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1st Jan van Eyck, The Arnolfini Portrait, Oil on oak. 1434 82.2 × 60 cm National Gallery, London.

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New Northern Details: A Self-Portrait of Jan Van Eyck

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New Northern Details: A Self-Portrait of Jan Van Eyck

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Key Words: Luminous, Portrait, Powerful, Realistic, Fleshy, Wood, Oil, Penetrating, Light, Shadow, Pale. Authority.

What is the subject matter and iconography?

Source: Jan Van Eyck, The Arnolfini Portrait, tempera and oil on wood, 1434 (National Gallery, London). Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

According to Dr Zucker "What we do know is,

is that whoever is represented here was an Italian

merchant who worked in Bruges," which Dr. Harris adds that Bruges was a thriving economic town in the early 15th Century." This is apparent when Dr. Zucker says "His wealth is quite apparent throughout this portrait..." where

Dr. Harris agrees and adds "In a way, this portrait is about his wealth." On top of that there is a mirror in the background capturing two other figures adding a greater level of detail to the painting.

What is the style?

Source: Jan Van Eyck, The Arnolfini Portrait, tempera and oil on wood, 1434 (National Gallery, London). Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

With this piece from Van Eyck, we see the Northern detail in full display representing a more humanist style captured in oil colors. Van Eyck captures the two subjects in his painting so well it is the first of its kind, with Dr Zucker going as far as to say the oil color medium brings out "a richness of color tempera couldn't achieve. All in all he brings out a new richness of color and "Luminous" to his work that influences later paintings.

Source: Source: Jan Van Eyck, The Arnolfini Portrait, tempera and oil on wood, 1434 (National Gallery, London). Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

When analyzing the conversation between Dr Zucker and Dr Harris we can conclude that the historical audience was someone of rich status most likely a merchant. According to Dr Zucker "What we do know is, is that whoever is represented here was an Italian merchant who worked in Bruges," Dr. Harris then adds that "Bruges was a thriving economic town in the early 15th Century..." meaning the paintings of this stature were very costly and the people commissioning them were of high status. Which can be shown here where it shows the two subjects are very well dressed and sporting "oranges," a symbol of luxury since it was a commodity.

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2nd Michelangelo di Lodovico Buonarroti Simoni, Sistine Chapel ceiling, 1508-1512, Plaster, 133′ 0″ x 46′ 0″

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Italian Details and Subjects: Sistine Chapel by Michelangelo for Pope Julius ll 

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Italian Details and Subjects: Sistine Chapel by Michelangelo for Pope Julius ll 

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Key Words: Adam, God, Pope Julius ll, Michelangelo, Sistine Chapel, Massive, Elaborate, Sculptor, Grandiose, Center

What is the subject matter and iconography?

Source: Dr. Elizabeth Gand Diablo Valley College Course. Michelangelo, Pope Julius II, and the Sistine Ceiling

Unit V Module 1: SistineCeiling1.

When looking at the Sistine Chapel Michelangelo gives us "compartments," which contain "incredibly complex expressive human figures" to move the story/Isotria. Also to keep in mind that Michelangelo even adds architecture to his painting since "The story flows in a timeline from the alter toward the door..."

Michelangelo in the Ceiling of the Sistine Chapel captures the "Creation of the World," "Adam and Eve," and "Noah and the Flood." Also when also looking at how the Chapel is laid out the architecture tells a story through the entrance to the alter all while capturing the main subject being "God," giving Adam life.

Style:

Source: Dr. Elizabeth Gand Diablo Valley College Course. Michelangelo, Pope Julius II, and the Sistine Ceiling

Unit V Module 1: SistineCeiling1.

When watching the video, Professor Gand says Michelangelo "Integrates a complex Visual Architecture, expressive human figures and a dramatic visual narrative Istoria..." and "to move the soul of the beholder." With all this having a "term called Copia, Italian for abundance."

With the massive size ceiling Michelangelo was commissioned to decorate, he goes into the art piece to capture a "Istoria," which in this case is the creation of the world. The way he does this is using a technique where he creates all these different panels/scenes to capture the story "which is a term called Copia, Italian for abundance."

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

Source: Dr. Elizabeth Gand Diablo Valley College Course. Michelangelo, Pope Julius II, and the Sistine Ceiling

Unit V Module 1: SistineCeiling1.

A huge challenge for Michelangelo was to "create god as a physical figure..."

When given historical context the audience seems to be people of non-Christian faith in a form of conversion commissioned by Pope Julius the ll. While fitting the Pope's request Michelangelo a sculptor who complained the whole time completed the painting wanting to expand the power of the church. Which captured the image of "God," as a big deal since it was one of the first times god was ever painted in full.

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3rd Miracle of the Relic of the Cross at the Rialto Bridge, c. 1496, Vittore Carpaccio. 1496, tempera on canvas, 371 x 392 cm. Gallerie dell'Accademia, Venice

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Italian Subjects Religious to More Humanist: Miracle of the Relic of the Cross at the Rialto Bridge

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Italian Subjects Religious to More Humanist: Miracle of the Relic of the Cross at the Rialto Bridge

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Key Words: Relic, Cross, Rialto Bridge, Foreground, Canal, Venice, Gondola, Humanist, Biblical, Subjects

Source: Dr. Elizabeth Gand Diablo Valley College Course. Unit V, Module 2: Beyond Rome: 16th Century Venice

Smart History: Miracle of the Relic of the Cross at the Rialto Bridge.

According to the Smart History article "The painting shows a man’s miraculous healing and was painted for the School of St. John the Evangelist"

You can see that the painting of the Relic Cross exemplifies the start of the Early Modern period art. The subject of the artwork strays away from god or the cross and instead, most of the canvas shows scenes of the Grand Canal. For instance, look at how many Gondola Drivers are in the water.

Style:

Source: Dr. Elizabeth Gand Diablo Valley College Course. Unit V, Module 2: Beyond Rome: 16th Century Venice

Smart History: Miracle of the Relic of the Cross at the Rialto Bridge.

"However, this event is not the central episode of the painting, since it takes place in the wide loggia in the upper left corner. Instead, a view of the Grand Canal fills most of the canvas, and scenes from everyday life play out."

When looking at the previous masterpiece, the Sistine Chapel this painting takes a more humanist approach. Look at the "Miracle Cross," it is actually in the background with humans being in front. This relates to Venice: City of Water and Light, "paintings celebrated nature for its interest, not just as a manifestation of God." But showing the people and the daily life as well not just the relic/religious act as the main subject.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

Source: Dr. Elizabeth Gand Diablo Valley College Course. Unit V, Module 2: Beyond Rome: 16th Century Venice

Smart History: Miracle of the Relic of the Cross at the Rialto Bridge.

When looking at the piece it seems like it was made for pleasure to show someone that their city is the best. The quote "At the time, the Rialto Bridge, pictured in the painting, was the only bridge connecting the two sides of the Canal. Rialto was the heart of the commercial and financial life of Venice. People from all over the world came to the prominent markets." This makes sense, if someone a trade/traveler from another place wanted to show others where they went, a painting like this would be an excellent souvenir. It would be the same as taking a picture on vacation and showing it off to a friend.

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Miracle of the Relic of the Cross at the Ponte di Rialto painting

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4th Albrecht Dürer, Melancolia 1513-1514 1′ 0″ x 0′ 10″, Engraving, The Metropolitan Museum of Art.

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Northern Subjects Self Expression: Dürer, Melancolia 

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Northern Subjects Self Expression: Dürer, Melancolia 

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Key Words: Humanism, Self Expression, Detail, Melancholy, engraving, Printing press, Durer, Angel, Ordinary, Sadness.

What is the subject matter and iconography?

Source: Adapted Research provided by Thomas E. Rassieur at the Minneapolis Institute of Art, narrated by Dr. Naraelle Hohensee

According to Rassieur but narrated by Dr Hohensee "The Angel's sadness comes from the fact that she as opposed to the putto, can see ideal forms in her head but knows she won't be able to realize them in the physical world..." also Dürer's Melencolia I is one of three large press prints of 1513 and 1514 known as his "Meisterstiche" (master engravings).

Durer paints a brooding Angel who many believe personifies "Melancholy" others say it is "Geometry" with an "Androgynous" appearance. The angel's wings resemble a watercolor Durer made of a birds wing in 1512. She wears a wreath of Buttercup and watercress while holding a compass along with keys hanging from her belt. Next to the angel is a "Putto" which also relates to Raphael's painting of The Sistine Madonna.

What is the style?

Source: Provided by Thomas E. Rassieur at the Minneapolis Institute of Art, narrated by Dr. Naraelle Hohensee A quote from Erwin Panofsky "might be Durers, psychological portrait."

Art is now being used to represent self-expression instead of religious values. IE main subjects changing from Religious to Humanistic/Naturalistic values. Taking away the religious value the figures usually have and expresses himself in their facial expressions and in the title Melancholia, which I assume is not being able to "realize" his artistic ideas in the physical world.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

Source “Dürer: Great Artists (Series 1).” Films On Demand, Films Media Group, 2002, 8:09

"the production of prints has distinct advantages over commissioned paintings. Prints were much quicker to produce. And being cheaper, achieved a far greater circulation of his work."

Commissioning Artists in the 16th century was a luxury mostly for the rich at the time. Durer however, wanted to give art to the illiterate or lower working class which he achieved using the printing press. Durer combined small details and fast production by carving into a wood medium which he used to his "advantage," changing the religious use of the printing press to artistic publications finding it as a "cheaper," alternative.

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Hieronymus Bosch, The Garden of Earthly Delights 1480-1505, triptych, oil on panel, 220 x 390 cm (Museo del Prado)

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Influenced into One Piece: Bosch, The Garden of Earthly Delights 

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Influenced into One Piece: Bosch, The Garden of Earthly Delights 

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Key Words: Tryptic, Heaven, Hell, Garden, Earthly, Oil on Wood, Subject, Bosch, Timeline, Religious.

What is the subject matter and iconography?

Source: Dr. Elizabeth Gand Diablo Valley College Course. Annotation Assignment Module V Unit 3: "The Garden of Earthly Delights by Hieronymous Bosch"

"A lion is devouring a deer or antelope and a cat with a creature in its mouth"

When looking at the piece created by Bosch, we can see he comprises a Tryptic placing them in 3 panels being read from left to right. "The left-wing presents the Garden of Eden—the place in Jewish, Christian, and Islamic tradition where God creates humanity." Representing the beginning and start of the timeline, "The right-wing shows Hell—a place of punishment in the afterlife for those who live sinfully..." showing off the future. Finally the center panel, "though, is less clear is the Garden of Earthly Delights," which represents our home in the present. Also when taking in the whole piece it can relate to a previous painting, the Sistine Chapel. When looking at Michelangelo's piece the way he positions his figures on the ceiling tells a story and moves you from the doorway of the chapel to the altar, along with sharing the same subject it is hard to deny the similarities they both share.

Style:

Source: Dr. Elizabeth Gand Diablo Valley College Course. Annotation Assignment Module V Unit 3: "The Garden of Earthly Delights by Hieronymous Bosch"

"It is massive (more than twelve feet wide), riddled with an almost impossible-seeming level of detail, all painted in luminous colors."

When relating this painting to the 4 others, Hieronymous Bosch uses the same medium as Jan Van Eyck in his "Arnolfini Portrait." To capture the ornate details and bright colors Bosch uses "oil on a panel," Same as Jan Van Eyck with his Oil on oak approach being able to capture the red bed garments Bosch uses it to represent hell. Finally, to add I think the "lion" who's devouring the Antelope has fur that resembles Durer's piece in Melancholia being the dog new to the putto. Both look like they use tiny strokes and relatively the same process to bring out the detail however Durer seems to capture more detail since his is a carving.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

Source: Dr. Elizabeth Gand Diablo Valley College Course. Annotation Assignment Module V Unit 3: "The Garden of Earthly Delights by Hieronymous Bosch"

"Bosch lived in highly moralizing times, in a culture that condemned most or all bodily pleasures as sinful."

"He was a member of a religious confraternity called the Illustrious Brotherhood of Our Blessed Lady, dedicated to the worship of the Virgin Mary, and not only completed five paintings for the group but was also the only artist to be a member of a group that otherwise consisted of Christian clergy and scholars, suggesting both his strong dedication to the group, and their approval of his work."

The historical audience for Bosch art piece would be to mostly everyone was of Christian faith or anyone with ties to the Church. Meaning this scene was seen mostly as a warning to others to get rid of their sinful ways in to escape Hell. Which is easy to believe since "Bosch lived in highly moralizing times, in a culture that condemned most or all bodily pleasures as sinful." Also, himself being a part of "a religious confraternity called the Illustrious Brotherhood of Our Blessed Lady," and him being the only one to complete 5 paintings it is safe to assume he did his job. With that being said I believe his piece also resembles "Miracle of the Relic of the Cross at the Rialto Bridge," because while keeping religion as the main subject Vittore Carpaccio goes on to show a more Humanist side which I believe Bosch does his painting in showing off the "Earth," but instead of it being a bustling and nice there is sin.