AP Art History Unit 7

Las Meninas. Diego Velázquez. c. 1656 C.E. Oil on canvas, 10'5" x 9' ½". Museo del Prado, Madrid, Spain.

1656 Oil on canvas 125 1/4 x 108 5/8 in. (318 x 276 cm) Located currently in Museo Nacional del Prado, Madrid Used to be housed in the royal palace(Royal Alcazar of Madrid), the king's study Extremely large painting, and inside the painting we can see a very large painting of the same size of the painting itself, being painted Uses very loose brushstrokes, but still comes together compositionally to create a clear, detailed, realistic image that also has a sense of life Utilizes scientific, but also aerial perspective Multiplication of the light sources Velazquez gives us informal glimpse, something we, as commoners could never see Made for the King and Queen to privately view at a most basic level it demonstrates the art of painting by showing an artist at work, trying to give idea that artists were intellectuals The characters stare beyond the frame, at us a self portrait that shows status, he is seen in the same room with the royals, holds a paintbrush because his ability to render these figures gives him his on power, this interp. fits with his obsession at the end of his life to become a gentleman, wanted to be a knight a the order of Santiago Paintings of Ovid's The Metamorphisis that hang in the background, both stories of gods wrestling with mortals, very applicable to the themes of Las Meninas -These paintings on the were done by Rubens who was his hero, and their choice in the painting is a reference to his own title of art installer Utilizes Illusions of space, depth and perspective Surface of his canvas is hidden to us, could be a portrait of the little princess, could be a portrait of the King and Queen, who are seen reflected in the mirror The people in the center are the princess, maids of honor,palace official, chaperone, dog, dwarf (often hired to keep children company), and other attendants The figures in the painting look at us in a very real way, the glances tell a story The painting is set in his studio he paints a pallet which is very mind-blowing because it is shown housing raw paint, the very stuff Velasquez actually created this work with He was inducted into the Catholic organization the Order of Santiago posthumously by the king, so in the painting, after he died the insignia of the group was painted onto his figure, it is even rumored that the king painted it on himself groups of two's all male/female pairs highlighting the princess, also use of groups of three on same horizontal plane To fight the unattractive qualities from the royal family's inbreeding he compensated by painting them in elaborate clothes, demonstrating wealth and distracting from flaws Velazquez was the court artist, "the first painter to the king" he was responsible for art instillation in the palace, and he also was commissioned to do several portraits of the royal family Not a typical portrait, which demonstrated ethereal perfection, wealth, and command, this scene is more chaotic/informal, making commentary on the false nature of portraiture of royalty Combines genre scene with royal portrait Specific names of figures: King Philip IV of Spain, princess- the Infanta Margaret Theresa, attendants-María Agustina Sarmiento de Sotomayor, doña Isabel de Velasco, dwarves- Maria Barbola and Nicolas Pertusato

David. Donatello. c. 1440-1460 C.E. Bronze, height 5'2 ¼". Museo Nazionale del Bargello, Florence, Italy.

Not portrayed in idealized proportions The first nude work that appears after 1000 years Took a fundamental step in depicting motion in a human figure Ties into the idea of Christian art during the time making a shift as well Done in bronze in a lost wax casting method A big step for this time period About 4 ft tall Youthful looking except for the fact that he is wearing boots and a hat He is standing on Golaith's head He is in contrapposto He is leaning on a staff There is a feather on Golaith's cap that goes on his leg This statue became an important symbol of victory for the Florentine Republic because David was the underdog The Medici family commissioned Donatello to make this statue and it was in their garden It had an inscription at the bottom which showed that the Florentines would win David is looking down which is different from the Greeks which suggest good qualities about his personality or that he has thought about his actions

Last Supper. Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera, 15'2" x 28 10". Refectory of the monastery of Santa Maria delle Grazie, Milan, Italy.

