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Zaključna seminarska naloga se ukvarja z motivom Poslednje sodbe v staronizozemskem slikarstvu, osredotoča pa se na naročnike in najrazličnejše povode, ki so botrovali njihovi izbiri umetnikov in ikonografskega programa. Motiv Poslednje sodbe snov za upodabljanje jemlje predvsem iz Razodetja evangelista Janeza, način upodabljanja pa se je tekom časa spreminjal. Čeprav je Poslednja sodba kot ikonografski motiv v krščanski sakralni umetnosti v bolj ali manj kompleksni obliki prisotna že od vsega začetka, je zanimanje zanjo v 15. stoletju znova vzniknilo. Naročanje je bilo vezano na novonastali družbeni sloj meščanstva, predvsem trgovcev in dvornih birokratov, ki sta jih v naročanje med drugim vodila tudi za izbrano obdobje specifično doživljanje človeškega življenja, greha, krivde in poslednjih stvari ter vpliv zasebne pobožnosti in nadnaravnih vizij. The present BA thesis focuses on the motif of the Last Judgement in Early Netherlandish painting, with special attention paid to patrons and the possible reasons for their choosing of a particular artist and iconographic program. The Last Judgement motif is based on the Apocalypse of John the Evangelist however, its representations have changed significantly over the course of time. Even though the Last Judgement as a motif has been present in Christian sacred art since the very beginning, it saw a remarkable spike of interest in 15th century. Commissions were tied to the newly established social class of early bourgeoisie, especially merchants and court bureaucrats, who were as patrons heavily influenced by the contemporary experience of the human life, sin, guilt and the last things, as well as private devotion and otherworldly visions. |
