Late Northern European Gothic

By Tristan, Vanessa, Shaina, & Jessica

The Well of Moses by Claus Sluter, Chartreuse de Champmol (monastery) (Dijon, France) 1395-1406

Philip the Bold (a Duke of Burgundy, was very supportive of the arts)

*this base supported a Crucifixion group above

*wealth of descriptive information revealed (the promise of everlasting life as Christ’s “blood” washes over the prophets and cleanses them)

*naturalism and differentiation in the textural surfaces.

The Wilton Diptych, c. 1395, tempera on wood panel

Limbourg Brothers. January, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

Created by the brothers as an advanced version of illuminated manuscripts.

It displays objects of wealth

Limbourg Brothers. February, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

bees, sheep and a dovecote(structure that houses doves or pigeons)

Limbourg Brothers. April, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

Limbourg Brothers. May, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

images of the aristocracy

Limbourg Brothers. June, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

identifiable architecture

laborers sometimes referred to as ‘Jacques Bonhomme’ as a derogatory term for the French peasants

July Works like this

illustrated the relationship the powerful had with the peasantry.

The relationship was, at best, civil but peasants rose up against the elite in the late 14th century in some areas.

Limbourg Brothers. August, from Les Tres Riches Heures du Duc de Berry, 1413-16, illumination

peasants swimming in the nude

Limbourg Brothers. St. Michael Battling the Dragon of the Apocalypse above Mont. St. Michel and Temptation of Christ , from Les Tres Riches Heures du Duc de Berry, 1413-16, illuminations

Huntsmen Exercising and Brushing Dogs, from Livre de la chasse (written by Gaston Phebus), c. 1410, illumination

Melchior Broederlam. Outer wings of the Retable de Champmol from the Chapel of the Chartreuse de Champmol (Dijon, France), installed 1399

Melchior Broederlam two different architectural styles attempt to render deep space on a two-dimensional surface

Attributed to Robert Campin (also known as the Master of Flamalle) Virgin and Child before a Firescreen, c. 1425, panel

Master of Flemalle (Robert Campin). Merode Altarpiece, c. 1425-1428, oil on wood

Robert Campin (Master of Flemalle)/ focus on textures and surfaces/ a prosperous middle-class interior/ Northern use of symbolism/ absence of halos

Joseph and his mousetrap/ detailed view of a Flemish town

kneeling donors/ concepts of truth and reality in Flemish painting

Merode’s Altarpiece