Why Renoir? The Plastic Club

Pierre-Auguste Renoir. Landscape (Paysage), c. 1917. Oil on canvas, 10 7/8 x 16 in.

Why Renoir?

 

Why Renoir? A Conversation with William M. Perthes, Director of Adult Education Barnes-de Mazia Education and Outreach Program, The Barnes Foundation

When: Sunday, April 15th, 2018, 2:00 – 4:00pm

Where: The Plastic Club, 247 South Camac Street, Avenue of the Artists, Philadelphia, PA, 19107, 215-545-9324

What: There are many questions about The Barnes Foundation and the great collection of artwork at 20th Street and the Parkway; the focus of this conversation will be about Pierre-Auguste Renoir and his artwork. Renoir was a prolific French painter in the late 19th and early 20th century, creating more than 6000 paintings in his lifetime, the Barnes collection includes 181 paintings, more than any other art collection in the world.

In advance of the upcoming exhibition at The Barnes Foundation, Renoir: Father and Son / Painting and Cinema, May 6th through September 3rd, 2018, the Plastic Club presents the opportunity to learn about the Barnes-de Mazia Education program and the relevance of Renoir’s artwork in the art collection. William M. Perthes will present a 30+ minute lecture, with images, about the paintings by Pierre-Auguste Renoir and then open the floor to questions about the artist and his contributions to contemporary art.

Why are there so many Renoir paintings in the Barnes Foundation? Why are there so many paintings of rosy cheeked females? Why are there so many female nude paintings in the collection? Why are Renoir’s paintings considered treacle? Are there Renoir paintings in every room of the collection? Why does Philadelphia love to hate Renoir? Don’t hesitate to ask your burning questions about why you love or hate Renoir; feel free to confront concerns, objections, feelings, and interpretations with a scholar, expert, and educator on the artwork of Auguste Renoir in an open and engaging conversation in a friendly artist’s environment.

Who: Pierre-Auguste Renoir, commonly known as Auguste Renoir; February 25,1841 – December 3, 1919), was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau.”

He was the father of actor Pierre Renoir (1885–1952), filmmaker Jean Renoir (1894–1979) and ceramic artist Claude Renoir (1901–1969). He was the grandfather of the filmmaker Claude Renoir (1913–1993), son of Pierre. – Wikipedia

William Perthes is director of adult education at the Barnes Foundation. He has taught courses at the Barnes as well as the Pennsylvania Academy of the Fine Arts and West Chester and Villanova Universities. His scholarship focuses on American modernism and the abstract expressionist painter Robert Motherwell. – The Barnes Foundation

Refreshments after the lecture.

Written by DoN Brewer.

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1430 Art Tour, Blasco de Grañén

Blasco de Grañén, Saint Catherine of Siena before Pope Gregory XI,

A Guided Tour of Philadelphia in the Year 1430

by DoN Brewer

Part three of A Guided Tour of Philadelphia in the Year 1430 stops at The Barnes Foundation at 20th and the Parkway, Blasco de Grañén, Saint Catherine of Siena before Pope Gregory XI, 1422–1459. Tempera with gold leaf on panel, Overall: 34 x 23 1/2 inches.

Blasco de Grañén, known as Master of Lanaja, a Gothic painter in Aragon, an autonomous community of Spain, bordering the North of France, became the named painter of King Juan II of Aragon. “Juan II of Aragon, the Great or Juan without Faith ( Medina del Campo , Castilla , June 29, 1398 – Barcelona , January 20 , 1479 ) was Duke of Peñafiel , King of Navarre ( 1425 – 1479 ), King of Sicily ( 1458 – 1468 ) and King of Aragon , of Mallorca , of Valencia , of Sardinia ( 1458 – 1479 ), son of Fernando I of Antequera and of Leonor de Alburquerque , countess of Alburquerque. Juan II was one of the longest-living monarchs of the fifteenth century.” – Wikipedia

That is royalty! And what do royals want? The best of everything. Blasco de Grañén does his best to please the king by using available technology, gold and tempera paint, to depict qualities of life that appeal the the wealthy and powerful through art. Being able to communicate through plastic means is essential, the use of line, light, color and shape to portray consistency of the surface, the tactile qualities, the weightiness and gravity of environmental space.

