Jan van Eyck

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This powerpoint contains information about Jan van Eyck and how he contributed to the change of Renaissance art.

Formation Technologie

Jan van Eyck ,[object Object],Portrait of a Man in a Turban (actually a chaperon ), possibly a self-portrait, painted 1433 http://en.wikipedia.org/wiki/Image:Jan_van_Eyck_091.jpg

Who is this guy? ,[object Object],[object Object],[object Object],[object Object],[object Object]

Style Changes ,[object Object]

Big Differences! - Light and Shadow: Middle Ages- Divine light and intellectual light Renaissance: The corporeal light (the real world) God Vs. Human** http://en.wikipedia.org/wiki/Medieval_art - Photographic realism - Oil painting - details (for example, the folds in the fabric)

The Arnolfini Portrait (1434). ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],http://en.wikipedia.org/wiki/Image:Jan_van_Eyck_001.jpg

- interaction - connection between artists and the subject

Bibliography ,[object Object],[object Object],[object Object],[object Object]

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Jan van Eyck was one of the greatest revolutionaries in art. He radically changed the way in which men look at the natural world. His artistic achievements were well-known in Renaissance Italy. Vasari, who wrote about Van Eyck a hundred years later, wrongly attributed the discovery of oil painting to him. Only a few years after his death in 1441, Jan van Eyck was being hailed on both sides of the Alps as one of the greatest painter of the age. Despite Van Eyck’s great fame, little is known of his life except for his last years. For the last 16 years of his life, he worked at the court of Philip the Good, The Duke of Burgundy. The Duke made use of his skills as both painter and diplomat, sending him on numerous secret missions. The works of Jan van Eyck are celebrated for their visual splendor and precision of detail. Their brilliant colours and magnificent definition are due to Jan’s refinement of the oil-painting technique.

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Question 1: Perspective Scientific perspective was often used during the Renaissance era to create illusionistic works of art. In your response, discuss how specific works of art used the science of perspective techniques in paintings. Compare and contrast specific art examples from the Northern Renaissance and the Italian Renaissance. In your own words, summarize how the artworks are reflective of the cultures that created them. Assignment 2: Essay By Wednesday, October 1, 2014 , select one of the questions listed below and develop an essay response of approximately 350 words. Analyze and identify specific historical and visual examples to support your understanding of the topic. Include images with complete identifying information of the specific works of art you chose. Compose your thoughts with careful research and formulate independent conclusions. Reference and cite (using MLA format) the textbook and at least one other scholarly source (e.g., a class lecture, scholarly article, or museum website). If you need help with MLA formatting, please visit the Writing Center or Tutoring Services. Note: Wikipedia, blogs, and answers/Yahoo! websites are not permitted scholarly sources . Grammar and spelling are expected to reflect college-level work. Please spell-check and proofread all work prior to submission. Post your response in a Microsoft Word file to the W5 Assignment 2 Dropbox (do not post anything to the Discussion Areas for the questions) . Name your file LastNameFirstIntial_W5_A2_QuestionNumber.doc Note: Rubrics provide an explanation for full or partial credit. If a criteria listed is not addressed you will receive a zero for that section. Assignment 2 Grading Criteria Maximum Points Develop a response with accurate and relevant historical information that thoroughly supports the topic and the culture discussed. 10 Analyze and thoroughly identify multiple, visual examples that thoroughly support the topic. 10 Formulate independent conclusions based on research, analysis, and visual observations that support the topic. 10 Utilize the text and scholarly sources that support the response. 10 Employs correct spelling, grammar, and punctuation, and appropriate logic, voice, and utilize correct MLA formatting. 10 Total: 50 Early Northern Renaissance: 8-4: JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11′ 5″ × 7′ 6″. By: Bridgeman Art Library 3/4 . https://digitalbookshelf.aionline.edu/#/books/1111904871/pages/51103546 Jan van Eyck The first Netherlandish painter to achieve international fame was JAN VAN EYCK (ca. 1390–1441), who in 1425 became Philip the Good’s court painter. The artist moved his studio to Bruges, where the duke maintained his official residence, in 1432, the year he completed the Ghent Altarpiece ( FIGS. 8-4 and 8-5 ) for the church in Ghent originally dedicated to Saint John the Baptist (since 1540 Saint Bavo Cathedral). One .