Oil and tempura was an experimental combo Used lead white as a base instead of traditional wet plaster to achieve more brilliant colors but the paint never adhered to the wall and began immediately deteriorating Added a double layer of dried plaster to achieve greater detail Things that have contributed to its terrible condition: Location (side of a cafeteria building), materials, techniques used, humidity, dust, poor restoration efforts, bomb hit monastery in '43, destroying large section of the refectory, air pollution in postwar Milan, tourists and overcrowded viewing 42.5% of the surface is Leonardo's work, 17.5% is lost, and 40% is the additions restorers Perfect perspective is achieved at Christ's level using linear perspective This view is 15 feet in the air Strong sense of depth conveyed Vanishing point right behind Christ's head draws the viewer's eye to this central figure Christ's body forms an equilateral triangle Very unified composition (it is intentional, mathematical, and precise) Faces are individualized and figures are realistic with accurate proportions and light and shadow (chiaroscuro) Use sfumato technique (use of glazes in slightly different tones of color creating an almost imperceptible transition from light to dark) Great emotion, gesture, action (clamour and reaction of the figures), and interaction between figures Monks would eat silently while looking at this painting. Used to teach and inspire contemplation about this pivotal moment in the religion Shows unity between the earthly, mortal world and the eternal and divine but also shows the chaos and flaws of humanity and greatness of the divine The 12 apostles sit at a long table placed parallel to the picture plane in a simple, spacious room and react to Christ saying, "one of you will betray me" during seder at Passover (christ's mouth is still open) The apostles have highly emotional reactions In the center, JC appears isolated and composed while his apostles freak out around him, showing his divinity and ethereal nature. He is reaching for the bread and wine, the sacrament of communion Calm center with a window framing Christ's head draws attention to Christ with a realistic halo of the window and curved pediment (the only curve in the entire painting) Chaos surrounds him and all lines converge behind him- he is a divine center 4 groupings of figures create a clustered, chaotic sense to the scene Judas to the right of Christ has head down in shame and holds the bag of silver. He is reaching for the same bowl as Christ Peter is rushing to Jesus, pushing Judas back in need of knowing the betrayer, and he is holding a knife ready to defend Jesus foreshadowing that Peter will sever the ear of a soldier as he attempts to protect Christ from arrest. Peter was known as his protector John closes his eyes Simon, Thadeus, and Matthew to JC's far left demonstrate the force and extent of the impact of the news Thomas, to JC left points upward, questioning God Philip points to himself with a face of grief James spreads himself out to calm people down Through windows is a lush green landscape symbolizing heaven, which frames JC showing his divinity over all the others 3 windows, 4 groups of 3 apostles, Christ body forms a triangle = holy trinity and divinity Painted on the side of the refectory of Santa Maria delle Grazie in Milan. Da Vinci, born in Florence, was a painter, sculptor, engineer, architect, and scientist Trained with the prestigious Andrea del Verrocchio High renaissance (rebirth of classical ideal of beauty, use of shading, naturalism, and humanism) Centralized in Rome, art was commissioned by popes Missing halo distinguishers like early renaissance, but it is obviously the last supper because of da Vinci's complete mastery of skill Fascination with the body to show beauty of nature and convey the soul Narrative style of painting common where the body and emotion reflects the mind Da vinci had desire to depict humanity and convey individual emotions and reactions to represent their character and humanity Idealized geometry of Jesus is in line with the Renaissance's rediscovery of Neo-Platonism (humanist revival combining Greek philosophy with Christian theology) Plato believed that the mortal realm was imperfect, and the divine can be seen in heavenly, geometric perfection Da vinci practiced with live models, and therefore had a deep understanding of the observable world which is reflected in the highly individualized and proportionally correct apostles

The Virgin of Guadalupe. Miguel González. c. 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl, 39" x 27 ½". Los Angeles County Museum of Art.

4 scenes represent different moments in the story of the miracle oil on canvas inlaid pearls used enconchado a tribute to Mary to show her as divine shows the importance of Mary the story of Juan Diego relates to the Immaculate Conception the idescent shell of the pearls would reflect candle light to show sacredness not the original version but is based on it the Virgin is on a Tilma which is a cactus fiber clock hands clasped praying eyes downward encased in light standing on a crescent moon with an angel four framed scenes carried by angels the dove is the Holy Spirit there is an eagle on a cactus

SanCarlo alle Quattro Frontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 C.E. Stone and stucco.

A baroque work The facaded is contoured Convex and concave Geometry is taken to the next level The oval is based on two perfect circles Borromini is a contemporary of Bernini who was a sculptor He was able to do this for free so a lot of artistic license was taken A lot of mathematics went into the Church Balance and underlying waves through the geometry Equilateral triangles were used to reference the trinity because the order of the Trinitarians commissioned him It has more exaggerated features of a usual facade Facade The medallion is emphasized The columns are rounded but more engaged More dramatic There is a bigger balustrade The entablature is taller The niches are more pronounced There is a lot of contour Borromini wanted a building that looked like sculpture The convex and concave part did that The ceiling was made of stone and stucco It was coffered A combination of octagons, hexagons, and crosses There are rossests in some squares There is a symmetry Capital engaged columns

Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry.

A chapel The dome is inspired from the Pantheon The gray stone is called pietra serena The sculptures in the rondels are made by Lucca della Robbia It is terracotta clay that is sculpted into these characters They are then glazed They are saints and religious figures Filippo Brunelleschi Liked order and thought gothic was too busy Faith and reason Used proportions from Greek and Romans Used perfect geometry Part of a complex of a Church called Santa Croa The original function of the chapel was a meeting room for the monks of Santa Croa It was donated by the Pazzi family to show their piety to the Church which elevated their status and to ensure that they would go to heaven It has a central plan It has semicircular barrel vaulted areas on the sides There are many perfect circles because there are the roundels and the oculi There are perfect squares that have rosettes in it There is an apes that has an alter so it can be used for a chapel but there is also a stone on the bottom that is a bench so the monks so they can have meetings Shows revived classicism There is a frieze and cornice similar to the Greeks The covered porch in the front is called loggia which means covered space with rounded arches

II Gesu, including Triumph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century C.E.; facade: 1568-1584 C.E.; fresco and stucco figures: 1676-1679 C.E. Brick, marble, fresco, and stucco.

A late Renaissance piece There is a wide nave, a central dome, an apse, and a transept Follows a common Church plan for the time It has a lot of classical characteristics It is the mother Church of the Jesuits Built after the death of St Ignatius IHS on the outside stands for Jesus The form is simplified outside and more classical It is busier and baroque on the inside There is marble and jasper inside There are some spolia from ancient Rome used There is an emphasis on open space There are barrel vaults The form on the outside is classical There are pilasters that are engaged and in relief from the facade Corinthian There is a pediment There are niches with relief sculptures There is an entablature frieze and cornice with words There ionic looking scrolls New style Done from about 1568-1584 The baroque period is very theatrical Gold, different marbles, accents Broken borders in paintings The interior is very detailed and decorated Giovanni Battista Gaulli painted the ceiling fresco Done in the 16th century The interior sculptures were from 1676-1679 Fresco Di Dotto in Su Seen from below The artist designed this with the idea that the viewer was looking up at it With the gilded architecture it shows a glimpse of heaven Triumph of the Name of Jesus Stucco extensions were made to cover the architecture where it breaks the composition There is paint put on the architecture to cast the shadow In the middle of the light there is a faint IHS which is a reference to Jesus There are sinners There is modeling of light and dark to get the forms Chiaroscuro light/dark The allusion of light and shadow

Annunciation Triptych. Workshop of Robert Campin. 1427-1432 C.E. Oil on wood, center 25 ¼" x 24 7/8"; each wing aprox. 25 3/8" x 10 ¾". The Cloisters Collection, Metropolitan Museum of Art, New York.