The vertical painting contains many of the same subject facts we observed in the Robert Campin and Jan van Eyck paintings: religious piety, elaborate lifestyle, superior textiles and fashion, powerful architectural forms, and portraits. Painted on gold with tempera paint, pigments mixed with fast drying egg yolk, the overall palette is earthy, warm and somber, burnt sienna, umber, greenish umber, and ochre, the surface is smooth with striations of color compartmentalized into complex interconnecting shapes. The Spanish tradition of a heaviness to the color, a flat dryness, and with, like the Flemish, an elaborate attention to detail in textile. The frontal facing figures are stiff but the fabric flows, the variety of textiles from velvet to brocade is prolific.

Compare the figure of Saint Catherine, painted in the Spanish tradition, to the image of the Virgin by Robert Campin, a Netherlandish painter, in the painting Christ and the Virgin. Textile is the major mass of the figure, the pose is static and a primitiveness to the figure, the Byzantine quality to the depiction of folds is inactive, with tricky details over-patterning the surface. The lower third of the figure is dedicated to lovely, flowing, draped flash folds (the tempera is scraped off in striated lines to reveal the gold highlights) and swishy flows, layers of fabric are depicted in  dazzling detail. The same soft patterning is repeated in the halo surrounding the portrait, with it’s “hieratic” features, with the glints of gold shining through the flatness of the paint. In the Robert Campin painting the fabric is much more luminous and nuanced, more softness, drape and structure of the fabric is apparent.

Flatness extends to the perspective of the composition, there is no circumambient space, the attempt at movement in the depiction of textiles fails compared to the Flemish, even though the flesh is painted in delicate shades of pink there is no sense of naturalness. The composition is distorted, the landscape flat and stacked, with no clear vanishing point and the intersecting shapes are off balance. The use of paint to render textiles, folds, and texture is extremely important in the picture just as it is the paintings by Robert Campin and Jan van Eyck; the traditions of depicting fabric in clothing changes drastically from flat and arid tempera paint in the Spanish to the naturalistic, ambient and atmospheric quality that oil paint creates.

This ends our art tour of the year 1430 on the Parkway in Philly, I hope you enjoyed the conceit and were able to imagine the techtonic shift in art making from the Late Middle Ages into the Renaissance by the wide acceptance of the use of oil painting that spread throughout the art guilds of Europe. The tradition that became the academies and universities, art schools, studios, and economics of art begins at this time; analyzing paintings from the same time period reveals the power of visual communication through plastic means. I don’t think it’s an exaggeration to compare the change in communication through the arts in an enhanced, technological shift in materiality and the ability to describe ambience and reality as it is to accessing data through media today.

To explore more of the 15th Century watch for my post Party Like It’s 1430, coming soon on DoNArTNeWs.

Link to A Guided Tour of Philadelphia in the Year 1430

Link to Robert Campin, Christ and the Virgin

Link to Jan van Eyck art tobur blog post – click here.

Link to Party Like it’s 1430 blog post – click here

Written by DoN Brewer.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

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1430 Art Tour, Jan van Eyck

Jan van Eyck, Saint Francis of Assisi Receiving the Stigmata,1430‑1432

A Guided Tour of Philadelphia in 1430

by DoN Brewer

The second stop on our art tour of Philly in the Late Middle Ages is also at The Philadelphia Museum of ArtJan van EyckSaint Francis of Assisi Receiving the Stigmata,1430‑1432. The Old Masters Now exhibition at the PMA includes the small artwork which presents as a devotional object but is so much more.

Jan van Eyck visited an artist’s guild in Tournai, Belgium, in 1427, under the tutelage of the Master of Flemalle, Robert Campin, the top expert in Flemish miniatures and oil painting at the time, and the entrepreneurial artist, already a masterful miniaturist in his own right, absorbed the breakthroughs in painting, perhaps working alongside fellow student Rogier van der Weyden, and discovered a secret that would change the world. The guild was super powerful, artists came from all over the region to study and become apprentices, uniting workers and connecting creative commerce with the powerful and rich elites who desired the best of everything.

