The Northern RenaissanceThe Northern Renaissancein Holland, Flanders, Belgium and in Holland, Flanders, Belgium and

GermanyGermany

Jan Van EyckJan Van Eyck Roger Van der WeydenRoger Van der Weyden Hugo Van der GoesHugo Van der Goes Albrecht DurerAlbrecht Durer Hans HolbeinHans Holbein Hieronymus BoschHieronymus Bosch

Key TermsKey Terms

DetailDetail PrecisionPrecision SymbolismSymbolism

In Northern Europe, the Renaissance came In Northern Europe, the Renaissance came later than it did in Italy, and it progressed later than it did in Italy, and it progressed more slowly. In Italy, artists had the ruins more slowly. In Italy, artists had the ruins of classical Roman and Greek culture all of classical Roman and Greek culture all around them and took their inspiration around them and took their inspiration from these works. from these works.

In the north, artists continued to develop In the north, artists continued to develop the International style, which had the International style, which had developed in the late Medieval period and developed in the late Medieval period and was characterized by precision, detail, was characterized by precision, detail, grace, and elegance.grace, and elegance.

Artists in northern European countries spent Artists in northern European countries spent countless hours painting the delicate design on a countless hours painting the delicate design on a garment, the leaves on a tree, or the wrinkles on garment, the leaves on a tree, or the wrinkles on a face. a face.

At the same time, symbolism, which was so At the same time, symbolism, which was so important in Gothic art, grew even more important in Gothic art, grew even more important. Many of the details placed in a picture important. Many of the details placed in a picture had special meanings.had special meanings.

For example, a single burning candle meant the For example, a single burning candle meant the presence of God; a dog was a symbol of loyalty; presence of God; a dog was a symbol of loyalty; and fruit signified the innocence of humanity and fruit signified the innocence of humanity before the Fall in the Garden of Eden. (Mittler. before the Fall in the Garden of Eden. (Mittler. Art Art in Focusin Focus))

Look for these symbols and others in Look for these symbols and others in the painting the painting Giovanni Arnolfini and Giovanni Arnolfini and his Bride. his Bride. How many can you How many can you identify? Suggest meanings for the identify? Suggest meanings for the various symbolic elements in the various symbolic elements in the painting, the placement of the painting, the placement of the figures, the clothing, the room’s figures, the clothing, the room’s furnishings.furnishings.

Besides the dog, the candle, and the fruit, Besides the dog, the candle, and the fruit, there are additional symbolic objects in there are additional symbolic objects in this famous painting. this famous painting.

The shoes, seen at bottom left, signify The shoes, seen at bottom left, signify that, as they receive the sacrament of that, as they receive the sacrament of marriage, these people are in the marriage, these people are in the presence of God, and therefore standing presence of God, and therefore standing on holy ground. (Moses was told the on holy ground. (Moses was told the remove his shoes when he encountered remove his shoes when he encountered God in the burning bush, and the young God in the burning bush, and the young couple do the same).couple do the same).

The broom that The broom that hangs from the hangs from the bedpost is a bedpost is a symbol of domestic symbol of domestic housekeeping; housekeeping; these two people these two people are setting up a are setting up a home that they will home that they will look after together.look after together.

The mirror on the far The mirror on the far wall of the room wall of the room shows the reflections shows the reflections of two people, one of of two people, one of whom is Van Eyck whom is Van Eyck himself; these himself; these figures are the figures are the witnesses of the witnesses of the marriage of Arnolfini marriage of Arnolfini and his bride.and his bride.

Just above the mirror, Van Eyck has Just above the mirror, Van Eyck has signed his name in ornate script, with signed his name in ornate script, with the message: the message: Jan Van Eyck was here, Jan Van Eyck was here, 1434.1434.

If you consider the painting as a If you consider the painting as a visual document, recording the visual document, recording the marriage, then this is Van Eyck’s marriage, then this is Van Eyck’s signature, as a witness to the event.signature, as a witness to the event.

Signs of wealthSigns of wealth Arnolfini would have demanded that his wealth Arnolfini would have demanded that his wealth

and status were obvious when he commissioned and status were obvious when he commissioned Van Eyck to paint this double portrait.Van Eyck to paint this double portrait.