A small devotional aid that would have been in someone's home It is called a triptych because it has three paintings that related to each other It was painted by Robert Capin Has a workshop called Tournai from 1357-1444 Had two assistants Rogier Van Der Weyden and Jraques Daret It is an oil painting More saturation of color and has the ability to thinned so there can be fine details Because the binder of the paint is oil is slows down the drying process it allows for seamless blending The middle scene is the Annunciation There is a cross with an angel in the back left with rays of light which is a symbol of the incarnation There is an empty pot which is a symbol of Mary and the womb The towels are there as a symbol of warmth, comfort, and purity because they are white The book on the table and the candle is blown out to show that the Holy Spirit has blown through there There are lilies which are a sign of purity Mary is reading The clothing is similar to the time of Mary The folds were very detailed The scene on the right is Joseph There are mouse traps in the scene to show that Christ is bait to catch the devil There is a detailed depiction of a Netherlandish town through the window The scene on the left are the patrons Donated by a couple Probably painted for them after they got married There is a gatekeeper in the back The idea that they are in a closed garden portrays virginity that probably the wife had not been pregnant yet The couple likely identified with the holy family The couple was Peter Inghelbrechts and Margarete Scrymakens The couple kneeling showed it was a devotional aid The stories were recontextualized to fit the time of the 1400s in the Netherlands The story of the conception of Christ would have reinforced their want for children The painting would have been small and portable and likely been looked at a lot Many people wanted triptychs at the time Showed statues Glazing would have been used Thin layers of paint would be put down and dried and then another layer would be put on top of it Used intuitive perspective

Birth of Venus. Sandro Botticelli. c. 1484-1486 C.E. Tempera on canvas, 5'8 7/8" x 9' 1 7/8". Galleria degli Uffizi, Florence, Italy.

A tempera painting A water based paint Depicts Venus and revives some of the classical mythology Is referencing Aphrodite of Knidos for Venus The first reappearance of female nude since antiquity Venus is the goddess of love Probably painted for the Medici court Most likely for Lorenzo de Medici The Medicis were important for the revival of classicism He likely has reference to Greek vase painting The figures appear flat with form going across a space Botticelli was a student of Lippi Has the contour and curvilinear typical of Lippi Tells the story of Venus' birth Zephyrus and Chloris the nymph Chloris is the goddess of flowers They are blowing towards the Horai who is the goddess of seasons and hours of the day (Hora- springtime) Venus is approaching land which is the Island of Cyprus or Kithera The bend in Venus' leg suggests contrapposto but she seems to be floating Botticelli's work is known for his patterning The tree and water has patterns There is gold in the tree and Venus' hair Conveys a sensual and divine beauty Shows humanism through the connection of divine beauty and physical beauty It could have been linked to the Neoplatonic philosophy of the time Resurgence of Plato's philosophy Botticelli could have been trying to show the connection Plato's philosophy to Chiristain ideas Connects the idea of divine beauty and physical beauty Idea of virtuous humanity from these two ideas

Isenheim Altarpiece. Matthias Grünewald. c. 1512-1516 C.E. Oil on wood. Center panels 9'9 ½" x 10'9" overall, each wing 8'2 ½" x 3 ½", predella 2' 5 ½" x 11'2". From the community of St. Anthony, Isenheim, Alsace, France. Musee d'Unterlinden, Colmar, France.

A triptych in a church which was in a hospital for incurables This was made for people to identify with Christ's suffering The artist is Matthias Grunewald German It is oil on wood This would have up behind the altar and very visible to the people The Isenheim Hospital had the chapel and was run by the brothers of St Anthony St Anthony was the patron saint of people of skin disease People often suffered from ergotism From eating rye with fungus Jesus is supposed to look very bad so that people can connect with him His fingers are everywhere and he looks to have leprosy because of discolored skin and spots The Grunewald crucifixion expresses agony through the facial expression and all other exaggerated parts The altar piece can be exchanged to show parts of the resurrection The left side shows St Sebastian Someone who experienced pain and violence The background behind him shows a typical Renaissance painting The angels show his glory because he is a martyr On the right side is St Anthony Abbot The patron saint of the brothers who ran the hospital On the bottom is the lamentation scene People mourning Jesus' death In the crucifixion scene the two women are most likely Mary of Magdela and his mother The two men are his disciple John holding his mother and John the Baptist who is dressed like a wanderer There is a lamb which symbolizes Jesus who is the lamb of God The first panel of the Resurrection is the Annunciation In a gothic looking room The second panel is an angelic concert There is an angel in the foreground playing a cello in front of others playing other instruments In the third panel is Madonna and Child It has a very dramatic background with orange and blue complementing each other The fourth panel is the Resurrection Looks like Jesus ascending in front of the Sun and stars The people on the bottom were reference to the Roman soldiers who would have watched his tomb There is a covering for the altar piece The left is St Anthony and Paul The middle shows bishops and the Last Supper as is carved This is done by Nicolaus Hagenauer The right shows the Temptation of St Anthony

Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1568-1575 C.E. Brick and stone.

