Art

Hugo van der Goes: Tríptic Portinari

Goes1Hugo van der Goes (c. 1436-1482): Tríptic Portinari, 1475-76. Taula central 253 x 304. Laterals 253 x 141 cm. Galleria degli Uffizi, Florència. Encàrrec: Tommasso Portinari.

Goes2

Plantejaments de preguntes

A més del context històric, econòmic, social i cultural, i la importància del comitent, la pròpia producció artística també influencia i incideix en la pràctica artística. El Tríptic Portinari ens pot servir, entre altres, per adonar-nos de com «viatgen» les influències artístiques de la mà de la xarxa comercial i financera, i de com els autors florentins varen rebre la influència dels pintors del nord.

Encara que en els Uffizi hi hagi només un quadre de l’anomenada escola flamenca, el d’Hugo van der Goes, que està a la mateixa sala que els botticelli, és important fer-ne una anàlisi perquè va influir molt en els pintors florentins que el van veure.

Ens interessa, doncs, plantejar com incideix en la pràctica dels artistes, els models i tècniques desenvolupats per altres artistes en contextos diferents.

Fitxa tècnica

Va ser pintat a Bruges (Flandes) per encàrrec de Tommaso Portinari, agent de la banca Mèdici i conseller dels Ducs de Borgonya, que va viure més de quaranta anys a la ciutat belga, i que estava casat amb Maria Maddalena Baroncelli amb qui va tenir deu fills.

És l’únic quadre de van der Goes documentat, el que permet l’atribució i datació de la resta dels seus quadres. Les taules van ser transportades en vaixell a Pisa i després van pujar per l’Arno en vaixells fins a Florència, on hi va arribar el 28 maig de 1483, destinades a la església de Sant Egidi a l’Hospital de Santa Maria Nuova, patrocinat pels Portinari des de feia molt de temps.

La seva influència entre els pintors florentins queda palesa si tenim present que Ghirlandaio va copiar el grup de pastors en el seu quadre de 1485 per a la capella Sassetti de l’església de Santa Trinità. Filippino Lippi, fins i tot Botticelli i, sobretot, Leonardo da Vinci, i altres van estudiar l’obra, una de les primeres obres flamenques arribades a Itàlia. Lorenzo di Credi i Mariotto Albertinelli en copiaran el tipus de paisatge nòrdic.

Descripció

És una obra de grans dimensions, que resulten insòlites per a la pintura de l’època. Aquesta grandària li va permetre donar curs a la seva inquietud per l’espai, la perspectiva i les relacions entre personatges.

Mostra en la seva taula central una Nativitat, mentre que en les ales, protegits per sants i amb escenes al·lusives a l’esdeveniment figurades en el fons (el viatge a Betlem de Maria i Josep a la de l’esquerra i el dels Mags a la de la dreta), apareixen el donant Tommaso Portinari (agent dels Mèdici a Bruges), la seva esposa i els fills de tots dos.

La taula central del Tríptic es dedica a l’Adoració dels pastors. La figura central és la de la Marededéu, amb rostre de suau expressió, vestida de blau, que adora a Jesús que acaba de néixer. El nen està nu, a terra. L’escena es narra segons el relat de les Revelacions de Santa Brígida de Suècia, amb les adoracions simultànies de la Marededéu, els pastors i els mags.

El pessebre es representa com una galeria amb columnes col·locades a la vora d’una ciutat de la que es poden veure alguns dels edificis: es tracta d’una al·lusió al palau abandonat del rei David, l’avantpassat de Crist, símbol recognoscible per l’arpa esculpida damunt la porta i per la inscripció amb la seva profecia d’un nen nascut d’una verge. Maria està agenollada amb les mans juntes i mirant cap avall, cap el nen, els raigs del qual revelen la seva santedat: és la representació de Jesús com «Llum del Món». La resta de figures estan disposades en un semicercle.

En el tríptic, els cònjuges estan retratats a les taules laterals (els homes a una banda i les dones a l’altra) mentre resen amb devoció davant l’Adoració dels pastors amb els sants protectors (sant Tomàs amb llança i sant Antoni Abat amb la campana; santa Maria Magdalena amb el vas d’ungüents i santa Margarida amb el llibre i el drac)  i els fills de més edat, Maria Margarita, Antoni i Pigello (nascut el 1474, data que probablement coincideixi amb l’any d’execució de l’obra).

