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ALBRECHT ALTDORFER, The Battle of Issus, 1529. Oil on wood, Alte Pinakothek, Munich Interweaving history and 16th-century politics, Albrecht Altdorfer painted Alexander the Great's defeat of the Persians for a patron who had just embarked on a military campaign against the Turks.
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HANS HOLBEIN THE YOUNGER The French Ambassadors 1533. Oil and tempera on wood National Gallery, London. In this double portrait, Holbein depicted two humanists with a collection of objects reflective of their worldliness and learning, but he also included an anamorphic skull, a reminder of death.
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HANS HOLBEIN THE YOUNGER, Henry VIII, 1540. Oil on wood Galleria Nazionale d'Arte Antica, Rome.
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JEAN CLOUET, Francis I, ca. 1525-1530. Tempera and oil on wood, Louvre, Paris. Clouet's portrait of Francis I in elegant garb reveals the artist's attention to detail but also the flattening of features and disproportion between head and body, giving the painting a formalized quality.
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Château de Chambord, Chambord, France, begun 1519. French Renaissance châteaux, which developed from medieval castles, served as country houses for royalty. King Francis I's Château de Chambord reflects Italian palazzo design but features a Gothic roof.
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PIERRE LESCOT, Cour Carre (Square Court) of the Louvre, Paris, France, begun 1546. Lescot's design for the Louvre palace reflects the Italian Renaissance classicism of Bramante, but the decreasing height of the stories, large scale of the windows, and steep roof are Northern European features.
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JEAN GOUJON, Nymphs, from the Fountain of the Innocents, Paris, France, 1547-1549. Marble, Louvre, Paris.
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Figure 23-15 JAN GOSSAERT Neptune and Amphitrite, ca. 1516. Oil on wood, 6' 2" x 4' 3/4". Gemäldegalerie, Staatliche Museen, Berlin. Dürer's Fall of Man (FIG. 23-1) inspired the poses of Gossaert's classical deities, but the architec- tural setting is probably based on sketches of ancient buildings Gossaert made during his trip to Rome.
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Isenheim altarpiece, Matthias Grunewald Oil on wood, High Renaissance and Mannerism in Northern Europe and Spain 1510-1515 -Befitting its setting in a monastic hospital, Matthias Grünewald's Isenheim Altarpiece includes painted panels depicting suffering and disease but also miraculous healing, hope, and salvation. HAGENAUER- large gilded and polychromed statues of Saints Anthony Abbot, Augustine, and Jerome in the main zone and smaller statues of Christ and the 12 apostles in the predella
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MATTHIAS GRÜNEWALD, Isenheim Altarpiece chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510-1515. Oil on wood Shrine carved by Nikolaus Hagenauer in ca. 1505 Painted and gilt limewood Befitting its setting in a monastic hospital, Matthias Grünewald's Isenheim Altarpiece includes painted panels depicting suffering and disease but also miraculous healing, hope, and salvation.
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HANS BALDUNG GRIEN, Witches' Sabbath, 1510. Chiaroscuro woodcut Baldung's chiaroscuro woodcut depicts witches gathered around a secret potion. One witch on a goat flies through the night sky mounted backward—suggesting witchcraft is the inversion of Christianity.
23-3 female nudity macabre scenes
HANS BALDUNG GRIEN, Death and the Maiden, 1509-1511. Oil on wood Kunsthistorisches Museum, Vienna.
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ALBRECHT DÜRER, Great Piece of Turf 1503. Watercolor Albertina, Vienna. Albrecht Dürer, who visited Italy twice, shared Leonardo da Vinci's belief that sight reveals scientific truth. Botanists have been able to identify each plant and grass variety in this watercolor.
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ALBRECHT DÜRER, The Fall of Man (Adam and Eve) 1504. Museum of Fine Arts, Boston Albrecht Dürer was the first Northern European artist to become an international celebrity. Fall of Man, with two figures based on ancient statues, reflects his studies of the Vitruvian theory of human proportions.
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ALBRECHT DÜRER, Melencolia I 1514. Victoria & Albert Museum, London. Self portrait of artistic personality Melancholy brooding winged woman surrounded by tools of artist and builder but incapable of using them.
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ALBRECHT DÜRER, Four Apostles, 1526. Oil on wood, Alte Pinakothek, Munich Dürer's support for Lutheranism surfaces in his portraitlike depictions of four saints on two painted panels. Peter, representative of the pope in Rome, plays a secondary role behind John the Evangelist.
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LUCAS CRANACH THE ELDER Allegory of Law and Grace ca. 1530. British Museum, London. Lucas Cranach was a close friend of Martin Luther, whose Ninety-five Theses launched the Reformation in 1517. In this woodcut Cranach contrasted Catholic and Protestant views of how to achieve salvation.
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LUCAS CRANACH THE ELDER, Judgment of Paris, 1530. Oil on wood, Staatliche Kunsthalle, Karlsruhe. For aristocratic German patrons, Cranach painted many classical myths of seductive female nudes. Greek shepherd is a knight in armor in a saxon landscape. Three graces.
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chiaroscuro woodcut
A woodcut technique using two blocks of wood instead of one. The printmaker carves and inks one block in the usual way in order to produce a traditional black-and-white print. Then the artist cuts a second block consisting of broad highlights that can be inked in gray or color and printed over the first block's impression.
Albrecht Durer: "Leonardo of the North"
Durer, Self portrait * Travelled widely through Europe and became an international celebrity * Took trips to Italy to study Renaissance art * First artist to synthesize Northern European stylistic features (intricate detail, realistic rendering of objects, symbols hidden as everyday objects) and blend them with Italian features (classical body types, linear perspective) --- admired the work of Leonardo * First artist to keep a thorough record of his life (self-portraits, treatises on his thoughts, and a diary) * Important graphic artist --- best known for his engravings Influenced significantly by Martin Luther and Protestant Reformation