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the next area we're going to move to is
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a territory called Flanders and your
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textbook always opens up with a nice map
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so you may want to give that uh a look
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Flanders uh was a region that was sort
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of uh on the move and growing because of
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a fortuitous marriage there was a
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marriage between Philip the Bold we're
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going to look at a few works now that he
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um patronized
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um he was the son of the king of France
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and he married the daughter of the count
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of Flanders so it was a relatively small
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area Flanders but because of this
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marriage from the daughter of Flanders
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to the son of the king of France um it
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became very expansive very wealthy very
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powerful and had a very close
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association with the aristocracy of
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France the art of Flanders was highly
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religious um influenced by the church
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and also influenced by um Philip the
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Bold um his sort of dynastic and
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political goals and also his goals to
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achieve salvation and we can see that
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when we look at this first image this is
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by an artist named klous slutter it's
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called The Well of Moses it is in a
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monastery in a carthusian monastery it's
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called the chartreuse of shaal um and
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the year here is bordering right around
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the year of
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1400 monasteries as you can imagine are
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not big money makers but the Duke Philip
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the Bold um endowed the monastery and so
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he funneled a lot of money into this
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Monastery that attracted many artists to
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its construction and to create beautiful
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works of art and as the Duke this is a
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good idea for a couple of reasons one is
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it helps to establish your power to show
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off your wealth in this way to give
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money to the monastery and probably even
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more important than that is that the
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Hope also would be that it would help
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you to achieve salvation that it would
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be your straight shot into heaven
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because you are giving gifts of money to
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the church people were known to give
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money or tracks of land um in hopes that
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they would achieve salvation there will
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be many different ways that people hope
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to achieve salvation as we sort of move
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forward this is one of them um so sort
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of keep that um in the back of your mind
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as well all right let's talk about
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what's going on with this well of Moses
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it was a fountain uh over a well it was
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thought to be the water source for the
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monastery for some time time but
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Scholars now believe that maybe it was
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nonfunctional because these particular
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monks lived in complete silence and it
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would have created a lot of noise for
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the water to be coming down here and
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then funneling here into this well it
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would sort of wash down over these
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figures these figures that you see
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around the base are Old Testament
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figures that means they came from the
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Hebrew Bible the Jewish Bible before the
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time of Christ and at the top up here
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this is a base at the top for a scene of
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the crucifixion with Christ on the cross
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so the water would flow off of the body
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of Christ and come down and wash away
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symbolically the sins of the Old
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Testament prophets so it was called like
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a fountain of life because it's sort of
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this lifegiving blood of Christ who died
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for our sins this blood comes down and
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literally washes away the sins of the
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prophets so his death um makes salvation
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possible so you can see that as it comes
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down here this is Moses that you see the
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figures around the base not too worried
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about memorizing by any means but
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they're Moses David Daniel Isaiah
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Jeremiah and Zachariah that are around
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uh the base this juxtaposition of Old
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Testament figures with Christ who be on
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the cross at the top um is pretty common
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we saw it with Chim bu's um virgin and
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child the reason you would put Old
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Testament and Christ together is a way
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to legitimize that Christ was the son of
00:04:01
God it legitimizes Christ because we
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show These Old Testament figures and
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they had foretold that a Christ would
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come and then there's Christ at the top
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and so it's saying Christ there he
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wasn't just a teacher or a philosopher
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or an allaround good guy he really was
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the Christ and he really was the saviors
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because look they said it would happen
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here they are and then there he is at
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the very top so often times in art we we
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see this J deposition of Old Testament
