However, art of the northern Europe does not look like the art of the Italy. The Italian artists were busy exploring their ancient Greco-Roman heritage and idealizing nature via classical proportions, single-light source modeling, and perspective. Northern artists drew upon their own artistic traditions: expressionist* handling of the body, and diligent attention to intricate detail. These traditions, combined with the increased emphasis on empiricism and awareness of nature, created a distinct type of northern Renaissance art that marks a move away from medieval art traditions.
Here is the Gero Crucifix from Cologne Cathedral in Germany:
Gero Crucifix, 970 CE, painted and gilded wood, 6'2".Cologne Cathedral, Germany
Look how Christ's body curves from His right hand, swooping downwards and through the torso, knees, then feet. Gravity makes the body sag but the artist handled the proportions of the curve so that a single line through the body unites physical suffering and emotional sacrifice. This type of expressionism can be seen in Rogier van der Weyden's Deposition:
Rogier van der Weyden, Deposition, c. 1435, oil on wood, approx. 7' x 8'6."
Museo del Prado, Madrid, Spain.
Rogier van der Weyden has taken the Gero Crucifix's simplistic, stark curve and turned the Deposition (taking Christ's body down from the cross) into a compressed, intense drama. The shading of the body and vibrancy of the oil paints (a northern European specialty) creates a jewel-toned, sorrowful and realistic menage. van der Weyden's Deposition is profound to the viewer because of the varying representations of grief: from quiet sorrow to resignation to the wringing of the hands (Mary Magdalene at the far right).
Another artistic tradition of northern European art is an intense focus on detail. In my opinion, this results from the illuminated manuscript tradition in monasteries. Illuminating a pages of the New Testament was both a way to beautify the words, increase their importance, and accrue merit with God. Here is the Chi Rho Iota (the first three letters of Christ's name in Greek) page from the Book of Kells and the carpet page from the Lindisfarne Gospels:
Close inspection of the two pages shows how these are not just patterns but intricate and complicated interlacings of organic vegetation and animals. These are functional pages that have been turned into aesethetic objects due to religious devotion and the human urge to decorate.
During the northern Renaissance, we see artists work this type of attention to detail into symbolic elements that add to our understanding of the scene. Here is a detail from the front of the Ghent Altarpiece by Jan van Eyck and possibly Hubert van Eyck. This is an annunciation scene, where Gabriel tells Mary she is going to bear the son of God. The scene takes place ina simple Flemish interior, bringing the sacred closer to the world of the viewer. Mary kneels and by showing her readig, we notice her education and humility:
Jan van Eyck and Hubert van Eyck, Annunciation, from the Ghent Altarpiece (closed),
completed 1432. Oil on panel, 11'5" x 7'6". Church of St. Bavo, Ghent, Belgium.
But it is not just symbolic details that Jan van Eyck includes, but also the details of texture. He has convincingly replicated the smooth gleam of metal, the matte wood, and the folds of cloth. This is another variation of the theme "attention to detail" that we see in northern Renaissance art. So if the traditions of classicism and naturalism are hallmarks of the Italian Renaissance, then we see the traditions of expressionism and attention to detail as characteristic of the northern Renaissance.
Finally, I'd like to add that a common element to both the Italian and northern Renaissances are the artist's intent to convincingly replicate the world around him. This then implicates several areas of importance that are "reborn": a new awareness of the physical world, bringing art (that which is usually depicted is sacred, i.e., religious) closer to the earthly world of the viewer, the role of the artist as creator and recognition of talent**, and the recording of the world (art) as a way to create a spiritual experience for the viewer.
*expressionism: communicating emotion through distortion and and emphasis, and can be found in artworks of any period. Source: ArtLex.com
** medieval artists were rarely seen as "geniuses" or has having special talent, but as craftsmen who were good with their hands.
Rogier van der Weyden, Deposition, c. 1435, oil on wood, approx. 7' x 8'6."Museo del Prado, Madrid, Spain.
