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The Northern Renaissance

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In the Netherlands as well as in Florence, new developments in art began about 1420. But what was called the Northern Renaissance was not a rebirth in the Italian sense. Artists in the Netherlands lacked Roman ruins to rediscover. Still, their break with the Gothic style produced a brilliant flowering of the arts. While the Italians looked to Classical antiquity for inspiration, northern Europeans looked to nature.

Without Classical sculpture to teach them ideal proportions, they painted reality exactly as it appeared, in a detailed, realistic style. This precision was made possible by the new oil medium, which Northern Renaissance painters first perfected. Since oil took longer to dry than tempera, they could blend colors. Subtle variations in light and shade heightened the illusion of three-dimensional form. They also used «atmospheric perspective» to suggest depth.


 

  ITALIAN RENAISSANCE ART NORTHERN RENAISSANCE ART
Specialty Ideal beauty Intense realism
Style Simplified forms, measured proportions Lifelike features, honesty
Subject Religious and mythological scenes Religious and domestic scenes
Figures Heroic male nudes Prosperous citizens peasants
Portraits Formal, reserved Reveal individual personality
Technique Fresco, tempera, and oil paintings Oil paintings on wood panels
Emphasis Underlying anatomical structure Visible appearance
Basis of art Theory Observation
Composition Static, balanced Complex, irregular

Jan Van Eyck. Credited with inventing oil painting, the Flemish artist Hubert van Eyck was idolized for his discovery. He painted convincingly the most microscopic details in brilliant, glowing color. One of the first masters of the new art of portrait painting, van Eyck included extreme details like the beginning of stubble on his subject's chin. In «The Arnolfini Wedding», he captures surface appearance and textures precisely and renders effects of both direct and diffused light.

Bosch. It's not hard to understand why twentieth–century Surrealists claimed Dutch painter Hieronymous Bosch as their patron saint. The modern artists exploited irrational dream imagery but hardly matched Bosch's bizarre imagination. Bosch's moralistic paintings suggested inventive torments meted out as punishment for sinners.

Bruegel. Pieter the Elder was influenced by Bosch's pessimism and satiric approach. Bruegel took peasant life as his subject. In his scenes of humble folk working, feasting, or dancing, the satiric edge always appeared. Besides elevating genre painting (scenes of everyday life) to the stature of high art, he also illustrated proverbs. His most famous painting, «Hunters in the Snow» shows the atmospheric perspective – from sharp foreground to hazy background – to give the painting depth.


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