An example of Ottoman architecture Resembles Hagia Sophia Mimar Sinan was the architect Was one of the greatest architects in the Ottoman empire Was Christian and taken from his home to serve the Ottoman empire Was able to combine Christian architecture with mosques Has an octagonal plan Formed by pillars and columns Smooth and slender minarets Apes The mosque was a sign of islamic triumph The project was funded by emperor Selim Built 1568-1575 in area of the city called Kavak Meydani The mosque was in Edirne Located in the Balkans First major city that European's reached Once the Ottoman capital Gave travelers an idea of the empire's greatness Courtyard Arches used Mini domes Repetitions gives the idea that height and light was important to the architect's design There is an inner and outer courtyard School College to study the Quran Half dome over the mihrab The interior was very decorated Used calligraphy, arabesque, and arcades Glass windows helped give a sense of weightlessness in the dome Rests on eight sections Squinches used Glazed tiling There are galleries Represents the celestial heaven There is a muezzin under the dome to call people to prayer Different than other mosques and disturbs the space Muqarnas Tessellating indentations Octagon is the representation of Earth Square is Earth so the overlapping would also mean Earth There was a restoration in the 20th century There were polychrome tiles as well as stone The tiles on the ceiling and the arches Saz leaves were used for motifs There were Chinese clouds on the dome Some inscriptions were added after 1571 The Ottomans had defeated a Christian holy league and they tell the difference between Christianity and Islam

Henry IV Receives the Portrait of Marie de'Medici from Mary de'Medici Cycle. Peter Paul Rubens. 1621-1625 C.E. Oil on canvas, 12' 11 1/8" x 9' 8 1/8". Musee du Louvre, Paris.

Commissioned by Marie de'Medici Marie married Henry IV She wanted 24 paintings that told her story of her life They were in the Luxembourg Gardens These paintings were used to elevate moments of everyday life The paintings were enhanced with allegorical figures Zues and Hera are at the top There is a peacock which is symbolic of their relationship Hymen who is the god of marriage and cupid are holding the portrait of Marie de'Medici There is a torch that symbolized the ardor of love Shows it as if Henry would fall in love with Marie There is a battle in the back that refer to Henry's military career There are two putti holding armor and a shield to show that he is removing the outer shell for Henry to be more vulnerable to love Henry is leaning on his cane This leads the eye through the composition Not all done by Ruben Had workshop assistants trained in his style work on it The figure to the right of Henry is the personification of France Has fleur de leus on the drapery One hand on the heart but the other hand pushing him forward to tell Henry that this important for him and France The figures are weightless Similar to Pontormo Baroque These portraits are done to make and idealized heroine version of herself Ruben Flemish but worked mostly in France and Southern Europe Builds on the Italian Renaissance and Baroque His inspiration comes from Michaelangelo, Titian, Caracci, and Caravaggio Movement and muscularity (interest in the body) (M) Looseness of the painting and planning of color (T) The modeling of light and dark ©

School of Athens. Raphael. 1509-1511 C.E. Fresco, 19' x 27'. Stanza della Segnatura, Vatican, Rome, Italy.

