Van Eyck, Ghent Altarpiece (1 of 2)

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Van Eyck, Ghent Altarpiece (1 of 2)발음듣기

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Beth: We're going to have a look at the Ghent Altarpiece.발음듣기

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Steven: It is absolutely breathtaking and it's really complicated.발음듣기

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Beth: It is.발음듣기

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It's made up of many, many panels.발음듣기

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It's a polyptych and those panels are connected by hinges so they open and close.발음듣기

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Steven: Which means that we see this set of paintings in two distinct ways.발음듣기

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We either see it opened or closed.발음듣기

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This is important because I think it would be closed much of the year and opened on feast days as a kind of revelation.발음듣기

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Beth: This would have had an elaborate frame.발음듣기

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Steven: There's some controversy about actually who painted it.발음듣기

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This is generally ascribed to Jan Van Eyck.발음듣기

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Some suggest that his brother Herbert may have [done] it.발음듣기

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The frame was lost presumably during the iconoclasm, that is the attacks on Catholic art during the Reformation.발음듣기

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Beth: And we also know that this painting is much coveted by the Nazis and was actually stored in a salt mine.발음듣기

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We're lucky we still have it today.발음듣기

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We have at the top some figures with scrolls and books.발음듣기

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Those are prophets and sybils who predicted the coming of Christ, the coming of the Messiah.발음듣기

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The moment that they predicted is actually unfolding right below them, and that is the scene of the Annunciation where the angel Gabriel is announcing to Mary that she is about to conceive Christ.발음듣기

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Steven: Gabriel over on the left panel, Mary, three panels to the right, and then wonderfully empty space, not empty, in fact, this fabulous cityscape and then a kind of still life on the right middle panel, but nevertheless an unoccupied set of spaces that suggest the opportunity for Christ's arrival.발음듣기

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Beth: And we have the usual trappings of the Annunciation.발음듣기

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The angel Gabriel holds lilies, which are a symbol of Mary's purity, her sinlessness, her virginity.발음듣기

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The angel Gabriel announces, and you can actually see words coming out of the angel's mouth in Latin;발음듣기

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Hail Mary, full of grace, blessed art thou among women.발음듣기

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Mary on the other side with the dove above her head which represents the Holy Spirit, and words coming out of her mouth.발음듣기

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Her reply to the angel Gabriel coming out backwards, right to left instead of left to right, and upside down, "Behold the handmaiden of the Lord."발음듣기

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Backwards makes sense, right, because she's speaking back to the angel.발음듣기

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It's very interesting that the words are also upside down.발음듣기

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Steven: It makes us question who she's speaking to, doesn't it?발음듣기

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Beth: Perhaps to God who's looking from above.발음듣기

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Steven: Everything in this set of panels is very concrete and absolutely physical, and yet those words, because they're gold, but also because they're not attached to anything physically represented, are wonderfully ethereal and speak to God.발음듣기

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Beth: There is that tension between the writing which is a very medieval thing to do.발음듣기

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It reinforces the flatness of the image, and yet there's a tension between that and as you said, the physicality of everything else;발음듣기

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a sense of space, the objects that are depicted are incredibly real as the light reflects on them, that cityscape that goes out into a distance where we can see figures, shadows, buildings, birds or that still life on the right where we see the sunlight from the windows beautifully reflected, attention to detail that is very unique to the northern Renaissance.발음듣기

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Steven: These artists were miniaturists and that attention to detail comes through even on this large scale, but we don't want to say that this is the kind of naturalism or realism that we would have seen develop at this very time in Italy because it's not.발음듣기

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We're seeing a kind of awkward linear perspective and the figures themselves look as if they might bump their heads if they actually stood up in this room.발음듣기

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Beth: This space seems to rush back and also, we're not seeing an attention to the reality of the human body that we would have seen in the Italian Renaissance.발음듣기

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We have a kind of drapery that seems to have a life of its own with lots of angular folds.발음듣기

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It almost seems to hide the body underneath.발음듣기

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We should say that the altar piece is 11 and a half feet high. It's really large.발음듣기

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It's made for a private chapel in Saint Bavo's Cathedral in Ghent that belonged to the patrons who we see below.발음듣기

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Steven: So we have four figures or two figures and then two sculptures, but that in and of itself raises a really interesting visual trickery.발음듣기

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We take the figures who are dressed in red as real people, and then the sculptures in the middle carved of stone, but of course, this is all paint.발음듣기

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Beth: The figures who are represented as sculptures are the two Saint Johns.발음듣기

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I think they had particular relevance for the chapel and for the family.발음듣기

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It's also interesting to look at the patrons because there's that thing that you always see in the northern Renaissance which is this amazing ability to represent different textures because of course, the artist are using oil paint.발음듣기

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So that fur on his collar really seems like fur and his skin really seems like skin of an old man.발음듣기

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Steven: And of course, oil paint will have a profound impact on the sense of this painting, but especially when we open it up.발음듣기

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(music) ("In The Sky With Diamonds" by Scalding Lucy"발음듣기

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