Late Medieval Eary Ren in Northern Europe Overview

00:09:06
https://www.youtube.com/watch?v=H0IgcGy-4Ao

Summary

TLDRDeze lezing behandelt de verschuiving in kunst en religie tijdens de 15de eeuw in Noord-Europa, met een focus op het werk van de Limbourg Brothers en hun illuminated manuscript 'Les Très Riches Heures du Duc de Berry'. We verkennen de kenmerken van de kunst in deze periode, zoals de nadruk op naturalisme en de menselijke ervaring. Daarnaast wordt de verschuiving van collectieve naar privé gebed besproken, met het boek van uren als belangrijk voorbeeld. De lezing benadrukt de rol van de aristocratie, de representatie van boerenleven en de technische aspecten van ruimte en perspectief in kunstwerken.

Takeaways

  • 📍 We verplaatsen ons geografisch en tijdsgebonden.
  • 📖 De boeken van uren zijn centraal in deze periode.
  • 👑 De kunst van de Limbourg Brothers is een hoogtepunt.
  • 🎨 Naturalism groeit in de Noord-Europese kunst.
  • 🙏 Er is een verschuiving naar privégebed en religieuze oefeningen.
  • 🖌️ De aristocratie speelt een belangrijke rol in religieuze kunst, met een focus op goedgunstige heersers.
  • 🔍 Ruimte en perspectief worden steeds belangrijker in de techniek.
  • 🖼️ Er zijn opvallende verschillen tussen Noord-Europese en Italiaanse kunst.
  • 📝 Atmosferische perspectief ontbreekt in sommige kunstwerken.
  • 🌟 De rol van de kerk blijft belangrijk, maar verandert ook.

Timeline

  • 00:00:00 - 00:09:06

    In deze les verkennen we de verschuiving in locatie en tijd binnen de Renaissance kunst van Italië naar Noord-Europa. We beginnen in Italië in de 14e eeuw en verplaatsen ons naar de 15e eeuw in gebieden zoals Frankrijk, Vlaanderen en Duitsland. Belangrijke thema's zoals de toename van naturalisme en de invloed van humanistische wereldbeelden blijven relevant, en de kerk blijft een belangrijke opdrachtgever. We introduceren het concept van geïllustreerde manuscripten, specifiek de 'Book of Hours', populair onder de aristocratie, die gebeden en kalenders bevat. Dit geeft een verschuiving naar privé devotionele praktijken, een precursor van de Protestantse Reformatie. We bekijken ook hoe de 'Book of Hours' beelden van zowel aristocratische als arme mensen bevat, wat de idealisering van een welwillende heerser benadrukt. De beelden in het manuscript tonen een verschuiving in de weergave van ruimte en schaal, hoewel het gebruik van atmospherisch perspectief nog ontbreekt, wat de ontwikkeling van naturalisme in de kunst van de Renaissance weerspiegelt.

Mind Map

Video Q&A

  • Wat is een illuminated manuscript?

    Een illuminated manuscript is een geïllustreerd en geschreven werk, vaak religieus van aard.

  • Wat zijn boeken van uren?

    Boeken van uren zijn populaire gebedenboeken die gebaseerd zijn op de uren van de dag en belangrijke feestdagen van heiligen bevatten.

  • Wat zijn de kenmerken van de kunst in Noord-Europa in de 15de eeuw?

    Kenmerken zijn een toename in naturalisme en een humanistische wereldbeeld.

  • Wat is de betekenis van de duik in gebed in het Noord-Europese kunst?

    De privatisering van gebed toont een verschuiving van collectief naar privé gebed in de samenleving.

  • Hoe ondersteunt de kunst het beeld van de Duke van Barry als een goede heerser?

    Door beelden van blije en goed verzorgde boeren, idealiseert het de Duke als een zorgzame heerser.

  • Wat is atmosferische perspectief?

    Atmosferische perspectief is de techniek waarbij dingen in de verte onscherp en blauwachtig lijken.

  • Hoe verschilt de kunst in Italië van die in Noord-Europa?

    Noord-Europese kunst heeft een nadruk op detail en naturalisme, met een focus op privésfeer in religie.

  • Wie zijn de Limbourg Brothers?

    De Limbourg Brothers waren de kunstenaars achter het 'Les Très Riches Heures du Duc de Berry', een beroemd verlicht manuscript.