The two figures are very richly dressed; despite The two figures are very richly dressed; despite the season both their outer garments, are the season both their outer garments, are trimmed and fully lined with fur. The furs may be trimmed and fully lined with fur. The furs may be the especially expensive sable for him and the especially expensive sable for him and ermine or miniver for her. Both outfits would have ermine or miniver for her. Both outfits would have been enormously expensive, and appreciated as been enormously expensive, and appreciated as such by a contemporary viewer. such by a contemporary viewer.

The interior of the room has other The interior of the room has other signs of wealth; the brass signs of wealth; the brass chandelier, the oranges, the chandelier, the oranges, the elaborate bed-hangings, and the elaborate bed-hangings, and the carvings on the chair and bench carvings on the chair and bench against the back wall. Another against the back wall. Another sign of wealth is the small sign of wealth is the small Oriental carpet on the floor by Oriental carpet on the floor by the bed; many owners of such the bed; many owners of such expensive objects placed them expensive objects placed them on tables, as they still do in the on tables, as they still do in the Netherlands; this couple can Netherlands; this couple can afford to walk on their carpet. afford to walk on their carpet. (Wikipedia)(Wikipedia)

The placement of the The placement of the two figures suggests two figures suggests conventional 15th conventional 15th century views of century views of marriage and gender marriage and gender roles – the woman roles – the woman stands near the bed stands near the bed and well into the and well into the room, symbolic of her room, symbolic of her role as the caretaker role as the caretaker of the house, whereas of the house, whereas Giovanni stands near Giovanni stands near the open window, the open window, symbolic of his role in symbolic of his role in the outside world. the outside world.

Giovanni looks directly out at the viewer, Giovanni looks directly out at the viewer, his wife gazes obediently at her husband. his wife gazes obediently at her husband. His hand is vertically raised, representing His hand is vertically raised, representing his commanding position of authority, his commanding position of authority, whilst she has her hand in a lower, whilst she has her hand in a lower, horizontal, more submissive pose. horizontal, more submissive pose. However, her gaze at her husband can However, her gaze at her husband can also show her equality to him because she also show her equality to him because she is not looking down at the floor like lower is not looking down at the floor like lower class women would. They are part of the class women would. They are part of the Burgundian court life and in that system Burgundian court life and in that system she is his equal not his subordinate. she is his equal not his subordinate. (Harbison, Craig)(Harbison, Craig)

Jan van Eyck – The Adoration of Jan van Eyck – The Adoration of the Lamb - 1432the Lamb - 1432

Van Eyck - Adoration of the LambVan Eyck - Adoration of the Lamb

This painting is made up of 12 panels and This painting is made up of 12 panels and stretches four and a half metres across in stretches four and a half metres across in total.total.

It depicts a sacrificial lamb on an altar at It depicts a sacrificial lamb on an altar at the centre of the composition, a symbolic the centre of the composition, a symbolic representation of Jesus.representation of Jesus.

The fountain at the bottom of the picture The fountain at the bottom of the picture represents the healing water of baptism.represents the healing water of baptism.

Clarity and RealismClarity and Realism The light in van Eyck’s painting is crystal clear. It The light in van Eyck’s painting is crystal clear. It

allows you to see perfectly the colour, texture, allows you to see perfectly the colour, texture, and shape of every object.and shape of every object.

The details are painted with extraordinary care. The details are painted with extraordinary care. The soft texture of hair, the glitter and luster of The soft texture of hair, the glitter and luster of precious jewels and the richness of brocade are precious jewels and the richness of brocade are all painted with the same concern for precision. all painted with the same concern for precision. Every object, no matter how small or Every object, no matter how small or insignificant, is given equal importance. This insignificant, is given equal importance. This attention to detail enabled van Eyck to create a attention to detail enabled van Eyck to create a special kind of realism – a realism in which the special kind of realism – a realism in which the colour, shape, and texture of every object were colour, shape, and texture of every object were painted only after long study (Mittler. painted only after long study (Mittler. Art in Art in Focus).Focus).

Rogier Van der Weyden – Descent Rogier Van der Weyden – Descent from the Crossfrom the Cross

Van der Weyden, like van Eyck, was Van der Weyden, like van Eyck, was concerned with detail, but he took the concerned with detail, but he took the development of painting in Northern development of painting in Northern Europe forward with some new ideas.Europe forward with some new ideas.

