Lloyd William Benjamin IIIhttp://hdl.handle.net/10484/123922024-02-20T15:19:34Z2024-02-20T15:19:34ZTHE EMPATHIC RELATION OF OBSERVER TO IMAGE IN FIFTEENTH CENTURY NORTHERN ARTBenjamin, Lloyd Benjamin IIIhttp://hdl.handle.net/10484/123932021-08-05T02:37:51Z1973-01-01T00:00:00ZTHE EMPATHIC RELATION OF OBSERVER TO IMAGE IN FIFTEENTH CENTURY NORTHERN ART
Benjamin, Lloyd Benjamin III
ABSTRACT
LLOYD WILLIAM BENJAMIN III. The Empathic Relation of Observer
to Image in Fifteenth Century Northern Art (Under the
direction of' JOHN M. SCHNORRENBERG.)
The observer's relation to religious art in the
fifteenth century has received only minor attention in
recent studies of Northern painting. Scholars have overlooked
the function of naturalistic images and have concentrated
upon problems of attribution, chronology. and
iconogrophy. These studies, made without reference to the
origin~ l purpose and setting of Flemish art, show the persistence
of the I'art pour I'art attitude. The object of
this study is to reintegrate the works into their original
context and examine the devotional function of this art
which was to produce a specific emotional response in the
observer. The observer's empathic response to images during
private devotion was of major importance for the development
of mimetic art in the North.
The first chapter is a study of grisaille simulated
sculpture. Grisailles are illusionistic. Their frequent
appearance in the early fifteenth century indicates the
artist's awareness of the power of art to involve the observer
formally with the painted illusion. Study shows the development
and acceptance of a convincing naturalistic style.
The appearance of reality, which the painter's simulation
intends, depends for its success upon the observer' s "willing
suspension of disbelief." The artist's formal handling of
the subject matter could persuade the observer to participate
in the artistic reality. Discussion of grisailles
and the reasons for their development gives insight into
the broader development of representational art.
The second chapter is a study of manuscript production in the North at the French courts, a critical examination
of recent views of the International Style, and a
reevaluation of Netherlandish influence at the courts. An
examination of manuscript painting is necessary because
Flemish panel painting grows out of a manuscript tradition,
The representational progress in manuscripts was important
for painters I representational formulae showing the aristocracy
kneeling in close proximity to sacred figures,
found in manuscript painting. was further developed in
panel painting, The precedent for using images far private
meditation develops within the manuscript tradition. A
critical study of modern histories of Northern painting
shows that the account of the rise of naturalism is incomplete
because preference is given to manuscripts produced
by court artists at the expense of equally important manuscript
production of regional Netherlandish artists. The
view that increased naturalism in Northern art can be defined
adequately in terms of increased Italian influence
is questioned; other factors such as cultural setting,
patronage, function, development of artistic skills, and
the observer's response played a part in the development
of mimetic art, The Netherlandish illuminators' simple and
direct depiction of sacred history reflects the contemporary
religious outlook. Their contributions to the development
of representational art in the late fourteenth and early
fifteenth centuries are reappraised.
The·third chapter is a critical review of contemporary studies of Northern painting. The purpose is to reconsider
the modern view of Flemish painting which suggests
that increased naturalism diminished sacred content. I argue
that naturalism posed no threat to religious iconography,
rather, it made sacred figures more accessible and fulfilled
the patron's demand for the plausible narration of sacred
event-sill
In the final chapters I discuss examples of Netherlandish
art and demonstrate that increased naturalism satisfied
tho popular demand that art provide a vivid and convincing
depiction of sacred history in which the devout
imagined thcmmcl VeE; aeti ve partie Lparrta , The development
of naturalistic art in the North must be seen against a
background of spiritual exercises, intense private devotion,
the prosperity of the Netherlands, and the influence of
tho Devotio moderna.The desire for empathic meditation
before images was a major influence in the development of
Northern renaissance art.
A Dissertation submitted to the faculty of
the University of North Carolina in partial
fulfillment of the requirements for the degree
of Doctor of Philosophy in the Department
of Art.
1973-01-01T00:00:00Z