  • Wat zijn belangrijke thema's in de besproken lezing?

    Veranderingen in religieuze praktijk, de rol van de aristocratie, en de ontwikkeling van ruimte en perspectief in kunst.

  • Wat karakteriseert de kleurgebruik in de weergegeven werken?

    De kleur in de afbeeldingen van boeren is vaak monochromatisch, terwijl aristocratische afbeeldingen rijker zijn.

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  • 00:00:02
    with this new set of lectures we are on
  • 00:00:04
    the Move in two ways the first way is
  • 00:00:08
    that we are literally changing location
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    our first chapter was all um in Italy
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    and the way this class is organized the
  • 00:00:16
    way the textbook is organized is that we
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    move between Italy and Northern Europe
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    and Italy and Northern Europe for about
  • 00:00:21
    the first half of the book until um
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    after the Baroque Period the other
  • 00:00:27
    change we're making other than just a
  • 00:00:29
    geographic change is a change in time so
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    our first chapter was the 1300s in Italy
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    and now we're in the 1400s we move
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    forward into a new century the 15th
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    century or the 1400s and we're in
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    northern Europe we're going to look at
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    France and area called Flanders and then
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    also Germany there are certain things
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    that are going to stay the same from our
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    last chapter and that is an increase in
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    naturalism um we're still the
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    Renaissance even when we move to the
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    north we have to keep in mind we still
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    have this new humanistic worldview so
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    we're looking for an increase in
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    naturalism more realistic human bodies
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    and a deeper extension of space another
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    thing that'll stay the same is that our
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    church um is still our uh major Patron
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    but the north has some markers that make
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    it very distinct from Italy so as we go
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    we want to keep a nice list in our notes
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    about um how how the north is different
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    and and as we go through each lecture
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    we're going to keep adding um to that
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    list all right our first images here are
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    by a group of brothers called The
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    limborg Brothers um this um illuminated
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    manuscript is what it's called It's
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    called The try rare D Duke DeBerry which
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    are the very Sumptuous hours of the Duke
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    of Barry as I mentioned it's what's
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    called an illuminated manuscript an
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    illuminated manuscript one of your terms
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    is an illustrated written work so
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    illuminated just means Illustrated it's
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    a manuscript it's a written work
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    an illustrated written work an
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    illuminated manuscript does not have to
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    be a religious work necessarily could be
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    a work of botney or science the way it
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    was understood at the time um but
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    because of where we are in history most
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    of the time illuminated manuscripts were
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    religious works and that is true of what
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    we're looking at here it is specifically
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    a book of hours another term Book of
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    hours these were popular with the
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    aristocracy a book of ours has two parts
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    the first is a prayer book and it is um
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    has prayers that are based on the hours
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    of the day so they're to be recited at
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    set times of the day um and the other
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    part of it is a calendar and the
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    calendar would include the important
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    feast days of the Saints so if I move
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    forward here on the right hand side you
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    can see this page with um its companion
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    page and it's um the month of October
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    and then it's listed all of the Saints
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    days down down the site um so this is
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    what we call a book of ours um we want
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    to put the book of ours in its own
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    separate list and here's our new list we
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    also want to keep um in the north there
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    is a push for private devotional prayer
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    that doesn't mean people were leaving
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    the church in droves by any means but
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    people also saw prayer as something that
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    was done privately and something that
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    was done in the home the book of ours
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    belongs on that list because it's our
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    first bit of evidence that the people of
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    the north were taking their prayer and
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    their worship and bringing it into the
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    home so sort of decentralizing religious
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    practice this is an important uh list to
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    kind of keep in mind and file away in
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    the back of your um brain because
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    eventually the Protestant Reformation is
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    going to come up Martin Luther at the
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    beginning part of the 1500s so about
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    another hundred years from now um is
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    going to create a great change and the
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    north is primed and ready as they were
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    already um privatizing prayer and taking
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    it out of the church so let's just sort
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    of file that away ways we know that the
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    north was privatizing prayer uh so the
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    tray share is an illuminated manuscript
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    specifically a book of ours um it was
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    created for the Duke um of Barry um and
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    his brother who was the King of France
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    King Charles I of France um it
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    alternates between images of the
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    aristocracy and images of the peasants
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    it seems kind of odd um that here's our
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    Duke of Barry here looking very you know
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    glamorous and rich as he was that he
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    would fill his prayer book with images
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    of the poor of his peasants um but
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    really the point of that is to show him
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    as a good guy really an idealized view
