Compare and Contrast the Netherlandish Style With the Florentine Style 1300 1450s Essay

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¶ … Netherland's style with the Florentine style (1300-1450s).

North vs. South: Compare and contrast the Netherland's style with the Florentine style (1300-1450s)

The period between the years 1300-1450 is often called a kind of proto-Renaissance, a transitional artistic and architectural period that existed between the Middle Ages and the High Renaissance. The differences between the Northern and Southern Renaissance styles and cultural attitudes are particularly manifest during this period. The Northern Renaissance in the Netherlands and other nearby nations had a more realistic style vs. The more idealized style of the Southern Renaissance, and tended to focus more on personalized and domestic subjects than the classical and nationalistic art of the Southern Renaissance. Additionally, "though the styles of northern artists vary according to geography, one characteristic that is fundamental to all northern art of this period is a fondness for meticulous rendering of details. In addition, there is generally less of the classical ideal apparent in the figures (which can be partly explained by their lack of access to Greek and Roman statues). Instead, remnants of Gothic influences are apparent in their compositions" (Urton 2008). In contrast, the Florentine or southern style was characterized by a seamless blending of classical styles of architectural construction or anatomy with Biblical scenes. Florence even called itself a "new Athens" ("The Early Renaissance," NGA, 2008).Download full Download Microsoft Word File
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Essay on Compare and Contrast the Netherlandish Style With the Florentine Style 1300 1450s Assignment

A frequent use of heavily symbolic images in the form of the triptych was common in the Flemish style. A typical illustration of this is that of the Merode Altarpiece (c. 1425) created by Robert Campin, a notable Flemish artist of the period. Elaborate triptych altarpieces were common in the north of Europe, and the triptychs inevitably deployed a method of pictorial storytelling constructed across three hinged panels. The central panel of the Merode Altarpiece shows Mary interrupted at her reading, while the angel Gabriel comes to her, announcing that she will be the mother of Christ. In the work, "symbols of her purity include the vase of white lilies, the open biblical text, and the white linen," and closer inspection of the central panel "also reveals an image of Christ on the Cross, floating from the direction of the circular windows, and the extinguished candle probably also relates to his death" (Urton 2008). The central panel of the work deploys the most common use of perspective in the northern or Flemish style, and the tilted perspective of the room allows the symbolic iconography to be seen more easily than would be the case if the artist had used a linear perspective, as would be typically used in the Florentine style (Urton 2008).

Throughout the triptych a gothic style of architecture is used in the illustration of spatial structures. This is seen in Mary's doorway and in the right panel of Joseph at his workshop, where Joseph is shown "building mouse-traps," which is symbolic of Jesus' trapping the evils of the world (Urton 2008). In contrast, Florence is noted as the birthplace of the… [END OF PREVIEW] . . . READ MORE

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