the renaissance art

Renaissance art refers to the magnificent paintings and sculptures produced by numerous artists between the 13th and 16th centuries. Owing to the territorial disputes that occurred in Europe during the Middle Ages, it was impossible to maintain employment during this time span. The kings were engrossed in influence and attempt to protect and extend their domains at the time. The Roman Catholic Church was entirely active and dedicated to the luxury of artistic works. As a result, the revival began in stages, beginning with more politically stable areas. However, there was a massive expansion to other parts of the world later on. The Italian Jan van Eyck, was an influential artistic work painter during the early renaissance. His renowned life innovations and portraits had a significant impact.

History of Renaissance Art

Pre-renaissance

Proto-renaissance began in the northern parts of what is the present-day Italy. The time period was around 1150 AD. The occurrence was a divergence from the medieval art. The area in which it began was stable enough at that point in time to allow development of art and explorations in the field. Also Francis of Assisi, proposed employment of the individualistic basis of religion. More importantly, art began to change also and realistic sculptures were styled. The artist Andrea Pisano for instance, developed bronze doors for a baptistery. Thus opening a door for artistic competition.





Italian Art in the 15th Century

The rebirth has often been referred to as early renaissance. It points to the artistic work that was happening in the Republic of Florence and other parts of northern Italy between 1417 and 1494. The epicenter was Florence also referred to as Firenze. The region provided the environment where renaissance was firmly grounded and established. The center stage was grasped by the region due to various reasons. First, competition between two dueling popes led to schism. The rival Popes who had different allies politically, saw the pious believers erect a third one. Hence, tithes in the Church was flown to a single coffer. Also, banking and wool trades in Florence thrived its economy. The rise of humanists who printed their documents also led to a growth in exchange of ideas among artists and scholars. Furthermore, Florence was given money by the Medici for architects and artists. The act saw many of them paid, kept busy and feel appreciated. Lastly, the artists enjoyed fame due to the ‘door’ contest that led to the glorification of the craftsmen, hence celebrity.

Italian Art in the 16th Century

The category refers to high renaissance that occurred between 1495 and 1527. Later, late renaissance took place in 1527 to 1600. The term ‘mannerism’ was then coined for artistic schools such as the one that was established in Venice. In the time of the high renaissance, there was a culmination of pre-renaissance due to the improved technology, training and tools available. The artistic technological techniques were developed in Flanders and lasted to the fall of Burgundy following the defeat of the Burgundian Duke in battle. Other parts of northern and central Europe also realized high renaissance and Michelangelo Buonarroti, Leonardo da Vinci and Raphael are well-known artistic geniuses of the time.

Renaissance in the Northern parts of Europe

The region at the northern parts of the European continent was slower in becoming politically stable compared to Italy. Also, Gothic art that had been in place for ages, impeded renaissance. However, between the middle of 14th century and Baroque movement of 1600, it did gain grassroots. The countries involved were Germany, Netherlands and France. Italian and Northern renaissance differed due to the Gothic art that remained held in Italy until the 16th century. Also, the artists were fewer in number compared to their Italian counterparts. The centers of free commerce were fewer also in the northern parts of Europe, owing to Italy’s Republics and Duchies. The individuals led to a heavy channel of funds towards art by the wealthy merchants.

The Guild system enhanced a rigorous and sequential training. The Flanders and Bruges provided the artistic hub that provided cash to enhance practices and standards of the work. The system was however more established in northern Europe compared to Italy. Nevertheless, those parts accessed printed materials, and exhibited a commonality in thoughts of art, but the subjects varied.

Graphic arts were started in Burgundy in the 14th century via illuminated manuscripts. In the 15th century, whole paintings were developed and purchased by the French Royals who collected them in large numbers.

Thereafter, a renowned artist, Jan van Eyck used oil techniques to develop court paintings for the Duke of Burgundy. The technique he came up with created light and enhanced color in the paintings. His brother Hubert, Flemish van Eyck and Robert Campin of the Netherlands also created painted pieces for the altar in the fifteenth century. German Van der Weyden from Brussels was known for the introduction of religious gestures to show human emotions in his work.

