15th Century Art of Northern Europe and the Iberian Peninsula - Part 1

In 1458, Philip the Good, the Duke of Burgundy, visited Ghent, a Flemish city. The townspeople celebrated with elaborate events.
One event was a "tableau vivant," a French term meaning "living pictures."
Townspeople dressed in costume and posed to recreate famous artworks, like the Ghent Altarpiece.
The Ghent Altarpiece was created by Jan and Hubert van Eyck in 1432.

Three trends in the development of art in Northern Europe and the Iberian Peninsula:
- Intellectual change: Moving from religious symbolism to secular and ancient learning.
- Formal change: Emphasizing detailed realism and awareness of the real world.
- -a2wSocial and economic change: Rise of middle-class power and patronage.

The center of the Ghent Altarpiece depicts the Annunciation.
The angel Gabriel announces to Mary that she will be the mother of God (Jesus).
Old Testament prophets and seers are shown above, foretelling the Annunciation.
Transition from traditional religious symbolism to real-world imagery.
The cityscape in the background is a contemporary Flemish city from the 1400s.
The patrons (husband and wife who commissioned the altarpiece) are depicted kneeling.
Trompe l'oeil technique: Statues of Catholic saints (Saint John the Baptist and Saint John the Evangelist) are painted to look like stone.
The rise of the wealthy middle class is evident as they commission art and include themselves in the works.

Patrons ranged from civic groups to the wealthy aristocracy (growing middle class).
Civic groups: Guilds

Formal organizations in Flemish society that held significant power and influence.
Similar to modern labor unions.
Provided economic protection, group solidarity, training, and identity for members.
Many artists belonged to guilds.
Guilds promoted members' crafts, provided financial security, set standards, and controlled marketing.

The Mérode Altarpiece by Robert Campin (1425-1428) is a triptych.
A triptych is a three-paneled artwork with two wings that can fold over the central panel.
The Mérode Altarpiece also depicts the Annunciation.

Maiolica jar with white lilies: Symbolizes Mary's virginity.
White towel: Symbolizes Mary's purity (born without sin).
Vessel with water in a niche: Symbolizes Mary's womb as the vessel holding God.
Mary kneeling: Symbolizes her submissiveness to God's will.
Image of Jesus descending on rays of light, carrying a cross: Represents Christ's ever-presence.
Snuffed-out candle: Light symbolizes Jesus; the extinguishing represents his presence.

A double portrait by Jan van Eyck.
Possible interpretations:
- More than just a portrait, potentially a legal document or marriage certificate.
- Jan van Eyck's signature reads "Jan van Eyck was present," suggesting he was a witness.
The mirror in the background reflects two additional figures.

Open window behind Arnolfini: Symbolizes his connection to the external, masculine world.
Bed and curtains behind his wife: Symbolizes domesticity, femininity, and her role as wife/mother.
Single burning candle in the chandelier: Symbolic of the presence of Christ.
Mirror: Symbolic of the all-seeing eye of God; images of the apostles are in the mirror.
Expensive mirror: Suggests wealth.
Fruit on the credenza: Symbolic of fertility.
Dog (Affin Pinscher): Symbolizes fidelity; rare breed suggests wealth.
Mrs. Arnolfini holding up her dress: May indicate pregnancy.