Beranda  ›  Gardners Art Through the Ages a Global History Chapter 20

Gardners Art Through the Ages a Global History Chapter 20

Ditulis Selasa, 26 April 2022 Tulis Komentar Edit

Download

gardner s art through the ages 13e n.

Skip this Video

Loading SlideShow in 5 Seconds..

Gardner's Art Through the Ages, 13e PowerPoint Presentation

play prev play next

Gardner'due south Art Through the Ages, 13e

Download Presentation

Gardner's Fine art Through the Ages, 13e

- - - - - - - - - - - - - - - - - - - - - - - - - - - E Northward D - - - - - - - - - - - - - - - - - - - - - - - - - - -

Presentation Transcript

  1. Chapter 20 Northern Europe, 1400 to 1500 Gardner'south Art Through the Ages, 13e 1

  2. Europe in the 15th Century ii

  3. Understand the result of political power in the evolution of Northern European art. Examine the variety and types of media used in art in this period. Identify specific artists, their respective styles, and their key works of art. Understand the integration of sacred and secular power and wealth, forth with its resultant display in art. Goals three

  4. Examine the effect of political power on the sumptuous fine art forms that adult in the 15th Century. Examine the results of Burgundian wealth and largesse directed to fine art. Sympathize the growth of public devotional fine art, the artists, new art media and new illusionistic devices developed. The Fine art of France and Flanders 4

  5. Examine the sumptuous art forms that developed in the 15th Century. Explore French manuscript illumination and the new spatial and illusionistic devices used in art. The Very Sumptuous Hours 5

  6. Figure 20-ii CLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395–1406. Limestone with traces of paint, Moses half-dozen' high. 6

  7. 20-2A CLAUS SLUTER, Virgin and Child, saints, and donors, portal of the chapel of the Chartreuse de Champmol, Dijon, France, 1385–1393. 7

  8. Figure 20-three MELCHIOR BROEDERLAM, Retable de Champmol. from the chapel oft he Chartreuse de Champmol, Dijon, France, installed 1399. Oil on wood, each wing five' v 3/4" X four' ane 1/iv". Musée des Beaux-Arts, Dijon. 8

  9. Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on woods, center panel 2' 1 three/viii" Ten 2' 7/8", each wing two' i iii/8" X 10 seven/8". Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). ix

  10. Figure 20-four ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on forest, center panel 2' 1 three/viii" X 2' 7/8", each fly 2' 1 3/viii" 10 x 7/8". Metropolitan Museum of Art, New York (The Cloisters Drove, 1956). 10

  11. Figure xx-4 ROBERT CAMPIN (Principal OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, heart panel 2' 1 3/eight" 10 2' 7/viii", each fly two' one three/8" Ten 10 7/viii". Metropolitan Museum of Art, New York (The Cloisters Drove, 1956). eleven

  12. Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open up), ca. 1425-1428. Oil on wood, center console 2' i three/8" X ii' 7/viii", each wing 2' one 3/eight" 10 10 seven/8". Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). 12

  13. Effigy 20-iv ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on woods, center console 2' i 3/8" X 2' vii/eight", each wing two' 1 iii/8" X 10 7/8". Metropolitan Museum of Fine art, New York (The Cloisters Collection, 1956). xiii

  14. Figure 20-4 ROBERT CAMPIN (Principal OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, heart panel 2' 1 3/eight" X 2' 7/viii", each fly 2' 1 3/eight" X 10 vii/eight". Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). fourteen

  15. Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on woods, centre console ii' 1 3/eight" X 2' 7/8", each wing 2' i iii/8" X 10 7/8". Metropolitan Museum of Fine art, New York (The Cloisters Collection, 1956). 15

  16. Effigy twenty-5 January VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11' six" X seven' 6". 16

  17. Figure twenty-six January VAN EYCK, Ghent Altarpiece (open up), Saint Bavo Cathedral, Ghent, Kingdom of belgium, completed 1432. Oil on forest, xi' 5" X 15' i". 17

  18. Figure 20-1 January VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. ii' 9" X 1' 10 1/2". National Gallery, London. 18

  19. 20-5A Jan VAN EYCK, Madonna in a Church, ca. 1425–1430. Oil on wood, 1' i/4" X five 1/2". Gemäldegalerie, Staatliche Museen zu Berlin, Berlin. 19

  20. Figure 20-7 JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, one' 1 1/8" X 10 1/iv". National Gallery, London. xx

  21. Effigy twenty-viii ROGIER VAN DER WEYDEN, Deposition, middle panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, seven' 2 5/eight" 10 eight' 7 ane/8". Museo del Prado, Madrid. 21

  22. Figure 20-9 ROGIER VAN DER WEYDEN, Saint Luke Drawing the Virgin, ca. 1435-1440. Oil and tempera on woods, 4' half dozen 1/8" X three' vii 5/eight". Museum of Fine Arts, Boston. (Gift of Mr. and Mrs. Henry Lee Higginson) 22

  23. Effigy 20-10 ROGIER VAN DER WEYDEN, Portrait of a Lady, ca. 1460. Oil on panel, 1' 1 three/viii" X 10 1/16". National Gallery, Washington, D.C. (Andrew Westward. Mellon Collection). 23

  24. Figure twenty-eleven PETRUS CHRISTUS, A Goldsmith in His Shop, 1449. Oil on woods, approx. 3' iii" X 2' 10". Metropolitan Museum of Art, New York (the Robert Lehman Collection, 1975). 24

