la historia del arte

close-up of Male Martyrs, The Ghent Altarpiece.

close-up of Male Martyrs, The Ghent Altarpiece.

close-up of Eve, The Ghent Altarpiece.

close-up of Eve, The Ghent Altarpiece.

close-up of Adam, The Ghent Altarpiece.

close-up of Adam, The Ghent Altarpiece.

close-up of The Angels, The Ghent Altarpiece.

close-up of The Angels, The Ghent Altarpiece.

close-up God the Father/Jesus, The Ghent Altarpiece.

close-up God the Father/Jesus, The Ghent Altarpiece.

close-up of The Virgin Mary, The Ghent Altarpiece.

close-up of The Virgin Mary, The Ghent Altarpiece.

Close-Up of the Ghent Altarpiece, back panels.

Close-Up of the Ghent Altarpiece, back panels.

The Ghent Altarpiece/Adoration of the Mystic Lamb, Hubert Van Eyck, polyptych panel painting, Belgium.
Is This the World’s Most Coveted Painting? [npr.org]
"As the defining monument of the “new realism” of Northern Renaissance art,  the Ghent Altarpiece was regarded as both the foundation of a  distinguished tradition, and an exemplary achievement to challenge all  later artists. In 1495, an early visitor named Hieronymus Münzer justly  described it as encompassing the whole art of painting.  The discovery in 1823 of a rhymed quatrain on the frame of the altarpiece confirmed that it was begun by Hubert van Eyck, and  even described him as greater than his more famous brother Jan,  who completed the work upon Hubert’s death in 1426. No one has ever  convincingly distinguished their respective shares in this painting.  Dedicated on May 6, 1432 in the Church of Saint John, Ghent (now the  Cathedral of Saint Bavo), the work was installed above an altar in a  chantry chapel founded by the wealthy patrician Joos Vijd and his wife  Elizabeth Borluut.
The astonishing realism of the altarpiece rests not only in the fidelity with which figures, plants, and animals are represented in a convincing space, but also in its ability to forge  a sense of continuity between the pictorial and the real world. On the  exterior, the frames between the painted panels of the Annunciation scene appear to cast shadows into the Virgin’s  chamber, in accordance with the actual direction of light in the Vijd  Chapel. On the lower level, the technique of grisaille is used to depict  fictive statues of the two Saints John, possibly as a painterly  challenge to the long-established convention of sculpted retables. More  astonishing still are the near-lifesize nudes of Adam and Eve on the interior, who appear to project out of the depths of their niches into real space. The complex theological program is based partly on the liturgy for All Saints’ Day, which included readings from the Book of  Revelation; however, no single text has been found to “explain” the  entire program. Rather, the work stands on its own as a visual account  of the redemptive mysteries of the Catholic faith, beginning with the incarnation of Christ at the moment of the Annunciation represented on the exterior. Didactic  and identifying inscriptions, including legible texts in painted books,  amplify and explain the imagery.  When the wings are open, the main feature of the lower level is a  continuous heavenly landscape, verdant and rich, through which a  multitude of figures travel on horseback and on foot to adore the mystic  lamb of God on the central altar. The lamb, whose blood flows into a  chalice, symbolizes the Eucharistic sacrifice of Christ and its repeated celebration through the daily masses in the Vijd  Chapel. Underlining the concept of the Mass as the source of eternal  grace is the stream of crystal-clear water gushing from the Fountain of  Life in the center panel, which, with daring realism, is channeled  downward toward the actual altar itself. At the upper level is a Deësis,  showing Christ as High Priest, flanked by the Virgin Mary and John the Baptist, in the positions they assume as intercessors at  the Last Judgment. To the left and right, angels play instruments and  sing, their expressions reflecting their vocal pitch. Adam and Eve, at  left and right, stand as the originators of sin in the world.  By the end of the fifteenth century, visitors were already paying to see  this famous painting in the chapel; artists who admired it include the Netherlandish painter Gerard David, who made drawings from it and, in 1521, the German Renaissance painter and printmaker Albrecht Dürer.”
Susan JonesDepartment of Art, Caldwell College
Citation
Jones, Susan. “The Ghent Altarpiece”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ghnt/hd_ghnt.htm (October 2002)Source:  The Ghent Altarpiece | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

The Ghent Altarpiece/Adoration of the Mystic Lamb, Hubert Van Eyck, polyptych panel painting, Belgium.

Is This the World’s Most Coveted Painting? [npr.org]

"As the defining monument of the “new realism” of Northern Renaissance art, the Ghent Altarpiece was regarded as both the foundation of a distinguished tradition, and an exemplary achievement to challenge all later artists. In 1495, an early visitor named Hieronymus Münzer justly described it as encompassing the whole art of painting.

The discovery in 1823 of a rhymed quatrain on the frame of the altarpiece confirmed that it was begun by Hubert van Eyck, and even described him as greater than his more famous brother Jan, who completed the work upon Hubert’s death in 1426. No one has ever convincingly distinguished their respective shares in this painting. Dedicated on May 6, 1432 in the Church of Saint John, Ghent (now the Cathedral of Saint Bavo), the work was installed above an altar in a chantry chapel founded by the wealthy patrician Joos Vijd and his wife Elizabeth Borluut.