Enviat pels seus propietaris a Florència el 1483 per a ser col·locat sobre l’altar major de l’església de Sant Egidi escollida per ells, el gran tríptic flamenc va impressionar a diversos artistes que treballaven en aquells anys a Florència per la seva minuciosa anàlisi de les dades naturals, tan allunyada de l’essencialitat de la pintura florentina.

«Hugo van der Goes ha contrastat de manera eloqüent als àngels, embolicats en luxoses túniques de seda i mantells ricament brodats, amb les bastes vestimentes i les faccions ordinàries dels pastors, homes senzills que mostren una commovedora expressió de pietat davant la visió del Nen sant banyat d’esplendor i llum».[1]

Els panells laterals es poden tancar, com és típic en els retaules del nord, amb una Anunciació en monocrom.

 Goes3El Tríptic tancat

Anàlisis

La Nativitat del Tríptic Portinari és una obra feta a base de contraris conciliats en un precari equilibri que no sembla que pugui mantenir-se més enllà d’un instant. D’aquí l’atmosfera electritzant que impregna l’escena i el desassossec que se’n desprèn. Van der Goes ha captat el més profund de les lliçons de Van Eyck i Van der Weyden i omple les seves figures amb la monumentalitat i la consistència física de l’un i el pathos exaltat l’altre. Però el que li interessa fonamentalment és expressar una atmosfera i ho fa a base d’individualitzar els elements fins al punt de comprometre la unitat del conjunt. Disposa l’escenari segons les lleis de la perspectiva, però renúncia a proporcionar-la adequadament als personatges segons la seva col·locació en l’espai. Els aïlla, d’altra banda, tant sentimentalment com físicament, deixant grans buits entre ells. Fa contrastar la pietosa quietud de la Marededéu o de sant Josep, tots dos serenament idealitzats, amb la gairebé violenta intrusió d’uns pastors absolutament rústics.

L’estil d’Hugo van der Goes recull les dues grans tendències de la pintura flamenca: el realisme simbòlic, d’aspecte monumental, de Jan van Eyck, i la crispació dramàtica de Rogier van der Weyden, si bé és cert que la pròpia personalitat de Van der Goes l’inclina cap a un art exaltat, d’execució nerviosa. En l’escena veiem com envolten l’Infant diverses figures de mides i proporcions incoherents. L’espai en perspectiva està correctament construït, però els personatges semblen enganxats, cadascun amb una grandària diferent segons el seu protagonisme en l’escena. Sorprèn la serenitat monumental de Maria i Josep davant els angles feridors dels àngels o l’aspecte rústic i desmanyotat dels pastors, que sembla que van a caure d’un moment a un altre sobre el Nen. Aquest aspecte desequilibrat és el tret més característic de la pintura de Van der Goes, que preferia accentuar el sentiment intern de l’escena abans que dotar-la d’un aspecte versemblant o natural.

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Goes5Goes6Ubicació en els Uffizi

Hi trobem molts símbols i referències bíbliques. La sandàlia als peus de Josep és una al·lusió al capítol 3.5 de l’Èxode, quan Déu li va dir a Moisès: «No t’apropis aquí, treu-te les sabates dels teus peus, perquè el lloc on estàs és terra santa.» Els nou àngels agenollats corresponen als nou cors angèlics vestits de manera diferent, que porten les vestidures pròpies dels ordres majors i menors en vigor abans de la reforma del Concili Vaticà II. Aquesta és la jerarquia angèlica, de menys a més important. Tercera jerarquia: Àngels (són els missatgers entre el Cel i la terra), Arcàngels (són els prínceps o caps dels àngels, es mencionen a diverses epístoles. Influeixen en els grans esdeveniments humans) i Principats (s’encarreguen de nacions senceres i d’inspirar l’art). Segona jerarquia: Potestats o puixances (s’encarreguen de les ideologies i de qüestions intel·lectuals, se’ls representa amb un ceptre a les mans), Virtuts (envien la Gràcia) i Dominacions (manen sobre els altres àngels, no es manifesten directament als humans). Primera jerarquia: Trons (tenen l’aparença de rodes d’infinits colors, segons la visió d’Ezequiel), Querubins (són els encarregats dels astres, tenen quatre rostres –bou, lleó, home i àguila, els animals que passarien a ser símbols dels evangelistes), Serafins (tenen tres parells d’ales, són els àngels que envolten directament a Déu i el lloen. Llucifer podria haver estat un serafí).

