LATE GOTHIC (NORTH)

Christine, Ashley, Sharon, Shechenah

Jan van Eyck. Ghent Altarpiece (closed) *framing is attributed to his brother*for the illiterate, the altarpiece stood for the doctrines and narratives of the church *depicts the donors as pious individuals.*Grisaille (monochromatically painted to look like statues)

Jan van Eyck. Ghent Altarpiece (open) from St. Bavo Cathedral (Ghent, Belgium), completed

1432, oil on wood

Philip the Good, Duke of

Burgundy/ Ghent Altarpiece (a polyptych)/

depiction of God the Father

depiction of Adam and Eve

Adoration of the Lamb/ Fountain of

Life/ unifying horizon

line

Images of the Blessed (Left to Right: Just Judges, Warriors of Christ, Holy Hermits, and Holy

Pilgrims)

use of exotic trees/ scientific and inquiring

mind invades the world of Gothic

vision

Lotte Brand Philip. Reconstruction of

the Ghent Altarpiece

Jan van Eyck. The Virgin of Chancellor Nicolas Rolin, c. 1437, oil on panel

the Burgundian Netherlands/ Chancellor Nicolas Rolin/ lavish and luxurious scene

detailed landscape/ Treaty of Arras (Treaty of 1435, between King Charles VII of France and Duke Philip the Good of

Burgundy. France and Burgundy reconciled. Philip recognized Charles as king of France and received the Somme towns. He was exempted from homage to the crown. Charles VII agreed to punish the murderers of

Philip's father, Duke John of Burgundy. )

Jan van Eyck. Annunciation, c.

1435, oil on canvas

Jan van Eyck. Giovanni Arnolfini and his Bride, oil

on wood

Giovanni Arnolfini/

discarded shoes/ Giovanna Cenami

fruit on the window sill/

crystal prayer beads/ single lit

candle

St. Margaret and the bed/ the whisk broom/

image of the dog/ joining of the

hands

Jan van Eyck’s signature and the mirror

Jan van Eyck. Madonna with Canon van der

Paele, oil on wood

*The exquisite brocades, furs, and silks are shown in an extraordinarily lifelike and brilliant way confirming their reality, their tangibility.  *This picture hung in the choir of the now destroyed collegiate church of St. Donatian in Bruges, mirrors the real location. *Van der Paele would therefore have been able to see himself in the very place of his depicted vision and so "prove" to the world at large the reality of his divine experience.

Jan van Eyck. Man in a Red Turban, oil on wood

Right: Jan van Eyck. Portrait of Margareta van Eyck, 1439, oil on woodBelow: Jan van Eyck. Portrait of Baudouin de Lannoy (detail), oil on wood