In this week we started exploring the Northern renaissance and its altars. We talked about the way Norther renaissance artists used Arma Christi to show the passion of Christ and recreate the scene where the specific objects were used in order to evoke emotion. The difference in perspective and artistic expression influenced through religious beliefs can also be seen in the way artists showed Christ’s tomb. In Northern art, Jesus is put in sarcofagus, which metaphorically represented the altar itself. On the other hand, in Esaster Christianity rock covering the cave was usually used to depict Christ’s tomb.
One of the altarpieces we focused on was Van Eyck’s Ghent Altarpiece. Widely considered a masterpiece, this altarpiece followed the Northern tradition of being able to open and close. As the altarpieces were opened only on special occasion, the inner panels are much more vibrant in color contrasting the panels in the closed view. This made the event when the piece was opened even more sacred and special to viewer. Also, it was impressive to me how the artist managed to vertically include the central classical Deesis arrangement of God, across panels in different sections, metaphorically showing Christ’s sacrifice by painting Agnus Dei. The piece had me thinking about the effect a layered and creative piece could have in religious purposes as well, showing that art was done for a different purpose than for the sake of art itself.
Usually mentioned as one of the most underrated altarpieces of Norther art is van der Weyden’s Entombment. What makes it special is the way it shows suffering (passion) with the goal of waking compassion in the viewer, an extremely important concept in Christianity. Compassion was considered a relationship between two equals, thus, through compassion of Virgin Mary towards Christ and a viewer towards Virgin Mary, one felt closer to God Himself.