L’arpa esculpida sobre l’entrada a l’edifici, al fons de la taula central, recorda el llinatge de David, que va donar lloc a Josep; David havia calmat Saül, d’acord amb el capítol 16.23 del primer llibre de Samuel: «I quan l’esperit de Déu era sobre Saül, David prenia l’arpa i la tocava; Saül llavors respirava alleujat, i l’esperit dolent s’allunyava d’ell.» El feix d’espigues de blat evoca Betlem, la «casa del pa» en hebreu i més probablement  l’Eucaristia. Els lliris i els clavells vermells són una al·lusió, respectivament, a la sang de Crist i a la seva passió. Els lliris blancs simbolitzen la puresa, la virginitat de la Marededéu i els blaus els seus set dolors, i les campanetes són el símbol de l’Esperit Sant i les violetes representen la humilitat.

Goes7Goes8Goes9Goes10Goes11

Sobre els “primitius flamencs”

Per les interaccions que es van produir entre el Renaixement italià i el dels Països Baixos, ens cal fer un breu apunt sobre els mestres de l’escola flamenca, coneguts en la historiografia com a Primitius flamencs. Aquest terme sembla donar a entendre que es tracta d’un art que no ha assolit la seva plenitud, que és maldestre, ingenu, etc. Aquest terme va sorgir quan es va prendre com a punt de referència l’art del Renaixement, i es prenia l’edat mitjana com una època de tenebres. D’altra banda, el seguim anomenant “flamenc” quan Flandes només constitueix una part dels Països Baixos. Per tant, ni primitius, ni flamencs.

Es tracta d’un tipus d’art força ancorat en l’estil gòtic, no obstant això, la seva habilitat detallista i interessos els van impulsar a investigar i a descobrir de forma empírica la perspectiva, a perfeccionar la tècnica del retrat al que van dotar de gran profunditat psicològica i a reivindicar el paisatge com a tema pictòric.

La seva concepció medieval de l’artista com a artesà va evitar que molts d’aquests pintors fossin coneguts atès que molts no signaren les seves obres fins ben avançat el segle XVI. Tampoc es van lliurar massa a la reflexió sobre el seu art pel que són escasses les biografies i els tractats sobre les seves tècniques.

Durant el segle XV es donaran unes circumstàncies que afavoriran el sorgiment d’una important escola de pintura en aquesta zona d’Europa. Com a Itàlia, ens trobem amb un món centrat en les ciutats i el comerç. Les ciutats més destacades d’aquest territori eren Gant, Bruges i Ypres, i  formaven i eren els nodes d’una xarxa comercial que unia el nord europeu amb la resta de l’Occident conegut. Aquesta regió conformava el denominat ducat de Borgonya, els governants del qual, els ducs, havien estat mecenes de l’art gòtic. Posseïa una alta densitat de població, de les més altes d’Europa, amb una concentració urbana també superior a la mitjana europea.

A més, ja des del 1380 aproximadament, a causa de la Guerra dels Cent Anys, París va deixar de ser la capital artística que havia estat fins llavors. Així que els qui abans emigraven, ara es quedaven i treballaven per a la burgesia de les ciutats o els grans comerciants europeus, sobretot italians i espanyols, la cultura dels quals estava encara monopolitzada per l’església i l’aristocràcia.

En aquell moment va ser quan a Tournai va residir Robert Campin i, gairebé al mateix temps, a Gant, Humberto van Eyck. Una mica després va aparèixer Jan van Eyck, germà de l’anterior i més jove que ell. Van ser, segurament, els qui van revolucionar la pintura, perfeccionant l’ús del oli amb importants conseqüències sobre el resultat final, usant colors de gran qualitat, obtenint extraordinaris efectes amb les veladures, etc.

En el canvi del segle XV al XVI els artistes ja començaven a percebre els ressons del Renaixement italià. El 1477 el ducat va passar a la corona austríaca dels Habsburg. Els Habsburg tenien una branca espanyola des de l’època de Carles I, la dinastia dels Àustries, el que va determinar que l’art espanyol del Renaixement i el Barroc estigués molt relacionat amb les formes flamenques.

