19 -- Part 7: Fifteenth-Century Art in Northern Europe
The centuries-long struggle for power and terri set against the closed shutters of a window is a reflection of the backs of both Maarten and Mary.
When King Charles VI of France died in 1422, England claimed the throne for the king's domestic space, undoing the division between them 9-month-old grandson, Henry VI of England.
The plight is endemic to the diptych format.
The introduction of Charles VII, the late French king's son, inspired Joan of spective gaze, which indicates that the encounter is internal Arc to raise an army to return him to the throne.
Thanks and spiritual, but Charles was crowned at Reims in 1429.
The English were driven from French lands.
The left wing is 361/2 x 331/2'' and the right wing is 371/2 x 331/2''.
The French royal court became a major source of patronage under his rule.
The leading court artist of the fifteenth-century France, Jean Fouquet, was born in Tours and may have trained in Paris and Bourges.
He established a workshop in Tours in the mid century after he was part of a French delegation to Rome.
Fouquet was influenced by Italian Classicism and Flemish illusionism.
He illustrated manuscripts and designed tombs, as well as painting pictures of the royal family and courtiers.
The treasurer of France under Charles VII was among the court officials who commissioned paint ings from Fouquet.
In the church of Notre-Dame, Fouquet painted a diptych for him that was placed over the tomb of Catherine Bude, his wife.
The courtier's ruddy features are reminiscent of Flemish art, according to Fouquet.
The oil is on a wood panel.
He was killed for defending his beliefs.
He wears the vestments of a deacon and carries a large stone on a closed book as evidence of his two panels into a diptych.
Among the fragments that remain head, there is a stunning self-portrait that served as the art their heads as a sign of humility.
He put his arm around ist's signature.
The saint's back seems to be showing the treasurer to the Virgin and Child.
The Virgin and Child could be in another world.
The queen of heaven has been known as the Master of Moulins for a long time after a painting of her at the end of the fifteenth century.
The Virgin under the patronage of Duke Jean II of Bourbon was conceived by Fouquet as a hybrid Burgundian cathedral of Moulins.
She can acteristically French because of her Flemish attention to color and surface texture.
The work of this artist has been associated with the name Jean Hey, a painter of Flemish origin who seems to have a diptych to acknowledge Chevalier.
Fouquet gave a picture of the Virgin to the people who pursued his career at the French court.
Chapter 19th-century art in Northern Europe similar to that painted by Memling for Maarten van sometimes disguises structural elements with an extra layer.
Margaret of Austria was the daughter of Emperor Maximilian I, who had all of the hallmarks of tracery and ornament in geometric and natural shapes.
The Flamboyant style is popular at the French court.
After Charles decided to pursue another marriage, she would return home to her father in 1493, although it has been stripped of its rich furnishings.
Margaret's palatial house is built around an irregular open courtyard and eventually become governor of the Habsburg Nether with spiral stairs in octagonal towers giving access to the lands, but Hey captures her at a tender moment a few upper-floor rooms.
The func years before those troubled times were marked by Tympana over doors.
She kneels in front of the rooms within, for example, over the door to the of a strip of wall between two windows that open onto the kitchen and a cook stirs the contents of a large bowl.
There are puns on the patron's name, her rosary, among the pearl beads of the carved decorations.
The details of her velvet and ermine are in French.
The vulnerability and delicacy of this 10-year-old girl is arresting.
They recall Hugo van der Goes's sensitivity to the young members of donor families.
There is strong evidence for ascribing Hey's training to the workshop of this Flemish master.
The great age of cathedral building that began in the second half of the twelfth century was over by the end of the fourteenth century, but growing urban populations needed houses, city halls, guildhalls, and more parish churches.
The style of late Gothic architecture we call "Flamboyant" is due to its repeated, twisted, flamelike tracery patterns.
Gothic masons covered their buildings with elaborate and playful architectural decoration.
Like painters, sculptors covered capitals and moldings with ivy, hawthorn leaves, and other vegetation to describe the specific nature of the world around them.
A screen of tracery surrounds the facade of the church.
Germany and Switzerland were part of the Holy Roman Empire, a confederation of mostly German-speaking states.
The Hanseatic League, an association of cities and trading outposts, stimulated a strengthening of the merchant class.
The painters worked in two different styles.
Some, clustered around Cologne, continued the International Gothic style with increased prettiness, softness, and sweetness of expression.
It is one of the earliest times in European art that an artist Switzerland, where he found a rich source of patronage captures both the appearance and the spirit of nature.