  25. Effigy 20-12 DIRK BOUTS, Last Supper central panel of the Altarpiece of the Holy Sacrament, Saint Peter'southward, Louvain, Kingdom of belgium, 1464–1468. Oil on wood, 6' Ten five'. 25

  26. Effigy 20-13 HUGO VAN DER GOES, Portinari Altarpiece (open), from Sant'Egidio, Florence, Italy, ca. 1476. Tempera and oil on woods, 8' 3 one/2" Ten 10' center console, 8' three ane/2" X 4' vii i/2" (each wing). Galleria degli Uffizi, Florence. 26

  27. Figure 20-14 HANS MEMLING, Virgin with Saints and Angels, center console of the Saint John Altarpiece, Hospitaal Sint Jan, Bruges, Belgium, 1479. Oil on forest, 5' vii 3/4" X 5' vii 3/4" (center panel), 5' 7 3/4" X ii' seven 1/8" (each wing). 27

  28. Effigy twenty-15 LIMBOURG BROTHERS (Politician, JEAN, HERMAN), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 7/8" Ten five three/8". Musée Condé, Chantilly. 28

  29. Figure 20-16 LIMBOURG BROTHERS (Pol, JEAN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, 8 seven/8" 10 five 3/8". Musée Condé, Chantilly. 29

  30. Figure 20-17 JEAN FOUQUET, Melun Diptych. Étienne Chevalier and Saint Stephen, (left fly), ca. 1450. Oil on wood, 3' i/2" 10 2' ix 1/2". Gemäldegalerie, Staatliche Museen, Berlin. Virgin and Child, (right wing) ca. 1451. Oil on wood, 3' ane 1/iv" X two' 9 1/2". Koninklijk Museum voor Schone Kunsten, Antwerp. 30

  31. Figure 20-18 VEIT STOSS, The Death and Assumption of the Virgin (wings open), altar of the Virgin Mary, church building of Saint Mary, Kraków, Poland, 1477–1489. Painted and golden wood, central console 23' nine" high. 31

  32. Figure 20-19 TILMAN RIEMENSCHNEIDER, The Supposition of the Virgin, center panel of the Creglingen Altarpiece, Herrgottskirche, Creglingen, Frg, ca. 1495–1499. Lindenwood, six' 1" wide. 32

  33. Effigy 20-20 KONRAD WITZ, Miraculous Draught of Fish, from the Altarpiece of Saint Peter, from Chapel of Notre-Dame des Maccabées in the Cathedral of Saint Peter, Geneva, Switzerland, 1444. Oil on woods, approx. iv' 3" X v' 1". Musée d'art et d'Histoire, Geneva. 33

  34. Figure 20-21 MICHEL WOLGEMUT and shop, Tarvisium, folio from the and so-called Nuremberg Chronicle, 1493. Woodcut,1' 2" 10 ix". Printed by ANTON KOBERGER. 34

  35. Figure 20-22 MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480–1490. Engraving, i' 1/4" X 9". Fondazione Magnani Rocca, Corte di Mamiano. 35

  36. Understand the demand for sacred sculpture and new sacred art. Examine the growth of devotional altarpieces, the media, and individual artists. Burgundian Wealth and Fine art 36

  37. Examine the large numbers of private and public devotional art created at this time.  Identify specific artists, their respective styles and their key works of art. Understand the relationship between religious and secular authority in the development of art. Examine the rise of portraiture and self-portraits. 20.2 Flemish Public and Individual Devotional Art 37

  38. Examine the complex illusionary images of the Flemish artists, especially noting the evolution of a single vanishing betoken. Flemish Public Devotional Art 38

  39. Examine the private devotional art created at this time. Sympathise the illusionistic devices in painting, the temper of the individual home, and the attention to symbolism. Private Images 39

  40. Examine the ascent of portraiture and self-portraits and the social and economic factors that made portraiture desirable. Portraiture and the Growing Interest in Secular Art 40

  41. Sympathise the royal court fine art in French republic and the integration of the sacred and the secular in fine art. Examine the art that developed in Federal republic of germany and in the Holy Roman Empire. Embrace the multifariousness and types of media used in fine art in this menses. Place specific artists, their respective styles, and their cardinal works of art. Examine the development of graphic art, especially in Germany in the 15th Century. 15th Century French and German Art 41

  42. Understand purple court fine art and the integration of the sacred and the secular. Place specific artists, their styles, media and works of fine art. French Sacred and Secular Art 42

  43. Examine the art patronage involvement in private piety and familiar themes. Identify specific artists, styles and works of art. 15th Century High german Art 43

  44. Examine the evolution of graphic arts, peculiarly in Germany in the 15th Century. Understand the processes that were developed in relief and intaglio printmaking. Evolution of Graphic Arts 44

  45. What were some of the most important innovations in art media and spatial techniques at this time? How does the court and wealthy merchant patronage shape the content and appearance of religious and secular art? Why does the portrait – absent in fine art for nearly 1000 years – return in this period? Word Questions 45

millercaustravers.blogspot.com

Source: https://www.slideserve.com/veata/gardner-s-art-through-the-ages-13e

Belum ada Komentar untuk "Gardners Art Through the Ages a Global History Chapter 20"

Posting Komentar

Langganan: Posting Komentar (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel