The Changes Witnessed in Art in Northern Europe during 15th Century
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
DIPTYCH OF MAARTEN CAN NIEUWENHOVE
“Diptych of Maarten can Nieuwenhove” was designed and developed in 1487 by Hans Memling. This portrait is one of the very best intact diptychs witnessed in Northern Europe during 15th century. Han’s work brought a new concept in the devotional diptych. Unlike the portraits that existed before 15th century, the Han’s shows the figures in a spatially coherent space. The figures can therefore be seen clearly (Pearson, 2005).
The characters in the portrait are Virgin and Child on one ...
... middle of paper ...
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
Fuga, A. (2006). Artists’ techniques and materials. Los Angeles; J. PaulGetty Museum.
Pearson, A. G. (2005). Envisioning gender in Burgundian devotional art, 1350-1530: Experience, authority, resistance. Aldershot: Ashgate Pub.
Prescott, T. L. (2005). A broken beauty. Grand Rapids: William B. Eerdmans Pub. Co.
Souter, G. (2007). Frida Kahlo, Diego Rivera. New York: Parkstone International.
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