Northern France, Belgium and the Netherlands
--interest in “observational realism”
--use of “intuitive (or observational) perspective,” not mathematical perspective
**The Limbourg Brothers, Les Très Riches Heures du Duc de Berry (The Very Rich Hours of the Duke of Berry), 1416—manuscript illumination on vellum (see next page)
--combination of prayer book (Book of Hours) and calendar
--first time since ancient Rome that expensive art used as a mark of personal status
--much observation of details of everyday life
--a “duke’s-eye” view of peasants as awkward and inelegant
--use of atmospheric perspective, but not mathematical perspective
--cutaway view of building to show inside & outside simultaneously (a visual
convention)
Jan and Hubert Van Eyck, The Ghent Altarpiece, 1425-32, oil paint on wood panel
Church of St. Bavo, Ghent (the Netherlands)
--devotional imagery to increase spirituality and counter Church corruption
--a “polyptych”—a multi-paneled painting, with panels connected by hinges
**Exterior with Annunciation, Ghent Altarpiece, 1425-32
--realism of detail (fabrics, jewels, etc.)
--intuitive (but convincing) perspective
--Annunciation occurring in 15th-century Ghent
--frame casts illlusionistic “shadow”
--idealized figures (Gabriel, Mary)
--Old Testament Prophets and pagan Sibyls above
--very realistic donor portraits below
--illusionistic, “grisaille” (grey value image) paintings of sculptures below (John
the Baptist and John the Evangelist)
**Interior, Ghent Altarpiece, Adoration of the Lamb
--extraordinary details
--worshippers gather from 4 corners of the world
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