Throughout this course, many artistic movements grabbed my attention. However, art from the Early Northern Renaissance intrigued me from the start. This era seemed to be extremely influential and paved the way for many more artistic styles due to the newly discovered conventions by artists such as Jan van Eyck and Claus Sluter. The freshly developing ideas and styles from the Early Northern Renaissance included such things as an interest in naturalism, symbolism, attention to minute details (influenced by Aristotelian ideas regarding empirical observation), and intuitive (observed) perspective. This is also when the widespread utilization of thin layers of oil paint started, allowing painters to achieve rich textures, luminous colors, and reflective surfaces. Around 1450 in Germany, the printing press was invented, permitting artists to copy and distribute their works and the beautiful paintings of the Early Northern Renaissance to be spread.
The works from this period are still very religious-based, and for that reason, it seems like artists take extra care in creating their pieces so as to reach and maintain a sort of perfection in portraying holy figures and scenes. Such a piece exists that embodies all of the above characteristics and attains this “perfection.”
This is the Ghent Altarpiece by Jan van Eyck, assisted by his father, Hubert. Altarpieces became a popular form of representing religious artworks in the Northern Renaissance. They were usually commissioned by a church to be used as a sort of propaganda on their behalf. The Ghent Altarpiece is considered by some to be the greatest piece of art that the world has to offer. It reaches a harmony through the symmetry of the altarpiece’s form, as well as the balance of the compositions depicted inside. Completed in 1432, the medium is oil on wood. Van Eyck in particular can be held responsible for the popular use of oils due to the techniques he employed while using them. It is still hard for me to believe that he created the pieces he did using thin layers of oil paints.
Van Eyck’s works, such as the center of the open altarpiece, The Adoration of the Lamb, seem impossibly detailed. For instance, surrounding the fountain in the middle are small jewels on the ground, each of them with a realistic reflective surface. This also encompasses the eyeballed perspective, from the distant infinity that Van Eyck created, to the water of life flowing out of the well and towards the viewers, connecting the two worlds—his mirrored reality and our own. His depiction of Adam has the same effect, and even seems to be stepping into our world thanks to the detail of his raised toes. Van Eyck incorporated empirical observation as well, as can be seen by his representation of the tanned skin on Adam, most likely taken from the model he used for the piece. His unbelievable naturalism comes into play with the light veins that can be seen under the skin. Adam looks like he is a real human.
These impossible accomplishments amaze me. Not only Van Eyck’s works, but many others as well. The works from the Early Northern Renaissance meet a precise and specific feel of perfection only found in this period.
Van Eyck’s works, such as the center of the open altarpiece, The Adoration of the Lamb, seem impossibly detailed. For instance, surrounding the fountain in the middle are small jewels on the ground, each of them with a realistic reflective surface. This also encompasses the eyeballed perspective, from the distant infinity that Van Eyck created, to the water of life flowing out of the well and towards the viewers, connecting the two worlds—his mirrored reality and our own. His depiction of Adam has the same effect, and even seems to be stepping into our world thanks to the detail of his raised toes. Van Eyck incorporated empirical observation as well, as can be seen by his representation of the tanned skin on Adam, most likely taken from the model he used for the piece. His unbelievable naturalism comes into play with the light veins that can be seen under the skin. Adam looks like he is a real human.
These impossible accomplishments amaze me. Not only Van Eyck’s works, but many others as well. The works from the Early Northern Renaissance meet a precise and specific feel of perfection only found in this period.
Several students have commented on how much they like Jan van Eyck's art. It is extremely impressive to me, too!
ReplyDeleteI knew of an art student in graduate school that decided to replicate some of Jan van Eyck's work for a project. This student worked with an art historian and they determined that some of Jan van Eyck's details must have been painted with a one-hair brush, because the details are too fine to be created any other way. Isn't that incredible? Consider, too, that the Ghent Altarpiece is HUGE (about 11' x 15') and the combined panels weigh about two tons. Jan van Eyck's technique and patience (!) are extremely impressive.
-Prof. Bowen
Yes, I loved learning about him too! I absolutely love that Jan van Eyck designed the Ghent Altarpiece to appear as though the scene is really there. The sunlight that comes in through the window cast shadows behind the figures and makes them appear to be real.
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