Date: 1509-1511 Medium: fresco (and preliminary sketches with charcoal powder) Location: Stanza della Segnatura, the Vatican, Rome, Italy This work was created during the High Renaissance in the Stanza della Sengatura in the Vatican in Rome. While Raphael was painting these frescoes, Michelangelo was a few blocks away painting the Sistine Chapel's ceiling. Rome and Italy as a whole were still experiencing much cultural growth and prosperity, just years before the Protestant Reformation would shake the vitality of the Italian Renaissance and its artists. The Reformation brought about an uncertainty about salvation, and the means by which to reach it, which was reflected most notably in Michelangelo's Sistine Chapel alter wall painting in the 1530s. However, Raphael's School of Athens were created just before the Reformation struck, and testify to greatness of pagan wisdom as well as the "vastness and variety" of the papal library. "The School of Athens" was originally titled "Philosophy" because the bookshelves under it were to hold Julius II's collection of philosophy books. The four walls in the Stanza della Segnatura showcase the four branches of human knowledge: Philosophy, Theology, Poetry, and Justice. On the ceiling, four allegorical figures represent these four branches. Raphael's ceiling, which is modeled after Michelangelo's Sistine Chapel ceiling, contains four allegorical figures representing the four branches of knowledge. Religion, or theology, was seen as an [philosophy's equal at this time, which is important to remember with the Protestant Reformation just around the corner. Raphael drew his inspiration for the impressive architecture in his School of Athens from the surrounding Roman ruins, such as the Baths of Caracalla, and the Basilica of Manutius and Constantine. Furthermore, he executed many preliminary sketches on a smaller scale to perfect the details of his fresco. He first created a large drawing, called a cartoon, which was almost the size of the final work and was used as a wall mural. Next small pinholes were punched along the lines of the cartoon, which was hung on the wall where Raphael painted the work, and powdered charcoal was pushed through the holes to create an impression of the drawing. The charcoal lines helped Raphael to accurately execute the final fresco, especially because he had to paint such detail in such a short amount of time before the fresco dried. All of the great thinkers and philosophers of antiquity are gathered here in this classical space, surrounded by Roman architecture. Plato and Aristotle are the central figures. The central vanishing point is the space just between them at hip level, and the viewer's eye is drawn to them as they engage in discussion and stride forward towards the us. Plato was actually Aristotle's teacher; we can identify him by his book the Timaeus in his hand. Plato focused on the ethereal and theoretical, so he points upwards to the sky, and wears red and purple robes, which symbolize fire and air. On the other hand, Aristotle focused on the physical and observable, so he gestures towards the ground, and wears blue and brown robes, which symbolize water and earth. On Plato's side, the left side, there are the philosophers who focused on the theoretical, ethereal issues of philosophy. This includes Pythagoras, who believed in a reality that transcended reality. On the right side, Aristotle's side, there are the philosophers, such as Euclid, who focused on the physical and concrete. Euclid is modeled on Raphael's friend Bramante, the architect who Pope Julius II commissioned to create a model for the new Saint Peter's. Appropriately enough, Bramante's design for the new Saint Peter's was based on perfect geometry of squares and circles. The same is true of the architecture painted by Raphael; as we can see, he used coffered barrel vaults, pilasters. On Plato's side, there are classical sculptures of Apollo, god of Sun, Music, and poetry. On Aristotle's home, we can see Athena, god of war and wisdom, the more human and practical affairs. Raphael's work opposed the Medieval idea of an authority passing down knowledge. He glorified the history and sharing of knowledge, and emphasized his subjects' grace and wisdom. The patrons of the day would've understood and recognized all the figures in the work without their being labeled. The coffered ceiling, which uses the rules of perspective, is a tribute to man's dominance over nature. On the stairs is Diogenes, and writing on the tilted marble block is Heraclitus, writing quietly to himself. Heraclitus has Michelangelo's features, who was known for his lonely and impersonable affect...so Raphael has appropriated the personas of some of these philosophers to include some aspects of his current surroundings. Heraclitus was added after Raphael had completed the frescoe. Raphael stands to the right in a black cap, with some of the most important philosophers of antiquity, including Ptolemy and Zoroaster. Having departed from the Medieval perception of artists as mere craftsmen, Raphael includes himself as a skilled and capable intellectual. The figure in the foreground of School of Athens is writing on a marble block that's tilted at an angle towards the viewer. Because of this angle, it can't depend on the central vanishing point, which was determined using one-point perspective. Therefore, Raphael added a left vanishing point and a right vanishing point, both on the same Horizon line with the central point (which follows the rules of perspective.) The writing block is the only object in the composition that uses these two vanishing points, because the viewer is not perpendicular or parallel to it. All of the other figures and objects rely on one of the two perspective points. Also, Raphael groups people on the left and right, leaving the middle space relatively empty. This serves to balance the linear perspective at the bottom of the painting to balance the sharp orthogonals at the top of the painting. Just as in da Vinci's The Last Supper, Raphael divided the figures into groups, but they are individual, and move fluidly amongst one another. The architecture uses linear perspective, most visibly in the orthogonals in the pavement and in the receding cornices (moulding around the wall of a room just below the ceiling.) Lastly, Raphael used Greek models for calculating the proportions, which were later adopted by the Romans and then Renaissance humanists. The four frescoes Raphael created for Pope Julius's Stanza della Segnatura, or library, were arranged to represent the classical topic of the books on the shelves below. Raphael demonstrated Renaissance perfection on a massive scale, and his work reminds us of the harmonious proportions and idealized figures of antiquity. His School of Athens is also a tribute to the wisdom of the ancient philosophers, and a prayer that their knowledge will pass onto the holy Pope, and the artists and citizens of Italy.

Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut, 10 5/8" x 1' ¾". British Museum, London, England. Additional copies: National Gallery of Art, Washington, DC.