Pel que fa a les característiques tècniques, la pintura flamenca no té precedents en gran format, a excepció dels vitralls de les esglésies. Però sí en les miniatures, sobre les quals posseeix una llarga tradició d’excepcional qualitat. Això determinarà algunes característiques de l’art flamenc, com seran l’ús de colors brillants, que recorden als pigments usats per a la il·luminació de les miniatures. També el detallisme aplicat a aquestes petites obres mestres es transmet a la pintura de gran format. Això ho permet en gran manera l’avenç tècnic de la pintura a l’oli, que ja existia, però tenia un procés d’assecat tan lent que no el feia massa útil.

Els pintors flamencs[2] del segle XV no van inventar la tècnica a l’oli, però si es van encarregar d’aplicar-la sistemàticament, contribuint a la seva consolidació i difusió durant el segle XV i XVI. Utilitzaven tintes fluides i transparents, aplicades per mitjà de veladures per obtenir les llums, per ombrejar delicadament, o per matisar el color del fons.

Els flamencs usaven una tècnica mixta de tremp i oli. Una primera capa, normalment al tremp, s’usava per definir el dibuix i el modelatge amb les seves llums i una lleugera indicació del color. La següent capa, a l’oli, servia perquè l’artista es dediqués exclusivament a la representació de l’efecte cromàtic.

Van conservar com a suport la taula, que havia estat el més important durant la baixa edat mitjana, tot i que a Venècia ja s’estava començant a generalitzar l’ús de la tela. Això és indicatiu de com estaven units els conceptes d’artista i artesà en aquella època.

La seva estructura política i la seva història permeten explicar per què els pintors de l’Escola Flamenca no recuperen l’Antiguitat Clàssica com a model ni, de retruc, es posa en qüestió el concepte artesanal de l’ofici. A part de treballar per la cort, tenien clients entre la burgesia i els comerciants que residien a les ciutats.

Els flamencs no solen teoritzar sobre els seus descobriments, o sobre les personalitats dels seus artistes com ho feien els seus contemporanis italians. Se segueix treballant en paràmetres tardo-medievals, encara que certs autors, com Jan van Eyck, comencen a tenir consciència clara del seu art particular i comencen a signar les seves obres. Gairebé no hi ha tractats de pintura flamenca de l’època ni tampoc biografies dels seus principals autors. Caldria aprofundir en les causes d’aquest comportament.

Descobreixen, al mateix temps que els italians, la perspectiva lineal i l’aèria, però de manera empírica i no segons un desenvolupament matemàtic o òptic. El procés de transició de la planor medieval a la perspectiva lineal del Quattrocento és lent, i els últims segles de l’edat mitjana transcorren entre experiments, tempteigs i assaigs imperfectes per trencar el pla pictòric i recuperar la tercera dimensió.

Entre aquests tempteigs hi trobem l’anomenada “perspectiva cavallera” o “a vista d’ocell”, consistent a representar l’escena com si el pintor es trobés situat en un punt de vista elevat (com una persona que va a cavall), de manera que els objectes suposadament més propers a l’espectador es disposen a la part inferior del quadre, a primer pla, des d’on es van superposant en vertical a mesura que se’ls suposa més allunyats, escalant el quadre fins a la seva part més alta, on sovint es dibuixa la línia de l’horitzó.

Així s’inicia tímidament el suggeriment de la tercera dimensió. Aquests assaigs de “perspectiva cavallera” es generalitzen en el període de la pintura gòtica, conegut com Gòtic Internacional o Cortesà. Aquestes tècniques permeten una representació extremadament naturalista del món, que se satura de símbols espirituals.

Ja al segle XV, els pintors flamencs i alemanys utilitzaven experimentalment tot tipus de sistemes perspectius, mètodes empírics en ocasions com el del mirall convex (utilitzat per Jan van Eyck en la seva obra El matrimoni Arnolfini) per representar a manera de gran angular abraçant una espai més vast. El text teòric que recull els sistemes perspectius nòrdics és el D’artificiali perspectiva, de Jean Pelegrin, conegut com Viator, i que és l’equivalent al Tractat d’Alberti per a la pintura renaixentista.

