Northern Renaissance Art

The epoch of metempsychosis in oecumenical was an age of humanism characterized by a hot spirit of freedom, a new sense of the individual, a new pragmatism in visualizing nature and the emergence of the artist as an individual creator. The renascence art traditions developed in Italy and then traveled to the north of the the Alps and there became known as Union Renaissance. Though the Northern Renaissance displays some differences from that of the South, it sh atomic number 18s with the Italians in the three essential Renaissance qualities, namely, a new interest in the world of fact, a new toleration of that world as having independent value for artistic creation disregarding of any super sensuous presuppositions, and the separation of the several arts.(Rowley, Sarton, Schevill and Thompson, 111) However, these qualities exhibited themselves in the north and south in quite different appearances because of the fundamental differences between the gothic and the Classic tradit ions. Italys climate, customs, and racial tendencies would never permit to assimilate the Gothic tradition, and the Federal countries could never forget it. For example, in northern tradition we cannot run into the mathematically exact perspective to check the space and volume, as easily as the interplay of featherbrained and shadow is replaced by the scrupulous work with go down and colors.North Renaissance portraits became living entities through and through the new naive realism which could return the detailed peculiarities of the individual and courtly approach and this trait derives from Gothic style. For example, Jan wagon train Eycks realism led to an examination of the details of actuality, so that he painted portraits that are convincing samenesses.To illustrate how the concept of Art Nova was reflected in the full treatment of northern artists it would be appropriate to discuss some of them. In general the realism of the north as Rowley and his colleagues put i t was to a greater extent discursive and more minute than that of the south. (114) Jan van Eycks painting of Arnolfini and his wife is packed with incidentals, the dog, slippers, pillows, fruit, cut down whisk, chandelier, and the mirror which repeats them all again, inscription on the wall of the richly weaponed room recording that Jan was here.The new element of light, which come outs diffused through the room, is regarded as illumination for each separate object. Jan van Eyck gives us a realism that is more than real. In Eycks Virgin and Child with premier Rolin realism showed itself in a microscopic examination of objects. Each bull and each pore of the skin was scrutinized so carefully that the visual accordance of the whole was lost in the focus upon small detail. The study of surfaces results in the qualities of things, the masterful use of light and color hues affected by light which makes the work different from Italian Renaissance.The most surprising characteristic of northern realism is the absence of movement. After the dramatic gesticulation of Giottos compositions and the internationalisticists, the figures of new wave Eyck, seem to be absolutely frozen. Perhaps much of the sanctified mood (Rowley, Sarton, Schevill, and Thompson, 116) of Van Eycks paintings is created by the fact that his people never look at anything, which gives them a curiously removed quality.Another artist of the period, Robert Campin, was one of the earliest and superlative masters of Flemish painting. Characterized by a naturalistic conception of realise and representation of the objects of daily life, Campins work marks the break with the prevailing International Gothic style and prefigures the achievements of Jan van Eyck and the painters of the Northern Renaissance.One of his masterpieces is the Mrode Altarpiece, a triptych of the Annunciation with the donors and St. Joseph on the wings. The Virgin is portrayed in a setting of bourgeois realism in which interio r furnishings are rendered with the frank and loving attention to detail traditional to the Art Nova of Flemish art. Campins craze for the natural and domestic world overlooks his picturing of the sacred story.This feature to supply sacred motives within mundane context also testifies to the difference between South and North as regards Renaissance. Campin meticulously depicts even the tiniest trifle in a technique which combines semi-transparent oil overlay on water-based opaque pigments that results in the creation of space. Yet Campins work includes several symbolic elements like the brass laver or lily flower, both referring to Marys purity.The innovations of the Northern Renaissance were apparent(a) not only in painting but also in grave art. Thus Claus Sluter was the influential master of early Netherlandish sculpture, established exceedingly individual monumental, naturalistic forms. The grandeur of Sluters forms can only be paralleled in Flemish painting by the van Eyc ks and Robert Campin discussed above. The works of Claus Sluter infuse realism with spirituality and monumental grandeur.Sluter was an innovator in art, and thus it would be plainly to apply the concept of Art Nova to his works too. He moved beyond the prevailing French taste for graceful figures, delicate and elegant movement, and politic falls of drapery. His sculptures are weighty, massive, dominantly large and balanced forms. The six-sided Well of Moses, presents six full-size prophets holding books and scrolls. The head and torso fragment of Christ from the Calvary reveal a power and intensity of restrained expression that conveys overwhelming grandeur. execrable and resignation are mingled, a result of the way the brow is knitted, though the lower part of the face, narrow and exhausted, is calm and without muscular stress.The figures of the composition dominate the architectural framework but also reinforce the feeling of reliever that the structure provides through their largeness of movement. Sluters latest preserved work is the grave accent of Philip the Bold consisting of forty figures, each about 16 inches high and make up the mourning procession. Sluter conceived of the figures as weepers, of whom no two are similar some are openly expressing their sorrow, others are containing their grief, but all are robed in heavy wool, draping garments that occasionally veil a bowleg head and face to convey a hidden mourning. Sluter epitomized in sculpture the growing awareness of an individualized nature with an enduring grandeur.Reference key outHarbison, Craig. The Mirror of the Artist Northern Renaissance Art in its historic Context, New York Abrams, 1995.Rowley, George et al. The Civilization of the Renaissance. Chicago The University of Chicago Press, 1929.