Destruction of thousands of works of religious art Iconoclasts stormed through churches Material/technique → woodcut and letterpress Lucas Cranach the Elder = artist Located in Germany Media = oil on wood Northern Renaissance 72 cm by 88.5 cm Lucas Cranach the Elder Influential artists in 16th century German art Printmaker and painter Representative of the Northern Renaissance His father, Hans Maler, was a painter and gave Cranach his first lessons He adopted the name Cranach when he was 30 years old Birth place = now Kronach As court painter of the Elector of Saxony, the patron of Luther, he is remembered as the chief artist of the Reformation Moved to Vienna in 1501 Full of expression and dynamic Moved to Wittenberg in 1505 More static style Met the reformed Martin Luther = portrayed in his works He also sold medicine, papers, ran a wine pub, printed books He was elected as mayor three times A talent for politics 1524-met Albrecht Durer Lutheran Reformation The Law and the Grace Single most influential image of the Lutheran Reformation The Reformation--initiated by Martin Luther in 1517 (attempt to reform the Catholic Church, which had been the only church in western Europe up until Luther) The Role of Art The Law and the Grace explains luther's ideas in visual form Heaven is reached through faith and god's grace Luther despised and rejected the Catholic idea that good deeds ("good works") could play any role in salvation Catholics Vs. Luther: how to get to heaven? Catholics Believer could take action to vouchsafe their salvation by good deed (financial donations and paying for art) Luther Insisted that salvation was in God's hands and all the believer had to do was to open up and have faith Anger led to rebellion and destruction of artwork that the Catholic Church was become rich on Scene: Two nude figures appear on either side of a tree that bisects the composition Law (left) = dying tree Gospel (right) = living tree Tree is dead on the side of the Law but vibrant on the side of the Gospel The altarpiece from left to right Six columns of Bible citations appear at the bottom of the panel Left (Law) Side Scene: Law and judgement symbolized by a man being forced into hell by Death (skeleton) and Satan (demon) Moses delivers the Ten Commandments Moses beholds these events; his white tablets standing out against the saturated orange rope and green tree Highlighting the association of law, death, and damnation Held by a figure that appears to be Luther himself (Cranach consistently depicted Luther in his portraits alongside biblical figures) Christ sits in judgement Adam and Eve partake in eating the forbidden fruit Motifs (left) are meant to exemplify the idea that law alone, without gospel, can never get you to heaven Right (Gospel) Side Scene: Grace and Gospel with Christ's cross crushing Death and Satan Blood of christ covers those near the cross John the baptist directs a naked man to both Christ on the cross in front of the tomb AND to the risen Christ who appears on top of the tomb Risen Christ = stands triumphant above the empty tomb, acting out the miracle of the Resurrection Nude figure is not hoping to follow the law on judgement day Stands passively, stripped down to his soul, submitting to God's mercy Lutheran saw the law as the side in which financial donations enriched the church and should not be a way to salvation; in the gospel side he believed through your own belief in god should be enough to bring his grace Law paves the way to salvation by preparing the way for grace God judges and God shows mercy The Law and the Grace is concerned with two roles that God plays: Judge (condemns human sin) Show mercy (forgiveness) Granting unearned salvation to sinful believers Luther's idea of law is multifaceted and complex relationship to his idea of gospel Law alone will never make salvation possible, law paves the way to salvation Includes events from both the New and Old Testament Concerns two aspects of the relationship between humanity and god Describes events throughout the bible which reveal the dual aspect of god's relationship to people Cranach's pictorial translation of Luther's unique understanding of salvation Interprets the roles of law, good works, faith, and gracLutheran Reformation The Law and the Grace Single most influential image of the Lutheran Reformation The Reformation--initiated by Martin Luther in 1517 (attempt to reform the Catholic Church, which had been the only church in western Europe up until Luther) The Role of Art The Law and the Grace explains luther's ideas in visual form Heaven is reached through faith and god's grace Luther despised and rejected the Catholic idea that good deeds ("good works") could play any role in salvation Catholics Vs. Luther: how to get to heaven? Catholics Believer could take action to vouchsafe their salvation by good deed (financial donations and paying for art) Luther Insisted that salvation was in God's hands and all the believer had to do was to open up and have faith Anger led to rebellion and destruction of artwork that the Catholic Church was become rich on Scene: Two nude figures appear on either side of a tree that bisects the composition Law (left) = dying tree Gospel (right) = living tree Tree is dead on the side of the Law but vibrant on the side of the Gospel The altarpiece from left to right Six columns of Bible citations appear at the bottom of the panel Left (Law) Side Scene: Law and judgement symbolized by a man being forced into hell by Death (skeleton) and Satan (demon) Moses delivers the Ten Commandments Moses beholds these events; his white tablets standing out against the saturated orange rope and green tree Highlighting the association of law, death, and damnation Held by a figure that appears to be Luther himself (Cranach consistently depicted Luther in his portraits alongside biblical figures) Christ sits in judgement Adam and Eve partake in eating the forbidden fruit Motifs (left) are meant to exemplify the idea that law alone, without gospel, can never get you to heaven Right (Gospel) Side Scene: Grace and Gospel with Christ's cross crushing Death and Satan Blood of christ covers those near the cross John the baptist directs a naked man to both Christ on the cross in front of the tomb AND to the risen Christ who appears on top of the tomb Risen Christ = stands triumphant above the empty tomb, acting out the miracle of the Resurrection Nude figure is not hoping to follow the law on judgement day Stands passively, stripped down to his soul, submitting to God's mercy Lutheran saw the law as the side in which financial donations enriched the church and should not be a way to salvation; in the gospel side he believed through your own belief in god should be enough to bring his grace Law paves the way to salvation by preparing the way for grace God judges and God shows mercy The Law and the Grace is concerned with two roles that God plays: Judge (condemns human sin) Show mercy (forgiveness) Granting unearned salvation to sinful believers Luther's idea of law is multifaceted and complex relationship to his idea of gospel Law alone will never make salvation possible, law paves the way to salvation Includes events from both the New and Old Testament Concerns two aspects of the relationship between humanity and god Describes events throughout the bible which reveal the dual aspect of god's relationship to people Cranach's pictorial translation of Luther's unique understanding of salvation Interprets the roles of law, good works, faith, and grace in human relationship with God

Adam and Eve. Albrecht Dürer. 1504 C.E. Engraving, 9 7/8" x 7 5/8".

Engravings are more detailed because of the tools used The artist was Albrecht Durer Comes from Germany One of the best engravers Had an interest in Classical and Italian tradition Wrote a manual of measurements of ideal proportions Shows Adam and Eve in a dark forest The dark forest is a German forest Recontextualized The bird and some of the leaves are not German The figures are mostly nude The figures are in contrapposto Both faces are in profile Eve is taking the apple There are several disinterested animals There are a mouse and a cat Reference Adam and Eve before committing sin The rabbit is looking at the goat There is an ox There an elk on the mountain There is a snake and a parrot in the tree There is a sign that identifies Albrecht Durer of the Frankonian city of Nuremberg It is written in Latin which shows his love for the classics There were personality types or humors Melancholic Elk Sad, prude, realistic, and withdrawn Black bile Phlegmatic Ox Lethargic, sentimental, and sensitive Phlegm Sanguine Rabbit Joy, mirth, affection, and enthusiasm Blood Choleric Cat Angry, irritable, ambitious, envious, and courteous Yellow bile Adam and Eve were believed to have a perfect balance of all the humors but after temptation they went out of balance so the animals suggest that this will happen This could have been a replication of two sculptures or the application of Greek medicine into the engraving

Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood, 2'11 ½" x 2'1". Galleria degli Uffizi, Florence, Italy.

