[Gothic Art (3) [continued (16):]] European art in the 15th century [ce] [continued (3)][15th March 1991]

[Redbook8:347-348][19910315:1000nn][Gothic Art (3) [continued (16):]] European art in the 15^th century [ce] [continued (3)][15th March 1991]

19910315.1000

[continued]

‘The impact of the new control over lighting effects achieved in Flemish painting was extremely important. It had almost incalculable consequences on religious subject-matter, because all the symbolic detail – and the paintings of the Campin workshop and jan van Eyck contain a great deal – came to be incredibly sharply focused, and the scenes themselves were bathed in an intense other-worldly light previously unimagined. At the same time, portraiture assumed a new dimension. From being [a]* routine exercise in familial piety by which the general appearance of a family’s members might be handed down, it became a far more aggressive projection of the sitter’s presence behind the picture frame.

‘The lighting effects seem to have first caught the attention of non-Flemish artists.’

**

*[Square brackets per ms, indicating insertion in ms]

**– ibid [Encylopaedia of Visual Art 4:] 616-617

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