Entre altres sistemes es recull en aquest text l’anomenada “perspectiva cornuta” coneguda com a perspectiva angular o obliqua, que va ser un procediment utilitzat pels pintors flamencs durant el segle XV. Però la representació de major interès en aquest tractat és la que tracta del sistema “amb punt de distància”. En realitat és similar a la perspectiva lineal albertiana, de la qual sembla una fórmula simplificada, d’execució més fàcil i clara, i que procedeix, per descomptat, de la pràctica dels tallers de pintura nòrdics.

Mentre que en els quadres del Renaixement italià la llum té la funció de fer visibles els objectes i arquitectures ressaltant els valors volumètrics, en la pintura flamenca, en la qual la perspectiva s’aproxima més a la visió natural, l’aire es palpa sensorialment, com una realitat individual, com un element més que està present en el quadre. S’aposta així per l’ús de la gradació de color cap a grisos blavosos per als objectes llunyans, com faria Leonardo da Vinci en la seva “perspectiva aèria”.

El tema religiós predomina en aquesta etapa, des de la recreació de passatges bíblics, fins als referents a la vida de sants o anacoretes.Alguns, com el Bosco o Brueghel el vell, pinten quadres exemplaritzants on es descriuen els pecats i les seves conseqüències o concepcions més aviat filosòfiques del món basades en creences o dites populars. Per a això s’ajuden d’una desbordant fantasia d’elements i composició que aconsegueix comunicar a través d’un llenguatge molt simbòlic i sofisticat.

Reivindicació del paisatge. En un quadre flamenc trobarem alguna escena que sempre remet al paisatge, ja sigui a través d’una finestra, o bé perquè es desenvolupi a l’aire lliure. Aquests paisatges es realitzaven sense apunts del natural, amb la qual cosa els seus elements estaven completament estereotipats: la forma de les roques, aristades i sense vegetació, les ciutats en la llunyania, amb torreons i de colors, els arbres en forma de ploma, amb troncs prims i llargs, etc.

Els personatges es distribuïen equilibradament, bé en el centre si era un de sol, bé simètricament si eren diversos. Les accions eren molt moderades i amb prou feines es deixava lloc al moviment. Els personatges podien compartir però mai robar protagonisme al paisatge.

Flandes és, a més, una de les primeres regions a dur a terme retrats amb penetració psicològica del model. El retrat típic flamenc és el que capta al personatge de menys de mig cos, no frontalment, sinó lleugerament girat com de tres quarts, sobre fons neutre de color fosc, i incloent el rostre i les mans amb algun símbol.

El fet que el personatge aparegui lleugerament girat permet involucrar-lo en l’espai, el qual no es representa mitjançant trucs de mobiliari o fons arquitectònic. Només la presència de la figura, sobre un fons perdut, insinua l’existència del volum i l’espai que ocupa.

Els principals pintors flamencs dels segles XV i XVI varen ser Jan van Eyck, El Bosco, Pieter Brueghel el Vell, Rogier van der Weyden, Hugo van der Goes, Hans Memling, Petrus Christus, Dieric Bouts. A la segona meitat del segle XV l’estil flamenc es difon per Europa i trobem a França, Jean Fouquet, a Alemanya, Hans Holbein el Vell, i a la Corona d’Aragó, Lluís Dalmau, Jaume Huguet.

Bibliografia

Dhanens, Elisabeth (1998). Hugo Van Der Goes. Lyon. Fonds Mercato. 419 pàgs.

Koster, Margaret L. (2008). Hugo Van Der Goes and the Procedures of Art and Salvation. Washington. Harvey Miller Pub. 178 pàgs.

Panofsky, Erwin (1998). Los primitivos flamencos. Madrid. Cátedra. (Col. Arte. Grandes temas). 600 pàgs.

Hugo van der Goes  https://www.youtube.com/watch?v=vhoZzchwQVk

Triptyque Portinari  https://www.youtube.com/watch?v=wH1fKd1ls0o

Hugo van der Goes, The Adoration of the Kings (Monforte Altar) https://www.youtube.com/watch?v=B0eHEo-f6fc


[1] Woodford, Susan (1985). Cómo mirar un cuadro. Barcelona. Gustavo Gili. Pàgs. 23-24 i 61.

[2] Panofsky, Erwin (1998). Primitivos flamencos. Madrid. Ediciones Cátedra. (Col. Arte. Grandes temas). 600 pàgs.