The astonishing realism of the altarpiece rests not only in the fidelity with which figures, plants, and animals are represented in a convincing space, but also in its ability to forge a sense of continuity between the pictorial and the real world. On the exterior, the frames between the painted panels of the Annunciation scene appear to cast shadows into the Virgin’s chamber, in accordance with the actual direction of light in the Vijd Chapel. On the lower level, the technique of grisaille is used to depict fictive statues of the two Saints John, possibly as a painterly challenge to the long-established convention of sculpted retables. More astonishing still are the near-lifesize nudes of Adam and Eve on the interior, who appear to project out of the depths of their niches into real space.

The complex theological program is based partly on the liturgy for All Saints’ Day, which included readings from the Book of Revelation; however, no single text has been found to “explain” the entire program. Rather, the work stands on its own as a visual account of the redemptive mysteries of the Catholic faith, beginning with the incarnation of Christ at the moment of the Annunciation represented on the exterior. Didactic and identifying inscriptions, including legible texts in painted books, amplify and explain the imagery.

When the wings are open, the main feature of the lower level is a continuous heavenly landscape, verdant and rich, through which a multitude of figures travel on horseback and on foot to adore the mystic lamb of God on the central altar. The lamb, whose blood flows into a chalice, symbolizes the Eucharistic sacrifice of Christ and its repeated celebration through the daily masses in the Vijd Chapel. Underlining the concept of the Mass as the source of eternal grace is the stream of crystal-clear water gushing from the Fountain of Life in the center panel, which, with daring realism, is channeled downward toward the actual altar itself. At the upper level is a Deësis, showing Christ as High Priest, flanked by the Virgin Mary and John the Baptist, in the positions they assume as intercessors at the Last Judgment. To the left and right, angels play instruments and sing, their expressions reflecting their vocal pitch. Adam and Eve, at left and right, stand as the originators of sin in the world.

By the end of the fifteenth century, visitors were already paying to see this famous painting in the chapel; artists who admired it include the Netherlandish painter Gerard David, who made drawings from it and, in 1521, the German Renaissance painter and printmaker Albrecht Dürer.”

Susan Jones
Department of Art, Caldwell College

Citation

Jones, Susan. “The Ghent Altarpiece”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ghnt/hd_ghnt.htm (October 2002)

Source: The Ghent Altarpiece | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Robert Mapplethorpe, Ajitto, Gelatin silver print, 1981.
You may find that this artist, Robert Mapplethorpe seems to objectify the black male nude figure by photographing him in such a way that his beauty entrances the viewer. In this case, the viewer is only attracted aesthetically, possibly sexually, and the subject is left without a voice or any form of agency. This argument presents the duality of “seen and being seen.”*
The photographer, a white male, invites the intended white male viewer to gaze upon the many African-American males Mapplethorpe photographed. In relation to skin color, the artist’s presence along with the model’s physicality can be considered somewhat paradoxical because of the “polarized terms of racial identity” - white and black skin. However, intended viewer, artist and subject share the same gender, which is male. This has been interpreted by some as a “fetishization of black skin;”* the white male viewer sees a nude, black male form and is intrigued by the aesthetic quality of the photograph, and thus the subject has been homo-eroticized.
In addition to this objectification, the white male photographer exerts control over how the photograph is set up and taken. This, in turn further objectifies the black male by the photographer’s ability to represent the subject matter in whatever way he deems correct or artistic. Once again, the black male’s voice is detracted, therefore influencing the viewer’s perception of the greater black male persona - nameless and voiceless; to be seen and not heard.
**Argument as discussed presented by: Mercer, Kobena. Black British Cultural Studies: a reader. Just Looking for Trouble: Robert Mapplethorpe and Fantasies of Race. Chicago, IL: University of Chicago Press, 1996.

Robert Mapplethorpe, Ajitto, Gelatin silver print, 1981.

You may find that this artist, Robert Mapplethorpe seems to objectify the black male nude figure by photographing him in such a way that his beauty entrances the viewer. In this case, the viewer is only attracted aesthetically, possibly sexually, and the subject is left without a voice or any form of agency. This argument presents the duality of “seen and being seen.”*

The photographer, a white male, invites the intended white male viewer to gaze upon the many African-American males Mapplethorpe photographed. In relation to skin color, the artist’s presence along with the model’s physicality can be considered somewhat paradoxical because of the “polarized terms of racial identity” - white and black skin. However, intended viewer, artist and subject share the same gender, which is male. This has been interpreted by some as a “fetishization of black skin;”* the white male viewer sees a nude, black male form and is intrigued by the aesthetic quality of the photograph, and thus the subject has been homo-eroticized.

In addition to this objectification, the white male photographer exerts control over how the photograph is set up and taken. This, in turn further objectifies the black male by the photographer’s ability to represent the subject matter in whatever way he deems correct or artistic. Once again, the black male’s voice is detracted, therefore influencing the viewer’s perception of the greater black male persona - nameless and voiceless; to be seen and not heard.

**Argument as discussed presented by: Mercer, Kobena. Black British Cultural Studies: a reader. Just Looking for Trouble: Robert Mapplethorpe and Fantasies of Race. Chicago, IL: University of Chicago Press, 1996.