I wonder what the others will write about, since this is clearly just an art historical topic. They have been very creative and funny, and no art history is mentioned at all!
Attribution[ edit ] The altarpiece was commissioned by the merchant Jodocus Vijd, then Mayor of Ghentand his wife Lysbette as part of a larger project for the Saint Bavo Cathedral chapel. The installation of the altarpiece was officially celebrated on 6 May It was much later moved for security reasons to the principal cathedral chapel, where it remains.
Art historians generally agree that the overall structure was designed by Hubert in the early to mid s, and that the panels were painted by his younger brother Jan between and It is one of the most renowned and important paintings in art history, and generations of art historians have attempted to attribute specific passages to either brother, but no convincing separation of their contributions has been established.
While it is indebted to the International Gothic as well as Byzantine and Romanic traditions, the altarpiece represents a huge advance in art, in which the idealisation of the medieval tradition gives way to an exacting observation of nature  and human representation.
Attribution to the van Art history on altarpiece brothers is supported by the small amount of surviving documentary evidence attached to the commission, and from Jan's signature and dating on a reverse frame.
Jan seems to minimize his contribution in favor of his brother, who Art history on altarpiece six years before the work's completion in A less explicit indicator is their seeming portraits as the third and fourth horseman in the Just Judges panel. Ramsay Homa notes lettering in the central panel of the lower register that might be read as an early formation of what was to become van Eyck's well known signature, built around various formations of "ALS IK KAN" As I Cana pun on his full name; and lettering is found on the headdress of one of the prophets standing at the back of the grouping.
It is written in Hebrew script that roughly translates into French as Le chapeau Jan van Eyck, National GalleryLondon Since the 19th century, art historians have debated which passages are attributable to the little-known and obscure Hubert and which are by Jan, famous across Europe by the early s.
In the 17th and 18th centuries, it was often assumed that Jan had found a number of random panels left behind after Hubert's death and assembled them into the current format. This view has been discounted since the early 19th century, on the basis of the obvious overall design of the work, although there are obvious stylistic differences between many passages.
A number of difficulties present themselves, not least that there is no surviving work confidently attributed to Hubert, and it is thus impossible to detect his style.
Instead, art historians have resorted to comparing individual passages to known works by Jan, looking for stylistic differences that might indicate the work of another hand.
Advances in Dendrochronology have for example established that parts of the wing panels were felled around Allowing a seasoning time of at least 10 years, we must assume a completion date well after Hubert's death inthus ruling out his hand from large portions of the wings.
It is the only of his works intended for public, rather than private, worship and display. The clothes and jewels, the fountain, nature surrounding the scene, the churches and landscape in the background — are all painted with remarkable detail.
The landscape is rich with vegetation, which is observed with an almost scientific accuracy, and much of it non-European. The panels contain complex light effects and subtle plays of shadow, the rendering of which was achieved through new techniques of handling both oil paint and transparent glazes.
The figures are mostly cast with short, diagonal shadows which serve to, in the words of art historian Till-Holger Borchert, "not only heighten their spatial presence, but also tell us that the primary light source is located beyond the picture itself. This is best seen in the fall of light on the armor in the Knights of Christ panel, and the ripple of the water in the Fountain of life in the Adoration of the Mystic Lamb.
A great number of these works were destroyed during the iconoclasm of the mid 16th century, a period in which the Ghent Altarpiece was twice nearly destroyed; on 19 Augustand again in when a special guard was put on the work to protect it from rioters. Because of this, art historian Susie Nash points out that the Ghent work seems so unusual in part because it was one of the few major examples to survive wholly intact.
As part of mandated compensation in the Versailles Treaty after the end of the war, Germany returned the pilfered panels along with the original panels that had been legitimately bought by Solly, to help compensate for other German "acts of destruction" during the war.
The painting was stored in a museum in Pau for the duration of the war, as French, Belgian and German military representatives signed an agreement which required the consent of all three before the masterpiece could be moved. After Allied air raids made the castle too dangerous for the painting, it was stored in a salt mine.
During different wars, some panels were sold and others looted. A number were captured by the German occupying forces during World War Ibut were later returned to St. Albert Camus in The Fall imagines it is kept by the protagonist, Clamence, in his Amsterdam apartment.
Inthe altarpiece was returned from Germany after spending much of World War II hidden in a salt mine, which greatly damaged the paint and varnish.
Open view[ edit ] The altarpiece was opened on feast days, when the richness, colour and complexity of inner view was intended to contrast with the relative austerity of the outer panels.RENAISSANCE ART: GENERAL Top of page.
Renaissance (through ArtLex). Examples of earlier Renaissance works of art, by artists born before ; Examples of later Renaissance works of art, by artists born after European Art in the Renaissance: Thematic Essays (through the Metropolitan Museum of Art's Heilbrunn Timeline of Art History).
Albrecht Dürer (–). An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church.
Any art history student comes across the virtues and vices, but if asked to name them one by one, is liable to fail the test. Myself included. RENAISSANCE ART: GENERAL Top of page. Renaissance (through ArtLex). Examples of earlier Renaissance works of art, by artists born before ; Examples of later Renaissance works of art, by artists born after European Art in the Renaissance: Thematic Essays (through the Metropolitan Museum of Art's Heilbrunn Timeline of Art History). Albrecht Dürer (–). An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a .
Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate.
History of Italian Renaissance Art, 7th Edition [Frederick Hartt, David Wilkins] on kaja-net.com *FREE* shipping on qualifying offers.
For survey courses in Italian Renaissance art. A broad survey of art and architecture in Italy between c. and Northern Renaissance Art (): Flemish Panel-Paintings, Dutch Triptychs, German Printmaking by Jan Van Eyck, Hieronymus Bosch and Albrecht Durer.
The altarpiece was one of the highpoints of Christian art during the Late Gothic, Italian Renaissance, Northern Renaissance, and Counter-Reformation periods. This type of religious art typically consists of one or more paintings, or sculptures (stone or wood-carvings) carved in the round or in.
The Ghent Altarpiece (or the Adoration of the Mystic Lamb, Dutch: Het Lam Gods) is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, kaja-net.com is attributed to the brothers Hubert and Jan van Eyck, who were Early Flemish painters.
It is considered a masterpiece of European art and one of the world's .