Jan van Eyck studied with the Master and learned an amazing scientific/artistic/expressive oil glazing technique whereby layers of transparent color are applied, with drying time between each layer, creating structural spatial illusion in compartmentalized orthogonal space, 3D space on a 2D plane. Along with his powerful grasp of color, shape, line, and light from making miniatures, and a genius understanding of single point perspective, a vanishing point in deep, circumambient space, an exquisite new tool was commercially invaluable to him and his good friend, Philip the Good, the Duke of Burgundy.

In the social atmosphere of lavish wealth created by weaving, mining and trade money, Jan van Eyck applied his honed illustrative skills from years of painting manuscript miniatures with the atmospheric deep perspective in a perfect storm of creativity and science. Combining and mixing traditional with modern painting techniques, like oils smeared on a painter’s palette to make a new color, the artist created something new. So incredibly brand new, so incalculably valuable, so communicatively crystal clear, as far as commercial demand, that Jan van Eyck became known as the inventor of oil painting and influenced generations of guilds, universities and academies of artists from that time forward.

Look again at the Robert Campin painting, Christ and the Virgin, notice the fingers of Christ resting on the bottom of the canvas, a spatial illusion, a visual trick that had been seen infrequently before in painting. Dieric Bouts, an Early Netherlandish painter, in an etching, a portrait of a man, shows an arm resting on a window frame, the figure projects out of the picture plane. Campin’s illustrative skill provides atmospheric weightiness, downward pressure and volume to the fingers at the bottom of the picture. Jan van Eyck took this technological breakthrough back to Philip the Good in Burgundy and was immediately sent on a mission to broker a marriage proposal to Queen Isabella of Portugal, the king only required an accurate portrait of the Queen.

The portrait of Isabella, the Queen of Portugal, is exquisite and a stroke of genius; Isabella’s likeness is rendered in restrained detail, the proportions refined, her wardrobe the height of fashion with fur, lace, jewels and jacquard, and as she looks directly in your eyes her hand rests demurely on the enframing window device using a number of illustionistic perspectives. The portrait is a triumph, the marriage is celebrated in January 1430, and Jan van Eyck presents portraits of the royals painted with the breakthrough techniques.

The painting at The Philadelphia Museum of Art by Jan van Eyck, Saint Francis of Assisi Receiving the Stigmata,1430‑1432 is located not far from the Robert Campin painting, small in size, oil on vellum on panel, 5 x 5 3/4 inches but packed like a thumb drive with content and virtuosity. Painted on vellum, a prepared animal skin used for writing on, the detail is astounding with a deep perspective, solid, weighty forms of structural color, atmospheric naturalism, and intricate complex forms in a field of interconnected orthogonal lines and planes. Repeating pyramidal constructs, triangular patterns, and variety of descriptive line sets up the geometry of a visual field with ambient space. The palette is somber, umber, gray, ochre, the directional brushwork builds the cliffs with stacked strokes of line, light, and color building, like the rocky landscape of the Rogier van der Weyden alter panels, but tiny, the gradient layers of glaze just as powerful in miniature as made large. Stare at the picture for a while and your eyes can’t stay still, jumping from point to point, activating the serenity of the somber scene with nature elements, dramatic deep, rocky landscape, stunning architecture in dazzling detail, and a peaceful river view at the vanishing point.

Pyramid-like figure forms are wrapped in a lot of fabric, artfully arranged around the figures, confidently painted with close attention to the folds in the robes, explaining qualities of the fabric like smoothness, softness, flexibility, drape, and sturdiness with light, color, and shape. The flesh is painted with tiny orthogonal shapes in subtle gradations of glaze with glimmering sheen, the pose of the dominant figure on the left is stiff like a snapshot, but the eye bounces back and forth within orchestrated color chords like a music score, subtly animating the scene. The aerial perspective raises the view up and far, while the figures remain solid and projected forward, intersecting with the landscape in fractal-like orthogonal planes.