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and Christ together to the legitimize
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that they foretold he would come and
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then he did in in fact come all right so
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we know the symbolism of this work of
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art sort of a deep theological symbolism
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but what I also want you to focus on is
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this style is we're moving towards the
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Renaissance of more and more naturalism
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very individualized features his work is
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made of marble um but you can see array
00:04:53
an array of different textures from the
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sort of wings to flesh to hair to robes
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more and more naturalism is afforded to
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these figures should also be noted that
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they would be painted and that would add
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a very naturalistic effect as well one
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figure that I want you to focus in on is
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one I'm going to bring up here on the
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left hand side um because it shows you
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that these figures are not only becoming
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naturalistic but they move
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naturalistically as well so we have this
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sort of hip shift here and this figure
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does as well where you can see that he
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looks like he could walk off um of the
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sort of plint that he's standing on
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there this pose this hip shift is
00:05:35
something called contraposto
00:05:37
contraposto was instituted by the Greeks
00:05:41
in their interest in creating more and
00:05:42
more naturalistic views and it shows a
00:05:45
figure um where the one leg is straight
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and our poor cros boy here has lost a
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leg but his knee sort of comes out at
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you that's the way a real human body
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walks one leg goes straight and this
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knee and then this one goes
00:05:59
straight straighten than this KNE Cox
00:06:01
and it's called contraposto and so it's
00:06:04
called contraposto it means sort of
00:06:05
counter Poise it means that your hips
00:06:07
sort of go in One Direction your
00:06:08
shoulders go in a different direction
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that's just how a real natural human
00:06:12
body um walks they don't walk locked
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leged they don't have two straight knees
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but rather um they they sort of have one
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knee that comes out and one that stays
00:06:22
straight and you can see that here in
00:06:23
this figure with these sort of cocked
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hips um that these figures not only have
00:06:28
you know hair and veins and all kinds of
00:06:31
eyelashes and details um but they also
00:06:34
can move properly as well all right so
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let's stay in this same Monastery and
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look at a different work um this is
00:06:43
called Let's see we move up on the left
00:06:46
and the right hand side this is an alter
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piece which you can probably tell from
00:06:49
that sort of um interesting shape here
00:06:53
at the top um this is a RAB um it's one
00:06:59
of the terms on your term sheet it's
00:07:01
spelled r e t a b l e a rub is a carved
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alter piece which may seem curious to
00:07:08
you because this looks like it's painted
00:07:10
and it is but there would be a section
00:07:12
in the middle that joined these two that
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was carved and so they called the alter
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piece a RAB which means a carved alter
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piece so let me show you an image of
00:07:21
what a carved alter piece looks like
00:07:23
this is just an example see how the
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figures here aren't painted but they're
00:07:26
carved in there was an element like this
00:07:30
um and and it was carved so we call this
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whole alterpiece a RAB or a carved
00:07:36
alterpiece let's talk about the stories
00:07:38
that you see here this is a story we
00:07:41
have seen before and we continue to see
00:07:43
over and over again it's the enunciation
00:07:45
the angel Gabriel and the Virgin Mary
00:07:48
let's talk a little bit of iconography
00:07:50
before we leave these two this is the
00:07:52
lily of Purity and so that's a symbolic
00:07:55
use of images and here's another one
00:07:57
this is the God the father at the top
00:07:59
and he is sort of um dispatching the
00:08:02
Holy Spirit to the Virgin Mary so let's
00:08:04
zoom in because I want you to see how
00:08:06
these Rays come down from God the father
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and when they come through the window
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the window is left intact see how they
00:08:12
don't shatter the window but it's left
00:08:13
intact that's iconography and it's a
00:08:16
symbol of Purity so as the Virgin was
00:08:18
remained intact the window does as well
00:08:21
and so this is a symbolic uh use of
00:08:24
images and it shows and speaks of the
00:08:26
virgin's Purity just like the lily has
00:08:30
the other thing to notice is it's in an
00:08:31
enclosed Garden an enclosed Garden
00:08:34
walled off and protected just like the
00:08:35
Virgin Mary is a symbol of her Purity so
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lots of iconography there the second
00:08:40
story is the visitation this is the
00:08:42
pregnant uh Mary and she visits her
00:08:45
cousin Elizabeth Mary's always here in
00:08:47
the blue and this is Elizabeth um she's
00:08:50
pregnant with John the Baptist in her
00:08:51
belly and John the Baptist leaps um when
00:08:54
he recognizes the Christ um and so this
00:08:57
is called the visitation between
00:09:00
the two on this side the other uh door
00:09:03
of this RAB is the presentation and the
00:09:07
flight into Egypt this is the
00:09:08
presentation where Mary and Joseph
00:09:12
present Christ in the temple to Simeon
00:09:16
and Simeon recognizes Jesus as the
00:09:19
prophesized Savior that he was for told
00:09:21
he knew that Christ was coming and he
00:09:23
recognizes him so there's sort of a
00:09:25
theme of recognition here John the
00:09:26
Baptist recognizes Christ and here
00:09:28
Simeon recognizes Christ and then this
00:09:31
is a story called the flight into Egypt
00:09:33
uh where the Holy Family escapes herod's
00:09:36
decree to Massacre all male infants in
00:09:39
Bethlehem so they sort of take off here
00:09:42
um little iconography here this is a
00:09:44
pagan Idol that has fallen off here and
00:09:47
sort of crumbled as Christ sort of
00:09:48
neares and so we see these Pagan Isles
00:09:50
falling on their falling as Christ um
00:09:55
approaches one thing I want you to see
00:09:57
looking at this um
00:10:00
is our sense of space space is still um
00:10:05
tilted um it certainly looks as though
00:10:07
these figures are going to sort of fall
00:10:08
off here but we've come a long way in a
00:10:11
short amount of time it was 94 years
00:10:13
prior to this that jto gave us that
00:10:16
lamentation with that sort of wall that
00:10:18
came down and the figures with their
00:10:19
back to us um so we've come a long way
00:10:22
we've got roads sort of lead the eye
00:10:23
back we these sort of long hallways into
00:10:26
the background so we're getting more and
00:10:28
more we're not there yet but we are
00:10:29
getting a more and more believable
00:10:30
rendition of space however there are
00:10:34
it's very skewed still so one thing I
00:10:35
want you to see is by standing in one
00:10:37
spot the viewer should not be able to
00:10:39
see down this hallway at the same angle
00:10:41
that they can see down this hallway so
00:10:43
see how that would be sort of physically
00:10:44
impossible to see through both of these
00:10:46
open doorways going back um but it
00:10:48
certainly shows um sort of the old
00:10:50
College try or giving it a go at trying
00:10:53
to create a more and more believable U
00:10:57
recession into space