Dr. Joan Campàs Montaner
jcampas@uoc.edu        Aura digital
Estudis d’Arts i Humanitats de la UOC

Materials del Curs L’art dels museus: els Uffizi
1. Desconstruint alguns mites del Renaixement
2. Les corts italianes: el context històric del Renaixement italià
3. Milà i el Renaixement: dels Visconti als Sforza
4. L’Urbino de Federico de Montefeltro
5. La Ferrara dels Este
6. La Màntua dels Gonzaga
7. El regne de Nàpols d’Alfons I
8. La Venècia dels dogo
9. Forència en el Renaixement: bases polítiques i econòmiques

10. Florència en el Renaixement: política i mecenatge
11. Els Mèdici, senyors de Florència
12. Giorgio Vasari: els Uffizi, 1560-1581
13. Maestro della Sant’Agata: Madonna de Pisa
14. Cimabue: Maestà di santa Trinità
15. Duccio: Palla Rucellai
16. Giotto: Madonna Ognissanti
17. Simone Martini: L’Anunciació
18. Gentile da Fabriano: Adoració dels mags
19. Lorenzo Monaco: La coronació de la marededéu
20. Fra Angèlic: Coronació de la marededéu
21. Paolo Uccello: La batalla de san Romano
22. Domenico Veneziano: Sacra conversazione
23. Piero della Francesca: Díptic del duc d’Urbino
24. Filippo Lippi: Coronació de la marededéu
25. Hugo van der Goes: Tríptic Portinari
26. Sandro Botticelli: Judit
27. Sandro Botticelli: L’adoració dels mags
28. Sandro Botticelli: La marededéu del magníficat
29. Sandro Botticelli: El naixement de Venus
30. Sandro Botticelli: Al·legoria de la primavera
31. Sandro Botticelli: Minerva i el centaure
32. Sandro Botticelli: L’anunciació Cestello
33. Sandro Botticelli: La calúmnia d’Apel·les
34. Leonardo da Vinci: L’anunciació
35. Leonardo da Vinci: Adoració dels reis
36. Giovanni Bellini: Al·legoria sacra
37. Miquel Àngel: Tondo Doni
38. Rafael: Madonna del cardellino
39. Ticià: La venus d’Urbino

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  43. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

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  49. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  50. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  51. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  52. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  53. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  54. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  55. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  56. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  57. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  58. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  93. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  94. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  95. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  96. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  97. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  98. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  99. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  100. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  101. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  102. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  122. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  123. Hello there, just became alert to your blog through Google, and found that it is truly informative. I am gonna watch out for brussels. I’ll be grateful if you continue this in future. Lots of people will be benefited from your writing. Cheers!

  124. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  136. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  138. Excellent blog here! Also your site loads up very fast! What web host are you using? Can I get your affiliate link to your host? I wish my site loaded up as fast as yours lol

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  157. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  158. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  159. Thanks for the sensible critique. Me and my neighbor were just preparing to do some research on this. We got a grab a book from our area library but I think I learned more from this post. I’m very glad to see such great info being shared freely out there.

  160. I think other site proprietors should take this website as an model, very clean and great user genial style and design, let alone the content. You’re an expert in this topic!

  161. I simply wanted to say thanks again. I’m not certain the things I would’ve carried out in the absence of these points provided by you regarding such field. It was before a real daunting difficulty in my view, nevertheless considering the very skilled style you treated the issue took me to jump with fulfillment. Extremely grateful for the advice and then expect you comprehend what a great job that you’re putting in training the rest all through your site. Most likely you’ve never met all of us.

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  163. You can definitely see your expertise within the work you write. The sector hopes for more passionate writers like you who are not afraid to mention how they believe. Always go after your heart.

  164. Fantastic goods from you, man. I’ve understand your stuff previous to and you are just extremely fantastic. I really like what you have acquired here, really like what you are stating and the way in which you say it. You make it entertaining and you still take care of to keep it sensible. I can’t wait to read far more from you. This is really a tremendous site.

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  167. You can definitely see your expertise within the work you write. The sector hopes for more passionate writers like you who are not afraid to mention how they believe. Always go after your heart.

  168. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  169. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  170. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  171. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  172. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  173. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  174. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  175. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  197. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  198. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  199. I just want to say I’m very new to weblog and certainly loved you’re website. Most likely I’m want to bookmark your blog post . You absolutely come with really good stories. Kudos for sharing with us your web site.

  200. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  201. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  202. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  203. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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