Northern renaissance art

The most surprising characteristic of northern realism is the absence of movement. After the dramatic gesticulation of Giotto’s compositions and the Internationalists, the figures of Van Eyck, seem to be absolutely frozen. Perhaps much of the ” sanctified mood” (Rowley, Sarton, Schevill, and Thompson, 116) of Van Eyck’s paintings is created by the fact that his people never look at anything, which gives them a curiously removed quality.

Another artist of the period, Robert Campin, was one of the earliest and greatest masters of Flemish painting. Characterized by a naturalistic conception of form and representation of the objects of daily life, Campin’s work marks the break with the prevailing International Gothic style and prefigures the achievements of Jan van Eyck and the painters of the Northern Renaissance.

The figures of the composition dominate the architectural framework but also reinforce the feeling of support that the structure provides through their largeness of movement. Sluter’s latest preserved work is the tomb of Philip the Bold consisting of forty figures, each about 16 inches high and made up the mourning procession. Sluter conceived of the figures as weepers, of whom no two are alike; some are openly expressing their sorrow, others are containing their grief, but all are robed in heavy wool, draping garments that occasionally veil a bowed head and face to convey a hidden mourning. Sluter epitomized in sculpture the growing awareness of an individualized nature with an enduring grandeur.

Reference List:

1. Harbison, Craig. The Mirror of the Artist: Northern Renaissance Art in its Historical Context, New York: Abrams, 1995.