While the early Italian Renaissance broke all tradition with Gothic style during the 15th century, it was a different story on the other side of the Alps. Due to a host of social and political reasons including the Reformation (see History 1400-1600), the North never really abandoned the Gothic style. . . . . . . it held on to it, taking bits and pieces as it moved toward a more dramatic stylistic change later on during the next century. Many art historians even refuse to refer to 15th century Northern painting as "Renaissance," by calling the period "Late Gothic" instead. However, while the jury is still out on this one, I will simply refer to all Northern painting during the 15th century as "Northern Renaissance," implying that the growth of style was not as clear cut or as speedy as it was in the South. There are a few quick and easy ways to recognize Northern Renaissance works of art (although they are not by any means complete, and the rules are not always followed) and to tell it apart from that of the South. In general, Northern Renaissance painting has the following characteristics:
Highly Realistic - There is almost no abstraction or distortion of either human forms or objects in Northern Renaissance art.
Extremely Detailed - Every detail, no matter how small, is painstakingly painted.
Symbolism - Objects are often used as symbols that carry hidden meanings.
Unidealized Figures - Human figures are totally unidealized. They often look thin and pale. There is almost no Classical influence here at all.
Printmaking - The use of woodcut becomes a common way to produce images.
The painting above, The Merode Altarpiece (c.1425),by Robert Campin, shows many of theses characteristics. It is typical of the style of painting we see coming out of the Netherlands during this time, which is commonly referred to as "Flemish painting."
©1999 Michael Benedict
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