Another key artist known as Hieronymous Bosch, introduced unique dark paintings. All the painters used symbolism of the various aspects of daily life as well as natural objects to design their sculptures.

Jan van Eyck’s Style and Technique of Painting

Jan van Eyck is known for his committed work to art. He was the pioneer in the development of art of oil painting. He also made the medieval work more real and revolutionized portraiture in the history of art. He was born at the end of the Middle Ages (1395) in the Flemish parts of Belgium. His birth followed after the famous ‘Black Death’ that claimed approximately one third of the population of Europe. The widespread warfare during the time made life to be more difficult. Jan spent his adulthood life in the Netherlands. During his time, the country was under the jurisdiction of the Roman Empire that was headed by the Pope and an appointed Emperor of Rome.

The earliest works of the artist trace back to the courts of the nobles Duke of Bavaria and John the Third who reigned in the 15th century. The works were majorly ecclesiastical although some were secular. Following the Duke’s death, he produced paintings to other nobles including Duke of Burgundy and Philip the Good. The later was a significant patron of his works leading to the completion of most of his major works. Therefore, he was more committed to design portraits for Isabella of Portugal apart from the Duke. Jan was one of the very few artists that managed to sign their works. He died in the year 1441, however the job he did is lauded and commended to this day.

Jan’s Artistic Styles and Techniques

During his life, Jan was entrusted with task of designing the artistic portraits of the nobles of his time. The success owed to the fact that his work portrayed an exquisite portraiture and brought about emotion and realism to the people. The style is clearly depicted in the self-portrait that Jan designed the Virgin of Canon van der Paele. The previous paintings that had been done in the past thousand years were emotionless and idealized forms. They were also majorly focused on the Christian images. The work of Jan van Eyck blended both the mastery of human forms and realism. In the design of the famous Ghent Altarpiece, the form of it also incorporated the technique. It showed Christ’s adoration of God the Father, who sits as a king. Nonetheless, Virgin Mary, John the Baptist, Adam and Eve are portrayed in his work. The Ghent Altarpiece is 11 by 5-foot with 12 panels made up of wood. When his paintings are observed, one would realize his ability to express in the most fascinating manner, the beauty of the ordinary objects.

The portraits sculptured by the artist showed his secular style of art. In addition, his wide knowledge about nature and the mastery of facial expressions is shown throughout his works. The fine details and color that were required in realistic portraiture were enhanced by his invented oil paintings.

Other Jan’s portraits that are famous include the Arnolfini Portrait that portrays a rich Italian merchant and his wife embracing each other. The extraordinary details that were realized in the quality of the portrait’s hands enhanced the realization of his skills by the nobles during the renaissance. The use of symbolism in the Arnolfini Portrait is clearly depicted. The elements of faith, love, marriage and loyalty are indicated clearly. The painting shows equal statures of both Arnolfini and his wife. Hence, it is significant historically due to the gender equality that it shows as compared to the view that was common where women were portrayed to be inferior to men. Nevertheless, the portrait symbolizes the inner, true meaning of marriage. The solemn moment of the twosome, burning candle and the bed as well as the rosary portrays a holy union. It depicts the potential of humans to fulfilment and also goodness. The social and the religious symbols are thus hidden in the paintings of the artist.

Another remarkable feature in the work of the artist is the pure use of fiction. The sheer artistry of Jan amazed the viewers and deceived their eyes. He used inscriptions that described imaginary occurrences outside the space of the painting. The manner in which he inscribed the pictures was witty. The subtlety was enhanced by the gleaming brass chandelier due to the oil paint used. Other studies have however argued that, the intrusion of the images shows that the realism of the artist is actually an artifice.

The use of illusionistic carving was also employed by Jan in devising the portrait Leal Souvenir in 1432. The style was later employed by his successor Christus Petrus of Bruges, in the Portrait of a Carthusian in the year 1442.

The annunciation portrait depicts symbolism in Jan’s style. The radiance of light that illuminates depicts the gleam of the jewels of the angel Gabriel. Hence, Jan’s hope was to reflect God’s glorious creation in his work. In the portrait, further symbolism is shown by the three bright windows symbolizing the Holy Trinity and how Jesus is the light of the world.