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Question 1: Perspective Scientific perspective was often used during the Renaissance era to create illusionistic works of art. In your response, discuss how specific works of art used the science of perspective techniques in paintings. Compare and contrast specific art examples from the Northern Renaissance and the Italian Renaissance. In your own words, summarize how the artworks are reflective of the cultures that created them. Assignment 2: Essay By Wednesday, October 1, 2014, select one of the questions listed below and develop an essay response of approximately 350 words. Analyze and identify specific historical and visual examples to support your understanding of the topic. Include images with complete identifying information of the specific works of art you chose. Compose your thoughts with careful research and formulate independent conclusions. Reference and cite (using MLA format) the textbook and at least one other scholarly source (e.g., a class lecture, scholarly article, or museum website). If you need help with MLA formatting, please visit the Writing Center or Tutoring Services. Note: Wikipedia, blogs, and answers/Yahoo! websites are not permitted scholarly sources. Grammar and spelling are expected to reflect college-level work. Please spell-check and proofread all work prior to submission. Post your response in a Microsoft Word file to the W5 Assignment 2 Dropbox (do not post anything to the Discussion Areas for the questions). Name your file LastNameFirstIntial_W5_A2_QuestionNumber.doc Note: Rubrics provide an explanation for full or partial credit. If a criteria listed is not addressed you will receive a zero for that section. Assignment 2 Grading Criteria Maximum Points Develop a response with accurate and relevant historical information that thoroughly supports the topic and the culture discussed. 10 Analyze and thoroughly identify multiple, visual examples that thoroughly support the topic. 10 Formulate independent conclusions based on research, analysis, and visual observations that support the topic. 10 Utilize the text and scholarly sources that support the response. 10 Employs correct spelling, grammar, and punctuation, and appropriate logic, voice, and utilize correct MLA formatting. 10 Total: 50 Early Northern Renaissance: 8-4: JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11′ 5″ × 7′ 6″. By: Bridgeman Art Library 3/4 . https://digitalbookshelf.aionline.edu/#/books/1111904871/pages/51103546 Jan van Eyck The first Netherlandish painter to achieve international fame was JAN VAN EYCK (ca. 1390–1441), who in 1425 became Philip the Good’s court painter. The artist moved his studio to Bruges, where the duke maintained his official residence, in 1432, the year he completed the Ghent Altarpiece (FIGS. 8- 4 and 8-5) for the church in Ghent originally dedicated to Saint John the ...

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ART/ARCHITECTURE; The Truth Is Out: How Realists Could Be So Realistic By RICHARD B. WOODWARD Published: Sunday, November 25, 2001 THOMAS EAKINS had a secret. For decades he engaged in a practice that many in late-19th-century Philadelphia would very likely have regarded as scandalous had they known. Not wanting to risk exposure, he kept quiet about it all his life. If any of his students or friends ever guessed -- and someone could easily have discovered him in the act -- they never talked either. His wife said in an interview that if he did it, he didn't enjoy it. I refer, of course, to the stunning discovery -- revealed for the first time at the current Eakins retrospective at the Philadelphia Museum Art -- that the artist hailed by an 1882 critic as ''the greatest draughtsman in America'' often relied on projected images to make paintings and watercolors during the 1870's and 80's. To be blunt: he traced from photographs. According to Darrell Sewell, the museum's chief curator of American painting and the show's organizer, ''This is big news.'' What was long suspected as a practice among realist artists of the time has finally been proven. Never before has a 19th-century painter -- and not just any painter -- been ''caught'' seeking such direct aid from the novel and then controversial 19th-century invention. Curators around the world must now re-examine all kinds of post-1839 work in the light of this new discovery. At the Musée d'Orsay in Paris, where the exhibition travels next year, the process has already begun. As a special video about the revelation spells out, uncovering the truth was fortuitous. Eakins left a trail in the form of hundreds of photographs. By chance, these were saved by his wife and then by an acolyte. The museum's conservators, Mark Tucker and Nica Gutman, knew what to look for when they began to study the paintings. Using infrared reflectography, they detected odd preparatory drawings beneath layers of pigment and were able to match them to the photographic prints and glass plates owned by Eakins. In some cases, like ''Shad Fishing at Gloucester on the Delaware River,'' from 1881, Eakins drew from a single photograph projected on the canvas. But more commonly, as in an earlier version of the same painting, or in ''Mending the Net,'' also from 1881, the composition was built up from a half-dozen or more separate photographs. Like a digital film director, he would set the scene by choosing one image as the establishing shot, for drawing in trees and various landscape features. Then, from other photographs he had taken, he would project the human or animal figures he wanted in the painting. The process involved planning and rigorous editing. A science-minded realist, Eakins never hid his appreciation for the new medium. He urged students to photograph one another nude for purposes of anatomical study and was an early champion of Eadweard Muybridge's attempts to capture motion with a camera. In 1878 he even a.

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Jan van Eyck

1.

2.

3.

4. Big Differences! - Light and Shadow: Middle Ages- Divine light and intellectual light Renaissance: The corporeal light (the real world) God Vs. Human** http://en.wikipedia.org/wiki/Medieval_art - Photographic realism - Oil painting - details (for example, the folds in the fabric)

5.

6. - interaction - connection between artists and the subject

7.

8.