Rogier van der Weyden has taken the Gero Crucifix's simplistic, stark curve and turned the Deposition (taking Christ's body down from the cross) into a compressed, intense drama. The shading of the body and vibrancy of the oil paints (a northern European specialty) creates a jewel-toned, sorrowful and realistic menage. van der Weyden's Deposition is profound to the viewer because of the varying representations of grief: from quiet sorrow to resignation to the wringing of the hands (Mary Magdalene at the far right).
Another artistic tradition of northern European art is an intense focus on detail. In my opinion, this results from the illuminated manuscript tradition in monasteries. Illuminating a pages of the New Testament was both a way to beautify the words, increase their importance, and accrue merit with God. Here is the Chi Rho Iota (the first three letters of Christ's name in Greek) page from the Book of Kells and the carpet page from the Lindisfarne Gospels:
Chi Rho Iota page, from Book of Matthew (1:18), from the Book of Kellys, c. 800 CE.
Ink and pigment on vellum, 13 x 9.5". Trinity College, Dublin, Ireland.
Cross page, from the Lindisfarne Gospels, c. 700 CE. Tempera on vellum, 13.5 x 9.25".
The British Library, London.
Ink and pigment on vellum, 13 x 9.5". Trinity College, Dublin, Ireland.
Cross page, from the Lindisfarne Gospels, c. 700 CE. Tempera on vellum, 13.5 x 9.25".The British Library, London.
Close inspection of the two pages shows how these are not just patterns but intricate and complicated interlacings of organic vegetation and animals. These are functional pages that have been turned into aesethetic objects due to religious devotion and the human urge to decorate.
During the northern Renaissance, we see artists work this type of attention to detail into symbolic elements that add to our understanding of the scene. Here is a detail from the front of the Ghent Altarpiece by Jan van Eyck and possibly Hubert van Eyck. This is an annunciation scene, where Gabriel tells Mary she is going to bear the son of God. The scene takes place ina simple Flemish interior, bringing the sacred closer to the world of the viewer. Mary kneels and by showing her readig, we notice her education and humility:
Jan van Eyck and Hubert van Eyck, Annunciation, from the Ghent Altarpiece (closed),completed 1432. Oil on panel, 11'5" x 7'6". Church of St. Bavo, Ghent, Belgium.
This simple interior scene is rich with details. Look how far we can see into the distance through the windows:
Or see how Gabriel is holding white lilies (symbols of the Virgin's purity), and a white dove is above Mary's head (the Holy Spirit). In the back of the room is a kettle and wash basin set into a niche (symbolic of the Virgin's role as maternal vessel):
Look back at the first image of the Annunciation. There are golden words coming from Gabriel's and Mary's mouths. Gabriel says, "Hail, thou that are highly favored the Lord is with thee." In return, Mary says, "I am the handmaid of the Lord ... let what you have said be done to me." These words are written in Latin, but are upside down - so that God can read the lettering!
Or see how Gabriel is holding white lilies (symbols of the Virgin's purity), and a white dove is above Mary's head (the Holy Spirit). In the back of the room is a kettle and wash basin set into a niche (symbolic of the Virgin's role as maternal vessel):
Look back at the first image of the Annunciation. There are golden words coming from Gabriel's and Mary's mouths. Gabriel says, "Hail, thou that are highly favored the Lord is with thee." In return, Mary says, "I am the handmaid of the Lord ... let what you have said be done to me." These words are written in Latin, but are upside down - so that God can read the lettering!
Finally, I'd like to add that a common element to both the Italian and northern Renaissances are the artist's intent to convincingly replicate the world around him. This then implicates several areas of importance that are "reborn": a new awareness of the physical world, bringing art (that which is usually depicted is sacred, i.e., religious) closer to the earthly world of the viewer, the role of the artist as creator and recognition of talent**, and the recording of the world (art) as a way to create a spiritual experience for the viewer.
*expressionism: communicating emotion through distortion and and emphasis, and can be found in artworks of any period. Source: ArtLex.com
** medieval artists were rarely seen as "geniuses" or has having special talent, but as craftsmen who were good with their hands.
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