Annunciation Icon in Detail

More than hundred portraits were designed by Jan van Eyck during his time. He did some personally and others with the assistance of his workshop colleagues. Apart from the famous Arnolfini Portrait and Ghent Alterpiece, he also designed the Annunciation. The Icons represented in the design by art was one of the depictions of the central mysteries of the Christian faith. Thus they brought a sacred significance during the renaissance. The Icons represented are Virgin Mary on the right hand side and Angel Gabriel on the left hand side.

The Annunciation was an oil painting by Jan done between the years 1434 and 1436. The complexity of the work has led to a continuous debate of its iconography by the historians of art. The picture is a depiction of Angel Gabriel’s message to the Virgin Mary that she had been highly favored and chosen by God to bear Christ. The inscriptions on the picture show the words of the angel. Virgin Mary is depicted to be fearful and she draws back modestly. The words of response given by Mary are inscribed in an upside down manner. The Holy Spirit is shown to descend on her in form of a dove with seven rays of light that represent the spiritual gifts.

The Virgin Mary in the paintings is depicted to be in the temple. Hence, providing an insight that she was engaged in activities of the temple. Probably, among the maidens that were selected to spin curtains that were used to separate the compartments of the temple. The spindle that she holds in the picture is of scarlet color. These were used in the preparation of the veils of the Temple. She is also depicted to be studying a book. The medieval authorities suggested that perhaps, she was reading Isaiah in the temple when the annunciation took place. The architecture used is Romanesque, to depict the Jewish setting of the time period in which the annunciation took place. The design is derived from the information in the Bible’s Old Testament.

Several studies have suggested that the figures given to the Virgin are those of the wife of Portuguese Philip the Good, known as Isabella. Philip was the Duke of Burgundy during his time and commissioned the artist to be the painter of his court. Mary is cladded in blue which was a color of royalty.

The artist also used illusionistic details in the design of the angel’s costume, which is shown to be exceptional and rich. The Archangel, has a staff in his left hand which was used as a symbol of a messenger bringing good news. The right hand which is extended towards Mary, is depicted to bestow blessings on her from God.

An elevated seat is also on the right side of the Virgin, lauds the fact that she had been highly honored by God to be chosen to bear the Savior of the world. The gesture that she provides by raising up her right hand shows her acceptance of the message delivered by the angel. The posture clearly depicts readiness and willingness to cooperate with God in the commission that she has been assigned. The garments of Mary consist of three stars, which was a symbol used to represent sexual purity and virginity during the Jewish period. She also has a circle at the top of her head that was used majorly to show the divine realm even in pictures depicting Christ. The three rays that emerge from the circle, demonstrate that the Holy Spirit came down upon her.







Comparison with other Annunciation Icons

Annunciation of Ustyug

The Russian Annunciation icon was created by Novgorod following the prediction of the meteorite fall in Veliky Ustyug town by the legend Saint Procopius of Ustyug. The exact dates of its design are not known as compared to the one by Jan van Eyck. Nevertheless, contrary to the previous annunciation, a child is depicted to descend to the womb of the Virgin. Also rays are pointed to the womb of Mary from God who is depicted by bright colors on the upper parts of the Icon. The seraphs and cherubs are also depicted in the picture glorifying the Ancient of Days. All the figures are not represented in the work of Jan. However, elegance and well-proportioning of the picture is similar to the work of Jan.

Annunciation of Catacomb of Pricilla

Another version of the annunciation is provided by the Catacomb of Pricilla. It is the oldest icon dating to the second century. The difference depicted in the icon compared to later works in the representation of Virgin Mary with an uncovered head. The painting is due to the fact that maidens who were still virgins did not cover their heads in the Jewish era. Another remarkable difference is the depiction of Mary seated on a black chair as compared to Jan’s art. However, similarities in the iconography is the Angel’s raised arm signifying the relaying of a message.

Conclusion

Generally, Jan van Eyck had a superb painting style and technique that revolutionized art in the renaissance period. His major work on the Annunciation and the Icons represented, clearly depicts and reveals the mysteries surrounding the plan of salvation of mankind from sin.

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