Described as a devotional painting, with stoic angst and mysterious symbols, created for travelers to express their relationship with religion. There certainly is religiosity as part of the subject, but the monk and the mourner are dressed really nice with luxe silver tassels on their belts. The landscape is rugged and rich with minerals like silver and gold, the ground seems dusted with diamonds twinkling into the distant shimmering city, nature is adorned and exotic with perfect blue sky and scudding clouds. The picture is as much an ad for the Burgundy Chamber of Commerce as it is a devotional painting. Jan van Eyck knew how to please his audience.

Link to A Guided Tour of Philadelphia in the Year 1430

Link to Robert Campin, Christ and the Virgin

Link to Blasco de Grañén art tour blog post – click here.

Link to Party Like it’s 1430 blog post – click here

Link to Old Master Now at Philadelphia Museum of Art press release on DoNArTNeWs

Written by DoN Brewer.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

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1430 Art Tour, Robert Campin

Robert Campin, Christ and the Virgin, c. 1430‑1435

A Guided Tour of Philadelphia in the Year 1430

The first stop on our tour of artwork from 1430 is Robert CampinChrist and the Virgin, c. 1430‑1435 at The Philadelphia Museum of Art, the Old Masters Now selections from the Johnson Collection. Link to A Guided Tour of Philadelphia in the Year 1430.

The horizontal composition of two figures, male and female, in a state of beatification, before a screen of bejeweled gold is a complicated and fascinating oil painting. Robert Campin had discovered oil based paints and was already a highly accomplished illustrator and miniaturist. His school in Tournai, Belgium, attracted artists from all over the region because of his illustrative skill in creating miniatures. Peter Campin, the Master of Flémalle, was an artistic genius, tech titan, commercial powerhouse and social influencer whose power would be tested, hacked, and reputation destroyed.

Tournai was a center of commerce in the wool and textile trade, merchants from across the region were eager to create and sell the finest woolen weaves, exquisite laces, and luxurious fabrics. The guild system was well established producing art and textiles, tradesmen were overseers of their craft and there was tension with the aristocracy with who controlled the flow of goods. The beginning of the end of the Late Middle Ages and the beginning of the early Renaissance is represented in this painting: glazing with oils, optical effects, and opulent lifestyle of the aristocracy that belies the solemn religiosity of the subject facts. When this painting was completed a new age in representational art begins and the trend towards the wide acceptance of oil paints as the preeminent media of fine art begins.

Christ and the Virgin glows with gold and gems, the flesh tones reveal a new liveness not seen in tempera, and the elaborate sheen of the fabric wrapped about the Virgin’s head is exquisitely rendered in structural color. The palette of greenish umber, ruddy reds, and shimmering blue resonates against the gold, the brushwork is smooth and descriptive, and the drawing is sophisticated revealing the hallmarks of Flemish painting. But there are signals pointing to a more international style. At first glance, there is an awkwardness to the painting, the figures seem crammed into the frame, the hands smallish, with an abundance of elaborate detail and decoration. The depth of the picture is very shallow, claustrophobic, the light strikes the screen device at a raked angle, the multi-colorful gems casting realistic shadows, yet the modeling and contrasts of the light on the portraits is diffuse. The male figure, a portrait of Christ, is stiff, the Sienese droop of the shoulders, too narrow to balance the head, but look into the eyes, revealed in the paint is a new humanism, the wetness of the eyeballs, the anatomic detail of the ocular socket, the color chords of the epicanthic folds, a wistful sidelong glance, and wearied shadows beneath the eyes describe a new reality in portraiture.

The scruffy beard and hair of Christ is rendered in scumbled strokes transfusing into the gold backdrop blending into a cruciform halo studded with gems, like an ethereal unreal screen behind the figures, projecting them forward in the picture plane, separating the Holy figures from the earthly delights. The fabulous colors of the gems, seemingly embedded in the gold, look as if they actually reflect and refract light in a spectacle of virtuosity. The flesh is modeled with planes of color, layered with translucent glazes, light reflects through the layers with the effect of a naturalistic, circumambient space, and a weighty, solid form. The hands are rendered with the expert skill of an artist who had drawn hundreds of figure studies while producing miniature paintings. There is another intriguing facet to the pose that is essential to our tour connecting directly to the Jan van Eyck painting on this tour, but first let’s analyze the way Robert Campin paints the Virgin.

