Early Renaissance Art in Europe
Chapter 17
Art History 2nd - Edition Marilyn Stokstad
As Philip the Good enters Ghent, we enter the Renaissance in Europe. This is a world with deep connections to the Medieval world that preceded it, but also a world with emerging new concerns, ways of living, worshiping, and making art. Just as Philip was amazed by what he saw in Ghent, we should be prepared to be impressed with not only the changes in life and art, but also with the speed of those changes. Many would argue that the
modern world begins in the Renaissance; one of the arguments in favor of this assertion is the sudden acceleration of change. If the single greatest idea propelling the Renaissance was Humanism, the idea did not appear in only one place. The Renaissance began in several places around the turn of the fifteenth century. With this in mind, the goals for this chapter are as follows:
modern world begins in the Renaissance; one of the arguments in favor of this assertion is the sudden acceleration of change. If the single greatest idea propelling the Renaissance was Humanism, the idea did not appear in only one place. The Renaissance began in several places around the turn of the fifteenth century. With this in mind, the goals for this chapter are as follows:
- Become familiar with fundamental developments in France, Flanders, Spain and Portugal, Germany, and Italy.
- Be conversant with the differences in attitude toward the human figure in art in Flanders and in Italy.
- Be able to describe the new kind of portraiture that emerges during the
early Renaissance.
- Contrast the developments in sculpture and architecture in Italy and in
Northern Europe.
- Be able to describe new techniques in painting and printmaking that become
important during the Renaissance.
ThemeConsider the Nut
•We look at the properties of an average walnut-- –it is small, textured, hard to crack but worth the effort –full of rich meat that must be dug out –rich in “oil” –descriptors can be applied to the art of the Northern Renaissance. |
Vocablinear perspective
typology register aerial perspective triptych wings tracery gables buttresses moldings Tympana diptych predella panels glaze oil paints roundels gilded reliquary woodcut engravings bestiary woodblocks cross hatching hatching lantern courses trompe l'oeil vanishing point stigmata |
Powerpoints
Here are the powerpoints for this unit.
17-1.pdf | |
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17-3.pdf | |
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17-5.pdf | |
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Reading Guides
rg_chapter_17_a.doc | |
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rg_chapter_17_b.doc | |
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rg_chapter_17_c.doc | |
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rg_chapter_17_d.doc | |
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rg_chapter_17_e.doc | |
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