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Self-Portrait Project Instructions Unit II: Chapters 23, 30, and 31 Self-Portrait as an Artist Due in class on March 19, 2019 Assume that you are an artist working in a style from the time period of Unit II (Baroque, Rococo, Neoclassical, Romantic, Realist, Impressionism). Create a self-portrait of yourself as an artist (using any medium you wish). Your portrait must include iconography that indicates you are an artist. Include a one to two-page description of your self-portrait with references to examples of self-portraits in the textbook which influenced your work. Be prepared to present and describe your portrait to the class on March 19. Late projects may earn a C if satisfactory. 19 CHAPTER Fifteenth-Century Art in Northern Europe * Fifteenth-century Europe saw the emergence of wealthy childbirth. Only the wealth of the couple is beyond dispute. merchants whose rise to power was fueled by individuał They are surrounded by luxury objects: lavish bed hangings, accomplishment, rather than hereditary succession within sumptuous chandelier, precious oriental darpet, rare oranges, noble families. Certaink Giovanni Amolfini—the pasty not to mention their extravagant clothing. The man wears gentleman with the extravagant hat in this double portrait a fur-lined, silk velvet heuque (sleeveless overgarment). The (FIG. 19-1)-earned, rather than inherited, the right to have woman's gown not only employs more costly wool fabric himself and his wife recorded by renowned artist Jan van than necessary to cover her slight body; the elaborate cut- Eyck. It was the wealth and conneetions he made as an Ital- work decoration and white fur lining of her sleeves is an ian cloth merchant providing luxury fabrics to the Burgun- ostentatious indicator of cost. In fact, the painting itself- dian court that put him in the position to commission such a probably hung in the couple's home-was an object of con- precious picture, in which both patron and painter are iden- siderable value. tified with conspicuous clarity. Giovanni's face looks more Even within its secular setting, however, the picture like a personal likeness than anything we have seen since resonated with sacred meaning. The Church still provided ancient Rome, and not only did Jan van Eyck inscribe his spiritual grounding for men and women of the Renais- name above the convex mirror ("Jan van Eyck was here, sance. The crystal prayer beads hanging next to the convex 1434") but his personal painting style also carries the stamp mirror imply the couple's piety, and the mirror itself-a of authorship. The doll-like face of the woman standing next symbol of the all-seeing eye of God-is framed with a cir- to Giovanni is less individualized. Has she Xifted her skirt over cular cycle of scenes from Christ's Passion. A figure of St. her belly so she can follow Giovanni, who has taken her by Margaret-protector of women in childbirth-is carved at the hand? Or are most modern observers correct in assuming the top of a post in the highbacked chair beside the bed, that she is pregnant? This painting is full of mysteries, and the perky Affenpinscher in the foreground may be more The precise identity of the couple is still open to scholarly than a pet. Dogs served as symbols of fidelity and also have debate. And is this a wedding, a betrothal, or perhaps security funerary associations, but choosing a rare, ornamental breed for a shady financial deal? Recently it has been interpreted for inclusion here may have been yet another opportunity to as a memorial to a beloved wife lost to death, perhaps in express wealth. LEARN ABOUT IT 19.1 Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors, as well as having an extraordinary interest in evoking human likeness in portraits. 19.2 Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings. 19.3 Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors. 19.4 Investigate the emergence of printing as a major pictorial medium. (1• Listen to the chapter audio on 563 Lu 19-10. Workshop of the Master of Flémalle MÉRODE) ALTARPIECE (TRIPTYCH OF THE ANNUNCIATION position becomes a symbol of her submission to God's will. Other art historians have proposed that the scene represents the moment just prior to the Annunciation. In this view, Mary is not yet aware of Gabriel's presence, and the rushing wind is the result of the angel's rapid entry into the room, where he appears before her, (OPEN) C. 1425-1430s. Oll on wood panel, center 25/4" x 24%" (541 (63.2 cm); each wing approx. 25%;" X 10%" (64.5 7.6 cm). Metropolitan Museum of Art, New York. The Chels Collection, 1956 (56.70) In the late nineteenth century, this triptych was associated with a group of stylistically related works and assigned to an artist called the Master half kneeling and raising his hand in salutation. of Flémalle, who was subsequently identified by some art historians as In the left wing of the triptych, the donors-presumably a a documented artist named Robert Campin. Recently, however, experts have questioned this association and proposed that the triptych we now married couple—kneel in an enclosed garden, another symbol of see was the work of several artists working within the workshop that created the stylistic cluster. Current opinion holds that the Annunciation Mary's virginity, before the open door of the house where the was initially created as an independent panel, and shortly afterward Annunciation is taking place, implying that the scene is a vision expanded into a triptych with the addition of the side panels under the patronage of the donor in the foreground at left. Finally, some time later engendered by their faithful meditations, comparable to the vision in the 1430s, the figure of his wife was added behind him, presumably we have already seen in the Hours of Mary of Burgundy (see Fig. on the occasion of his marriage. 19-7). Such presentations, very popular) with Flemish patrons, View the Closer Look for the Mérode Altarpiece allowed those who commissioned a religious work to appear in the on same space and time and often on the same scale, as religious fig- ures. The donors' bves, which seem oddly unfocused, are directed not outward but inward, intent on the spiritual exercise of imagin- ing their own presence within this sacred narrative. On the right wing. Joseph is working in his carpentry workshop. A prosperous Flemish city is exquisitely detailed in the view through the shop window, with people going 19-11). Even here there is religious sy of Joseph's shop is a mousetrap (an next to him), which fifteenth-centur a reference to Christ as the bait in a Joseph is drilling holes in a small - making wine, calling to mind the E The complex and consistent tr Altarpiece represents a major prec The strongest illumination comes upper left in front of the picture p as if sunlight were entering throug More light comes from the rear w rays come from the round wind the Christ Child's descent. Jesus light linking God with Mary, cari over his shoulder. The light falli this connection, and the transmis a transparent panel of glass (wh ginal nature of Jesus' conception CHAPTER 19 FIFTEENTH-CENTURY ART IN NORTHERN EUROPE
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