The tilted head and the pale greenish tinge to the skin would have been familiar to viewers, the Sienese had established the meme, a cultural info-graphic, long ago but Robert Campin, through oil glazes, warms the flesh tones with red, bringing a rosy glow to the cheeks and warmth to the pouted lips.  The slight slant to the eyes hints to Southern Italian traditions of the past, however the artist updates the look from flat, anemic skin to fleshy realism, the beatific eyes are deep set, glistening with wetness, the shadows beneath them brings a poignant humanity to the portrait. Look at her golden hair, streaks of pale yellow swirled across an umber underpainting, chords of color applied with short brush strokes mimics the lustrousness of the golden screen in the background. Deft strokes of layered paints, in shades of bluish gray, develop demure pearls in a broken curvilinear arc like a string of sparkly stars embedded in gold. The wow factor is the rendering of the blue cloth covering the golden haired, blued eyed, porcelain skinned Virgin. The folds are not static or stiff, the shadows are not harsh or contrived, the sheen and softness are realized with gradient shades of color, brownish blues for shadow, and delicate touches of bluish white to define the crisp edges of the cloth.

If the painting feels congested it’s because it is demonstrating the state of the art of painting in 1430 and is over-packed with information. Robert Campin produced a painting that touches almost every aspect of life that would be important to a broad swath of Late Middle Ages elites and then sells their own products and services back to them like a glossy magazine fashion ad. The blue head scarf takes up nearly a third of the painting, sure to appeal to textile merchants, the opulent golden fantasy of the background an aspirational goal for Burgundian décor and mining companoes, and the liveliness of the divine figures sends a message to the church that this is what the Master of Flemalle could produce – a realistic, humanist, painting.

Now, back to the hidden clue leading to the next stop on the Tour of Philadelphia in 1430. Check out the fingers of Christ resting on the bottom edge of the canvas. The artist has broken the invisible wall between the viewer and the surface of the painting, creating a spatial illusion, and an optic trend that would be copied and used to powerful effect by one of the students visiting his studio, the painter, Jan van Eyck.

Link to The Philadelphia Museum of ArtOld Masters Now, press release on DoNArTNeWs.

Link to A Guided Tour of Philadelphia in the Year 1430

Link to Jan van Eyck art tour blog post – click here.

Link to Blasco de Grañén art tour blog post – click here.

Link to Party Like  it’s 1430 blog post – click here

Written by DoN Brewer.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

Follow DoN on Twitter @DoNNieBeat58

DoN Brewer on Pinterest

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1430 Art Tour, Robert Campin

Christ and the Virgin, c. 1430‑1435. Robert Campin, also called the Master of Flémalle, Netherlandish (active Tournai). Oil and gold on panel, 11 1/4 x 17 15/16 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.

A Guided Tour of Philadelphia in the Year 1430

by DoN Brewer

Of course, Philadelphia didn’t exist in 1430, but there are artifacts, artworks, and traditions from the distant past, a pivotal moment in history, that are right here and now with us in the future like the Tardis in a Dr. Who episode. The time traveling art tour will make multi-dimensional stops at three artworks from the early 15th century that you can experience on the Benjamin Franklin Parkway in Philadelphia, PA, USA, Planet Earth. I’ll make recommendations on how to contrast and compare traditions of contemporary life that actually originated in the Late Middle Ages in Burgundy with Philly’s regional influence on art and culture. Examining the change in traditions reveals parallels between then and now in not just art, but everyday aspects of life like fashion, food, and decor. There once was a country called Burgundy that spanned eastern France where art was integral to communications, influence, status and lifestyle, during the rule of the Duke of Burgundy, Philip the Goodand Jan van Eyck, the great painter, was his best friend and confidant.

