandals which the couple have removed might be typical wedding presents, or represent the taking of shoes in a sacred precincts.
![Page 55: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/55.jpg)
![Page 56: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/56.jpg)
Giovanni Arnolfini, a prosperous Italian
banker who had settled in Bruges, and his wife
Giovanna Cenami, stand side by side in the bridal
chamber, facing towards the viewer. The husband is holding out
his wife's hand. “Johannes de eyck fuit hic 1434 (Jan van Eych
was present, 1434)
![Page 57: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/57.jpg)
Deposition in the Prado, Madridby Rogier van der WEYDEN
Altarpiece commissioned by the Crossbowmen’s Guild, Belgium before 1443,oil on panel
Renowned for his dynamic compositions stressing human action and drama.
![Page 58: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/58.jpg)
![Page 59: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/59.jpg)
![Page 60: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/60.jpg)
• In the decoration of the upper left corner a bow can be seen. The explanation is that the altarpiece was commissioned by the Confraternity of the Archers of Leuven for a church, now demolished, outside the city walls.
![Page 61: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/61.jpg)
![Page 62: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/62.jpg)
• The grief stricken woman (who may be Mary Salome) reflects the attitude of Mary Magdalene on the right of the panel. In keeping with her advanced age and the distribution of various elements of movement throughout the picture, however, she expresses her emotion in a rather restrained, less extrovert way.
![Page 63: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/63.jpg)
St Luke Drawing a Portrait of Virgin MaryRogier van der Weydenabout 1434-1440Oil on panel, 137.5 x 111 cmBoston, Museum of Fine Arts
![Page 64: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/64.jpg)
![Page 65: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/65.jpg)
about 1434-14401435
![Page 66: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/66.jpg)
Rogier van der Weyden, Portrait of a Lady
c. 1455
![Page 67: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/67.jpg)
![Page 68: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/68.jpg)
St. Eligius, as a Goldsmith, Hands the Wedding Couple
a Ring (Petrus Christus 1469)
![Page 69: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/69.jpg)
The Portinari Triptychby Hugo van der GOES
![Page 70: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/70.jpg)
Portinari Altarpiece (open) c.1474tempera and oil on panel
![Page 71: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/71.jpg)
![Page 72: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/72.jpg)
• The Adoration of the Shepherds, the most important work by the greatest Netherlandish painter of the late 15th century, has a unique historical and artistic significance. The altar was donated to the Florentine church of San Egidio by Tommaso Portinari, who since 1465 had been living in princely style in Bruges as manager of the Medici family's commercial interests. The central panel is flanked by two wings depicting other members of the Portinari family and the family's patron saints, with a grisaille Annunciation on their reverse.
![Page 73: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/73.jpg)
![Page 74: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/74.jpg)
![Page 75: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/75.jpg)
![Page 76: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/76.jpg)
![Page 77: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/77.jpg)
![Page 78: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/78.jpg)
15th century French Art
Jean FouquetMelun Diptych
c.1451 oil on wood
![Page 79: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/79.jpg)
Etienne Chevalier (treasurer of France) and Saint Stephen and Virgin and ChildDiptych rendered in meticulous detail (recalls Flemish art)
Virgin modeled after mistress (who had recently died) of K. Charles VII
![Page 80: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/80.jpg)
Virgin and Child
![Page 81: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/81.jpg)
15th century German ArtNew medium: printmaking
Gutenberg invented movable type, but the roots of printing lie in the ancient
Near East.The technique of manufacturing paper
came to Europe from the Islamic regions.
![Page 82: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/82.jpg)
Graphicsby Martin SCHONGAUER
![Page 83: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/83.jpg)
• The Man of Sorrows with the Virgin Mary and St John the Evangelist
• 1470-75
Copper-plate engraving • One of the
earliest engravings of Schongauer, showing the influence of Rogier van der Weyden.
![Page 84: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/84.jpg)
• Adoration of the Magi• c. 1475
• The scene is as concentrated as Rogier's, but more naturalistic and modern in its spatial development. Different colors and material textures, such as the eldest king's velvet robe, are very well suggested in the engraving.
![Page 85: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/85.jpg)
• Temptation of St Anthony-Copper engraving
• Wide range of tonal values and a rhythmic quality of line
• Textures—spiky, scaly, leathery, furry—enhance the expressive impact of the image
![Page 86: Ncc 15th c. n. europe](https://reader037.vdocuments.mx/reader037/viewer/2022110301/54103b448d7f72dc0c8b45f6/html5/thumbnails/86.jpg)
The End