ROGIER VAN DER WEYDEN, Deposition, center panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, 7 2 5/8" X 8 7 1/8". Museo del Prado, Madrid.

ROGIER VAN DER WEYDEN, Deposition, center panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, 7 2 5/8" X 8 7 1/8". Museo del Prado, Madrid. 1

1ROGIER VAN DER WEYDEN, Saint Luke Drawing the Virgin, ca. 1435-1440. Oil and tempera on wood, 4 6 1/8 X 3 7 5/8. Museum of Fine Arts, Boston. (Gift of Mr. and Mrs. Henry Lee Higginson)2

2HUGO VAN DER GOES, Portinari Altarpiece (open), from SantEgidio, Florence, Italy, ca. 1476. Tempera and oil on wood, 8 3 1/2" X 10 center panel, 8 3 1/2" X 4 7 1/2" (each wing). Galleria degli Uffizi, Florence. 3

3LIMBOURG BROTHERS (POL, JEAN, HERMAN), January, from Les Trs Riches Heures du Duc de Berry, 14131416. Ink on vellum, approx. 8 7/8" X 5 3/8". Muse Cond, Chantilly. 4

LIMBOURG BROTHERS (POL, JEAN, HERMAN), October, from Les Trs Riches Heures du Duc de Berry, 14131416. Ink on vellum, 8 7/8" X 5 3/8. Muse Cond, Chantilly. 4PrintmakingInvention of moveable type in 15th century Germany, new widespread availability of paperRevolutionary invention: it allowed artists to make multiple copies of their artworks. Different from drawing. It also allowed people to study great artworks without having to travel. More affordable and easier to handle. They however can be considered artworks for themselves.

In the west, artists used several printing techniques:

Relief printmakingIntalio Printmaking were the most commonly used methods in 15th and 16t centuryThe production of at least 2 or more identical images is called an EDITIONRelief PrintmakingRelief prints are made by carving away from a block of a suitably workable material, such as wood or linoleum, a certain amount of it, to create a raised image

The artist then applies ink to the raised surface and transfers the image to paper or similar material by applying pressure in a printing press

The areas of the block that remain, print the imagebecause the carved areas are recessed and are not inked

A brief overview of the relief printing process

PART 2MEDIA AND PROCESSESChapter 2.3 PrintmakingGateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn ShieldsIntaglio PrintmakingIntaglio is derived from an Italian word that means cut into a metal surface (usually copper)

Intaglio printing differs from relief printmaking because little of the base material is removed

The ink on the surface is also wiped away before printing, leaving ink in the scarred surface of the plate

The pressure of the printing press squeezes the plate against the paper, transferring the ink

There are several variations of intaglio printing, all of which give the resulting artwork a different visual character: linear media/tonal media.

PART 2MEDIA AND PROCESSESChapter 2.3 PrintmakingGateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn ShieldsMARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 14801490. Engraving, 1 1/4" X 9". Fondazione Magnani Rocca, Corte di Mamiano.10

Schongauer used a burin to incise lines in a copper plate, He created a wide variety of tonal values and textures10The most powerful rulers north of Alps during almost 15th c. were the Dukes of Burgundy. They controlled Flanders, which derived its wealth from wool and banking. They were great art patrons

Flemish painters popularized the used of oil paint on wood panels.

Major art form in churches and private homes were altarpieces with folding wings.

Portraiture was established as an important art form

During the 15th century, the Hundreds years war crippled the French economy, but dukes and the members of the Royal court still commissioned some notable artworks.

The Limbourg brothers expanded the illusionistic capabilities of manuscript illumination in the Book of Hours produced for the Duke of Berry. Their full-page calendar pictures alternately represent the nobility and the peasantry in seasonal, naturalistic settings with realistically painted figures.

Major German innovation of the 15th century was development of the printing press

Renaissance Florence12

The Renaissance in Quattrocento Italy12Important Artistic Elements to ObserveAttention to the human form including the return of classical nudity and contrapposto --- influence of classical Roman statuesDiscovery and codification of linear perspective to create the illusion of three-dimensional space, usage of aerial perspective --- these values were important to classical paintingUse of chiaroscuro to model forms, use of single light source --- greater realismPaintings that have balanced, symmetrical compositions, often using pyramidal compositionClassical forms are incorporated more into architecture (triumphal arches, domes, coffers, harmonious geometric relationships)

1313FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 14011402. Gilded bronze, 1 9 x 1 5. Museo Nazionale del Bargello, Florence. 14

14LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 14011402. Gilded bronze relief, 1 9 x 1 5. Museo Nazionale del Bargello, Florence. 15

15DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 14111413. Marble, 7 9 high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. 16

Donatello, Saint George and the Dragon, relief below the statue of Saint George (Fig. 21-6), Or San Michele, Florence, Italy, ca. 1417. Marble, 1 3 X 3 11 , Museo Nzaionale del Bargello, Florence

Donatello, Sanint George, Or San Michele, ca. 1410,-1516DONATELLO, David, late 14401460. Bronze, 5 2 1/4 high. Museo Nazionale del Bargello, Florence. 17

First free-standing nude statue since antiquity. Notice the contrapposto

Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality).17