This guide is being written primarily as my final project for The Traditions of Art at the Barnes Foundation in pursuit of a certificate in art and esthetics, and as a way to share with you what I’ve been learning about painting and art traditions. I will offer analytic context to art in Philadelphia at the PMA and the Barnes, and the Burgundian influence on contemporary life in reviews on DoNArTNeWs via a series of blog posts. In the blog posts I will be examining the plastic qualities of three paintings, their subject facts, and their connections to us, to each other, and traditions of art through space and time. William Perthes, senior instructor at the Barnes, encouraged me to do something different than write an essay. My goal is to connect you to the art and traditions of 1430 Burgundy, at the apex of the Late Middle Ages on the cusp of the Renaissance, with the extraordinary influences on art and popular culture in the 21st Century.

Our time capsule tour of Philadelphia begins at The Philadelphia Museum of Art, the Old Masters Now selections from the Johnson Collection, with a painting by Robert Campin depicting Christ and the Virgin, c. 1430‑1435. A horizontal composition dominated by dual portraits with amazing spatial illusion and design, this painting had a spectacular impact on the arts from that time forward, no joke. The traditions of painting made a major change of direction at this moment with the development of the use of oil paints. Before this temporal distortion, tempera paint, a mixture of ground pigment in egg yolk, was used by artists following long established norms and customs, creating paintings following influential traditions. The shift towards oils from tempera, in contemporary terms, is like the game-changing code upgrade from Nintendo 64, a 2D gaming platform for TV, to Sony Playstation VR, virtual reality.

Link to Robert Campin art tour blog post – click here.

1430 Art Tour, Jan van Eyck

Saint Francis of Assisi Receiving the Stigmata, 1430‑1432. Jan van Eyck, Netherlandish (active Bruges). Oil on vellum on panel, 5 x 5 3/4 inches. Philadelphia Museum of Art, John G. Johnson Collection, 1917.

We will visit a major tempera artwork on the tour later on. The next stop in 1430 is a few steps away in the gallery at the art museum, Jan van Eyck’s Saint Francis of Assisi Receiving the Stigmata,1430‑1432, a small, intricate artwork revealing aspects of painting developed at a peak of invention and change in the arts. The story of Jan Van Eyck traveling to Portugal to help broker the marriage deal between Queen Isabella and Peter the Good is directly connected to the Robert Campin painting in a fabulously adventurous diplomatic trip made by the artist in the late 1420s. Plastic analysis of the artwork, as far as composition, line, light, shape, and color of the art objects themselves is the major theme to this guide but also I’m excited about offering context to the business of art-making naturally built into the story.

Why did Jan Van Eyck paint this tiny picture? Why is it so detailed? How did he do it? Let’s just say that the young artist hacked the Master of Flémalle like a coder from a Russian bot farm, downloaded all the data from the great teacher’s information base, took the information back to the royal court in Burgundy to dazzle the Duke and, for a long, long time, became known as the inventor of oil painting. The tiny painting is so packed with data about art, technology, humanism, traditions, and culture that each paint stroke is like a hyper-link.

Link to Jan van Eyck art tour blog post – click here.

1430 Art Tour, Blasco de Grañén

Blasco de Grañén, Saint Catherine of Siena before Pope Gregory XI, 1422–1459. Tempera with gold leaf on panel, Overall: 34 x 23 1/2 inches, The Barnes Foundation.

An examination of Blasco de Grañén‘s, Saint Catherine of Siena before Pope Gregory XI at The Barnes Foundation will help you recognize the sea change in art and culture that took place in the Late Middle Ages that continues today in the Philadelphia arts community through the traditions of our art schools, studios, and universities. The art tour blog posts will look at the plastic qualities of the surface of the paintings, color, light, and shapes. To differentiate traditions in artwork before the discovery and wide acceptance of single point perspective in the art of drawing and painting, a system of describing three dimensional space on a 2D surface, intersects the time-line. In a worm hole, time-trippy, way, this painting encapsulates the history of art from flat, obvious, drawing towards realistic draftsmanship and the pursuit of visual naturalism, spatial illusion, illustrative descriptive line, and a vanishing point in paintings. Over time there has been a shift back to the subject of painting being about the surface, color and light and less about representational illustrativeness in genre paintings.

Link to Blasco de Grañén art tour blog post – click here.