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    of him as being a sort of benevolent
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    ruler his peasants are happy they have
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    meaningful work they're well cared for
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    so kind of ultimately the patron always
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    looks good and he certainly does by
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    showing these well cared for peasants at
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    the top because it is a book of of hours
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    and it has prayers based on different
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    you know times of the day and different
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    parts of the year um there's the sun The
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    Chariot of the sun and the zodiac signs
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    uh across the top depending on what
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    particular month you're looking at this
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    is January and as I said this is October
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    on uh the other side couple things I
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    want you to see about our image here of
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    the Duke it's a nice example of implied
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    line the Duke is no larger than anyone
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    else we've gotten rid of that
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    hierarchical proportioning we have all
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    kinds of tilted heads and hands that
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    lead you to him this fire screen that
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    adds almost like a almost like a secular
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    Halo behind him um he was very wealthy
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    as you can imagine he um collected
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    exotic animals so we have one of his
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    dogs down here tapestries this it looks
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    like a battle scene but this is a
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    tapestry of the Trojan War uh here uh in
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    the in the background uh looking at
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    October I want you to see there's a
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    distinct color change when you move to
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    the peasants it's very monochromatic uh
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    if you look deep into the back what we
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    see is the King's residence King Charles
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    I of France the Duke's brother um lived
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    here this is the Lou now you know it as
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    a um Museum but it started out as the
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    king's Palace and so this is the loop in
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    the background let's talk a little bit
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    about space because we know space
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    becomes more and more important as we
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    are trying to create more naturalism
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    here the tapestry does that it's a
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    little bit of lad perspective kind of
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    stacked up but it brings your eye deep
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    into to the background this is still
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    very tilted though a tilted perspective
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    means that these lines don't go straight
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    back but they go up at a nice angle
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    which makes it look like everything
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    could fall straight off the front um so
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    we can see everything on the table which
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    is nice but it's it's because our space
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    is still skewed and very much tilted
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    over here one way I want you to see that
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    space is created um is by the use of
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    scale
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    scale is important um to get correct
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    because if you don't have correct scale
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    you're not going to see a believable
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    recession space so our peasants that are
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    here in the foreground are
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    larger and those that are into the
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    background are much smaller so you can
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    see that they're supposed to be much
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    further away um but here's something
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    that I want you to
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    note when you look at the castle here in
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    the Lou it is supposed to be far away
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    from us and we can tell because these
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    figures get so much smaller but when you
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    look at the Loop you can see all these
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    little distinct lines all these little
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    tiny windows and they're very clear and
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    crisp that means that this illuminated
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    manuscript does not show us something
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    called atmospheric perspective
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    atmospheric perspective means that as
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    things get further and further away like
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    miles away uh if you look at them you
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    get this sort of blue haziness to them
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    so if you went outside right now and
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    looked up towards the mountains you
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    can't really see trees um grass bushes
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    all you see is a sort of blue haziness
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    and that's how your eye sees real space
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    this painting doesn't have that you can
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    see how all these little windows are
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    sort of delineated and because it
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    doesn't have that it has that distinct
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    quality that you know your eyes should
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    not be able to see at that distance it
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    messes with your sense of space you take
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    this Lou castle and you push it closer
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    and closer and closer towards the
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    peasants because you know just from
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    being alive in the world you should not
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    be able to see that kind of detail these
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    little tiny windows from this far so
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    does get Scaled correctly but
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    atmospheric perspective that blue
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    indistinct haziness that we see at a
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    great distance is not present and that's
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    something that kind of messes a little
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    bit uh with our space But as we move
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    forward we're going to see space become
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    more and more important in these works
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    of the Renaissance really getting one
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    rid of this tilted perspective and
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    adding that atmospheric perspective and
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    when we do that we'll certainly see um
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    images that have a very believable
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    recession of space to the viewer
Tags
  • Noord-Europa
  • Renaissance
  • naturalism
  • illuminated manuscripts
  • Duke DeBerry
  • boeken van uren
  • humanisme
  • Petrarca
  • Limbourg Brothers
  • atmosferische perspectief