Fra Filippo Lippi is a transitional figure towards the High Renaissance Really good at composition He was great at coloring He was supported by the Medicis His early style was based on Masaccio He had relatives that were painters and they were from a house called Lippi Had a curvilinear, lyrical, and contoured style Achieved through glazing The children look playful Mary looks like a young Florentine woman Recontextualized Lippi brought kids off the street to model for the painting A very humanist approach The blue window frame shows depth The angel's wings and Mary are leaning out all showing depth The one child covered also shows depth and perspective The landscape in the background is called atmospheric perspective The further something is away the more gray things begin to get The arm of the chair and the what Mary is wearing shows that she is a wealthy Florentine woman The halo is a faint line which is an emphasis on humanism Mary's shadow is seen on the window frame which shows his attention to detail, depth, and space Oil paint Used glazing

Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry.

Influenced by Palazzo Medici-Ricardi which was made by Michelozzo (1446) This was made by Leon Battista Alberti Wrote many important books on architecture Influenced by the writings by Vitrvius which were rediscovered in 1414 which led to the rebirth of classicism Got to travel to Rome Alberti uses a flat stone all the way up but decreases the size of the stone as it goes up Trabeated architecture each tier decreases in height Done to convey lightness There is an entablature between the first and second level There is a pilaster on the third level There is a play off of a Doric column on the first level There is a play off of an ionic column on the second level Alberti was much more careful about his geometry Believed that architecture should follow proportion and was influenced by nature A lot like Brunelleschi in that he was influenced by Greek and Romans such as Polyclytus Thought that arches should not rest on round columns but quadrangular columns There is a cornice on the top There are built in benches for the public There are post and lintel referenced on the bottom entrances The arches on the windows are like the Colosseum The Rucellai family was a wealthy family that operated a business The ground level was the business The second level was a place to receive guests The third floor was the family's living quarters The fourth floor was the servants' quarters

Venus of Urbino. Titian. c. 1538 C.E. Oil on canvas, 3'11" x 5'5". Galleria degli Uffizi, Florence, Italy.

Oil on canvas Layered oil paints to depict the variety of lighting in the painting Lots of different rich colors to create a sense of contrast Completed in 1538 The Duke Urbino Guidobaldo II Della Rovere wanted a gift for his new wife and therefore commissioned Titian to paint this The painting also reflected how a wife should be to the husband in a household as a sexual, respectful individual She also was depicted as a motherly figure for her future children This painting was made to be looked at by many people so Titian made the painting as beautiful as possible A majority of the painting is taken up by a nude female who is known as a Venus She was named a Venus so that it would be more appropriate to paint her nude The woman has a direct gaze that meets the eyes of the viewer This draws people into the painting Makes someone want to focus on her and not the rest of the painting Background is equal in color with a darker backdrop on the left and a woman and a child lighter background on the right The body of the Venus is very different than a real body as the torso of Venus is very large while her feet are very small and unreal This Venus was a symbol of beauty during the time and that is why she is usually depicted nude The dog in the background represents fidelity while the child and maid represents motherhood Uses a wide variety of colors that really emphasizes the importance of colors and lighting The painting is very different in style as the lines as the Venus has curves and the rest of the painting is straight lines Incorporates the Roman time period by using a column and a window that is not using glass and shows that the artist is trying to revert to a style of art that emphasized human beauty The small tree in the background that looks perfect and ready to grow to represent the future of the marriage Since the painting has the woman titled Venus it makes the viewer feel more comfortable seeing a nude depiction of a woman This is an example of perfect Venetian art: The movement of art in Venice was shown with its deep rich colors and use of shadows and use of lights Glazing techniques were used to create subtle changes in gradient and level Lots of different colors were available in Venice due to the amount of trade so lots of paintings could be made with a variety of colors This took place during the 15th century to the end of the 16th century Venice during this time period was a stable republican government that allowed lots of trade and had the ability to invest in artists Venice was able to invest in the artwork because of the trading style of the city which generated wealth for the city

Calling of Saint Matthew. Caravaggio. c. 1597-1601 C.E. Oil on canvas, 10'7 ½" x 11'2". Contarelli Chapel, church of San Luigi dei Francesi, Rome, Italy.