Finally, I will be offering recommendations for how you can experience aspects of Burgundian life, party like it’s 1430, through art, architecture, fashion, weaving and fabrics, foods, and music in Philadelphia. This is a time travel adventure to the moment when the convergence of the knowledge of optics, discovery of better art materials, honed virtuoso artistic skill, and a driven vision towards a new reality are realized with incredible temporal effect, like a star trek through arts and culture without leaving Philadelphia.

Jan van Eyck would have felt at home in Philly, traditions of modern life that we take for granted were refined in the courts of Burgundy; the artist would find fine art collections, exquisite fabrics, an embedded arts community, talented craftspeople, intellectuals, and a comfortable lifestyle brimming with culture and traditions right in Center City. Now instead of weaving thread into textiles in the great wool mills of Tournai, Belgium, where artist Robert Campin had his studio and school, the artisans and knowledge engineers of today are creating code to power smart phone apps on North Third St, in the Old City arts district of Philadelphia, N3RD Street.

Philip the Good, the Duke of Burgundy reigned during the most prosperous, creative, and industrious time in the history of the country. The creative arts were already well established in Burgundy, a magnet to artists from all over the region, vibrant international commerce and trade, and advanced technologies. Weaving and fine fabrics play an integral role to this tour, literally the thread of the narrative, painting fabrics in 2D is like writing code, a language unto itself. The Burgundian influence of 1430, established across one of the largest ducal territories in Europe, set the standard for modern living in the royal houses so dramatically high, and essential, that the influences can be experienced in the way we live today through the arts and technology.

Link to The Philadelphia Museum of Art, Old Masters Now, press release on DoNArTNeWs.

Link to Robert Campin art tour blog post – click here.

Link to Jan van Eyck art tour blog post – click here.

Link to Blasco de Grañén art tour blog post – click here.

Link to Party Like it’s 1430 blog post – click here

Written by DoN Brewer.

Thank you to The Barnes Foundation, William Perthes, Bill Scott, Robert Bohne, Betty Macdonald, Wikipedia, Britannica.com, Dr. Albert Barnes, Gardner’s Art Through the Ages, and The Philadelphia Museum of Art.

Like DoNArTNeWs Philadelphia Art News Blog on facebook

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Byzantine

November 22, 2017

Hugh Mesibov, Byzantine Figure, The Barnes Foundation https://collection.barnesfoundation.org/objects/6896/details Hugh Mesibov (American, born 1916) Byzantine Figure, 1945-1946, oil pastel over black ink on cardstock mounted to multi-ply paperboard (14 x 11 in.) The Barnes Foundation (Gallery 22, east wall) Since September I have been studying The Traditions of Art at The Barnes Foundation with the senior […]

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Garrity

August 31, 2017

Bruce Garrity, Recent Work A large painting, 70″ x 58″, oil on canvas, this artwork was displayed along two similar sized paintings at 3rd Street Gallery as part of Bruce Garrity‘s presentation of his recent paintings this past June. The horizontal composition is constructed of high key, lush, complementary swaths of color, climbing, sinuous fields of marks, patches, […]

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Synesthesia

May 9, 2017

Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879, Philadelphia Museum of Art Mary Cassatt’s Woman with a Pearl Necklace in a Loge: Creative Distortion and Audio Synesthesia in a Painted Portrait DoN Brewer Spring 2017 The Elements of Art, The Barnes Foundation William M. Perthes, Senior Instructor Woman with a Pearl Necklace […]

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Dooms Day

February 9, 2017

Alex Mosoeanu, Moment of Inspiration, metallic Sumi-e ink, metallic markers and colored pencils on drawing paper, 2016 Dooms Day, Group Art Show, Plays and Players Art Gallery Interview with Dooms Day curator Alex Mosoeanu: “We’re in the Plays and Players Theater in the lower lobby are in the Plays and Players Art Gallery. We are having […]

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Identities

January 20, 2017

Eppchez! Abstract Packer #1 Eye Bulge #2 Big Queer Ice Cream #3 Pocket Rocket, foam and fabric, 1st Prize, How Do I Look? How do I Look? Shifting Representations of Queer Identities, Da Vinci Art Alliance by DoN Brewer Queer is a difficult word for me to use as a signifier; when I was a […]

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