Week 5 - Chapter 5 - Making Renaissance Altarpieces

Introduction

'in a picture they who know no letters may yet read' (p.175)

Diana Norman sets out in this chapter, how she will consider altarpieces from both Italy and Northern Europe, how they were made, and the purposes that they fulfilled.

1. Custom and practice: Sassetta's Madonna della Neve altarpiece

This section explores the influences upon the artist of contemporary and past artists and his awareness of the position the altarpiece would occupy within Siena Cathedral. Sassetta's use of perspective and design makes this particular altarpiece 'an important milestone in the history of the Renaissance altarpiece' (p.188)

2. The triumph of the oil technique: Jan van Eyck and the Ghent altarpiece

An excellent description of the Ghent altarpiece as Diana Norman contrasts the work with that of Sassetta, both in terms of subject matter, and the manner in which the two are painted. The Sienese work in tempera and the Ghent in oils. The point is made that the Ghent altarpiece portrays a complex set of theological beliefs that were most likely to have been suggested by the Prior of the church, but that it was the artists through their skill and innovation who transformed them into the visual experience.

3. The North-South Divide: two triptychs

The two triptychs, one by Hans Memling painted for John Donne, is a portable altarpiece that can be closed and probably moved with the family from place to place. The other is much larger by Giovanni Bellini and is still in its intended situation in the family chapel in Venice. Both have figures that are realistic and set in an architectural space. This section compares and contrasts these two altarpieces, their methods of painting and their intended uses.

4. The development of the Renaissance altarpiece

Whilst pointing out that altarpieces in the Renaissance allowed artists greater opportunity to produce work reflecting realism, and the antique greco-roman, a wide variety of styles continued to be produced. The single picture surrounded by classical interiors although becoming popular was not exclusive, and triptychs and polyptychs continued to be made. The choice of style was very much dictated by patrons, local artistic tradition and the availability of materials.

Conclusion

In this essay the writer has suggested that the Renaissance saw a balance between the traditional role of the altarpiece as a religious artefact and a vehicle for artistic prowess.