In his In his Descent from the CrossDescent from the Cross, we see , we see more emotion, and a greater concern for more emotion, and a greater concern for design, or organization, than we find in design, or organization, than we find in van Eyck’s pictures (Mittler. van Eyck’s pictures (Mittler. Art in FocusArt in Focus).).

Notice the repeating curved axis Notice the repeating curved axis lines: Christ’s body forms an S lines: Christ’s body forms an S curve, which is repeated in the curve curve, which is repeated in the curve of his fainting mother.of his fainting mother.

The two figures on either The two figures on either side bend inward and side bend inward and direct your attention to direct your attention to Christ and his mother. Christ and his mother.

The figures fill the shallow The figures fill the shallow space, allowing the viewer space, allowing the viewer to see the highly individual to see the highly individual expressions on the faces of expressions on the faces of the figures. the figures.

Van der Weyden was Van der Weyden was notable for the notable for the emotionalism of his emotionalism of his paintings.paintings.

The two hands at the centre of the The two hands at the centre of the painting, Mary’s left, and Jesus’ right, are painting, Mary’s left, and Jesus’ right, are close, but not touching, suggesting the close, but not touching, suggesting the gulf that has opened between the living gulf that has opened between the living and the dead.and the dead.

Rogier Van der Weyden Rogier Van der Weyden Portrait of a LadyPortrait of a Lady

Van der Weyden’s Van der Weyden’s portrait is portrait is remarkable for its remarkable for its psychological psychological insight. He has insight. He has been able to been able to convey her convey her reserve, and quiet reserve, and quiet dignity quite dignity quite clearly.clearly.

Hugo Van der GoesHugo Van der GoesThe Adoration of the ShepherdsThe Adoration of the Shepherds

Van der Goes combined the Van der Goes combined the emotionalism of Rogier van der emotionalism of Rogier van der Weyden with the realistic detail of Weyden with the realistic detail of Jan van Eyck. But he made an Jan van Eyck. But he made an addition of his own: He was not addition of his own: He was not afraid to alter or distort nature or afraid to alter or distort nature or proportion if it would add to the proportion if it would add to the emotionalism of his picture (Mittler. emotionalism of his picture (Mittler. Art in FocusArt in Focus).).

In his In his Adoration of the ShepherdsAdoration of the Shepherds, we see , we see distortions in the proportions of the distortions in the proportions of the various figures, with the angels in the various figures, with the angels in the foreground much smaller than the figure foreground much smaller than the figure of Mary.of Mary.

This painting was sent to Florence, Italy, This painting was sent to Florence, Italy, soon after it was completed, and made a soon after it was completed, and made a deep impression on the Italian artists who deep impression on the Italian artists who saw it.saw it.

What excited them most was the portrayal What excited them most was the portrayal of the three shepherds, who are not of the three shepherds, who are not elegant noblemen, but ragged peasants. elegant noblemen, but ragged peasants. No one had dared to depict religious No one had dared to depict religious scenes like this before. scenes like this before.

Albrecht DurerAlbrecht DurerSelf PortraitSelf Portrait

Albrecht Durer – Stag Albrecht Durer – Stag BeetleBeetle

Albrecht DurerAlbrecht DurerPraying HandsPraying Hands

Albrecht DurerAlbrecht DurerMelancholiaMelancholia

Albrecht DurerAlbrecht DurerKnight, Death and the DevilKnight, Death and the Devil

Hieronymus BoschHieronymus BoschThe Garden of Earthly DelightsThe Garden of Earthly Delights

Hieronmymus BoschHieronmymus BoschDeath and the MiserDeath and the Miser

Pieter BrueghelPieter BrueghelThe Parable of the BlindThe Parable of the Blind

Pieter BrueghelPieter BrueghelPeasant WeddingPeasant Wedding

Pieter BrueghelPieter BrueghelReturning HuntersReturning Hunters

Pieter BrueghelPieter Brueghel

Hans HolbeinHans HolbeinEdward VI as a ChildEdward VI as a Child

Hans HolbeinHans HolbeinKing Henry VIIIKing Henry VIII

Hans HolbeinHans HolbeinAnne of ClevesAnne of Cleves