Early
Northern
Renaissance
Reading
Stokstad,
561-‐591
Range
1400-‐1500
Early
Northern
Renaissance
Terms/Concepts:
Renaissance,
humanism,
secularizaFlanders,
triptych,
polyptych,
grisailles,
panel
painconvex
mirror,
annunciaMonument
List
Jan
van
Eyck,
Double
Portrait
of
a
Giovanni
Arnolfini
and
his
Wife,
1434.
Workshop
of
the
Master
of
Flemalle
(Robert
Campin),
Merode
Altarpiece,
c.
1425-‐1430s.
Jan
and
Hubert
(?)
van
Eyck,
Ghent
Altarpiece,
1432.
Petrus
Christus,
A
Goldsmith
in
His
Shop,
1449.
Workshop
of
the
Master
of
Flemalle
(Robert
Campin),
Merode
Altarpiece,
c.
1425-‐1430s.
Tallis
Lilies
Majolica
Pitcher
Mary
acts
as
a
“vessel”
for
Christ
Water
Pot
Workshop
of
the
Master
of
Flemalle
(Robert
Campin),
Merode
Altarpiece,
c.
1425-‐1430s.
“Does
the
ax
raise
itself
above
him
who
swings
it,
or
the
saw
boast
against
him
who
uses
it?
As
if
a
rod
were
to
wield
him
who
li[s
it
up,
or
a
club
brandish
him
who
is
not
wood!”
Isaiah
10:15
Workshop
of
the
Master
of
Flemalle
(Robert
Campin),
Merode
Altarpiece,
c.
1425-‐1430s.
Interior
windows
have
the
crest
of
the
Inghelbrechts
of
Malines
Inghelbrecht
Scrymakers
Devo
Jan
and
Hubert
(?)
van
Eyck,
Ghent
Altarpiece,
1432.
This
is
God,
all
powerful
in
his
divine
majesty;
of
all
the
best,
by
the
gentleness
of
his
goodness;
the
most
liberal
giver,
because
of
his
generosity
On
his
head,
life
without
death.
On
his
brow,
youth
without
age.
On
his
right,
joy
without
sadness.
On
his
le[,
security
without
fear.”
Jan
and
Hubert
(?)
van
Eyck,
Ghent
Altarpiece,
1432.
Lamb
of
God:
“pure
river
of
water
of
life,
clear
as
crystal,
proceeding
out
of
the
throne
of
God
and
of
the
Lamb”
Jan
van
Eyck,
Double
Portrait
of
a
Giovanni
Arnolfini
and
his
Wife,
1434.
“Do
not
come
any
closer.
Take
off
your
sandals,
for
you
are
standing
on
holy
ground”
God
to
Moses
in
Exodus
3:5
Petrus
Christus,
A
Goldsmith
in
His
Shop,
1449.
Petrus
Christus,
A
Goldsmith
in
His
Shop,
1449.
Jan
van
Eyck,
Double
Portrait
of
a
Giovanni
Arnolfini
and
his
Wife,
1434.
Convex
mirrors
were
known
as
“witches”
because
of
their
magical
proper
Cri1. What
is
the
significance
of
material
objects
in
Early
Northern
Renaissance
pain2. How
did
the
middle
class
become
a
powerful
force
in
this
context?
What
are
some
characterisgroup
as
patrons?
3. How
do
the
artheir
status
in
their
work?
4. How
was
religion
and
its
insthis
period?
How
is
this
change
shown
in
the
representaevident
in
the
types
of
religious
work
commissioned
and
those
who
commissioned
these
works?
nichsara
matleenalaakso
cbtlibrary
yasulab
moriyuya
eumesy
samuraijuku
toarukanshiin
signer
utokyoissr2360
asial_edu
emiki
jonyablonski
ddemaree
holman
morganepeng
carmenintech
shlominoach
garrettdimon
moore
brianwarren
jensimmons
lara
jmmastey