Painted by Caravaggio c. 1599-1600 Oil on canvas located in the Contarelli chapel, San Luigi dei Francesci, Rome Biblical story of the calling of Saint MatthewMatthew, a tax collector is sitting at a table counting money, generally being shadyJesus walks in from the right with Saint Peter by his sideJesus points to Matthew with his hand extended, says, "You. I want you"Jesus singles Matthew out and calls on him to join him and his disciplesMatthew points to himself in a gesture of incredulity This scene takes place in what appears to be a tavern or pubsetting makes the event commonplace, relatable Characters are all dressed in contemporary clothing, setting this event in Caravaggio's time, rather than biblical timesthis serves to make Matthew's experience (sinner turned follower) into something that is relatable to and possible for the everyday citizen of Romecloser to Caravaggio's own experiencesVERNACULAR LIGHT plays an active role in furthering the action/plot, rather than merely creating a general, ethereal glow as in the high renaissance realistic looks like it is streaming in from the open doorway behind Jesus and Peter there is a clear light SOURCE stream of sunlight comes in diagonally from top right corner, follow's Christ's finger pointing toward Matthew highlights Matthew's face almost seems an extension of Jesus's pointed finger The second Adam?The formation of Jesus's outstretched hand mimics Michelangelo's hand of God in "The Creation of Adam" (Sistine Chapel ceiling)Jesus is sometimes referred to as "the second Adam" because he, also created by God, is the redeemer of Adam's original sinThe artistic parallel between the work of Michelangelo and that of Caravaggio highlights Christ's status as "the redeemer"creates a full-circle/bookend effect Didactic elementto portray the story of The Calling of Saint Matthewtaught from the Catholic perspective (recognizing Saints)so as to convince believers of the Catholic doctrines, to inspire support of the Counter-Reformation/Catholic Reformation To bring viewer into the experience of the painting Caravaggio does this by use of:commonplace setting contemporary clothing realism, naturalism rather than idealism of high renaissance motive, expressive theatricsThis also makes the "Catholic way" more accessible to people of all levels of education, of experience, of lifestyles The Counter-ReformationThe Catholic Church reacted against the Protestant Reformation begun by Martin Luther (1517)after a period of austerity and withdrawal from lavish art, Catholic church experienced a revival in RomeChange of tactics:draw believers into the Catholic faith by enthralling drama, theatrics, and shocking beauty in artwork, architecturewant to make people feel an overpowering emotional response to Catholic-inspired artdifferentiating their approach to Christianity from that of the Protestants the Baroque stylefrozen action (like movie stills)theatricalhigh contrast chiaroscurodiagonal linesgruff, gritty realismrather than idealized, perfect realism of high renaissance

Entombment of Christ. Jacopo da Pontormo. 1525-1528 C.E. Oil on wood, 10'3" x 6'4". Altarpiece in Capponi Chapel, church of Santa Felicita, Florence, Italy.

Painted oil on wood In a church to the right of the entrance, above the altar, in the Capponi Chapel in Florenceo Right when you come in you are struck with this painting Early mannerist style the chapel is a cubical, very logical space, that is very much in the Renaissance style and there are Renaissance frescos right next to it that show in annunciation The Mannerist style: Term used to describe the art that directly succeeded the Renaissance and preceded the baroque Over-elaborate distortion and elongated figures Imbalanceo Very different than the perfection of the Renaissance Response to the Protestant reformation Altar piece Aestheticizes the well-known scene, the Deposition Mournful The fresco beside it shows the beginning of Christ's live (annunciation) and this shows the ending Just figures, not much land, packed with people This is very mannerist and the completely opposite of the Renaissance There is no depiction of a cross so we are not sure as to whether it is the deposition or the entombment Unnatural body position of the figure in the left foreground Abandons the high Renaissance pyramid balance No place for our eye to rest Constant movement Figures have no weight to their body Over exaggerated emotions Not emotions of a person, rather symbols of emotions (like masks) In the Capponi Chapel of Santa Felicita, Florence. Frescos clearly in early mannerist style, but chapel is a cubic space that was designed by Brunelleschi in early Renaissance style. Fresco to the right by Pontormo shows the Annunciation. Powerful juxtaposition; function almost as beginning and end of Christ's earthly existence. In pendentives, roundels showing 4 Evangelists. Mannerism=art of artifice, exaggeration, and emotion rather than Renaissance rationality. Highlighted rather than hid the contrived nature of art. Artifice manifested itself through imbalanced compositions, unusual complexity, ambiguous space, departures from convention, and innovative portrayals of traditional scenes. Historical developments contemporaneous to end of Renaissance, beginning of Mannerism: Florence is no longer a republic (Medici family abolishes it). Protestant reformation. Copernicus' discovery that planets move in orbit around sun (not around earth). Period of real revolution, new spirituality with Reformation and Counter-Reformation. Reflected in more otherworldly style of Pontormo and other mannerists.

The Tete a Tete, from Marriage a la Mode. William Hogarth. c. 1743 C.E. Oil on canvas, 2'4" x 3'. National Gallery, London, England.

Part of a series of paintings done during the emerging industrial revolution There is a rising middle class but there is also an aristocracy The middle class family is doing well and the father of the middle class family wants the daughter to marry the son of a struggling aristocratic family to make a stronger family It tells the story of the couple who is not happy together and then they end up cheating and getting STDs and dying The aristocratic family is called the Squanderfields The son and daughter are married Their house is disheveled Chair overturned and a musical instrument on the floor They are disinterested in one another The husband hasn't slept The husband has his hand in his pockets indicating he spent money Like his family The dog finds a bonnet in his pocket There is an accountant and suggests all the bills the couple has There are a collection of artifacts that represent wealth and the families joining together There are paintings in the other room that depict saints The idea of morality always watching over them Next to the saints there are is a painting where just a foot is seen which suggests its a reclining nude Shows the irony in their life Shows morality The wife holds a mirror which shows her own vanity He wanted to make a piece that target an audience to show them moral issues and poke fun at aristocracy Called The Modern Marriage Marriage a la Mode Made for a middle class audience

Hunters in the Snow. Pieter Bruegel the Elder. 1565 C.E. Oil on wood, 3'10 ½" x 5' 3 ¾". Kunsthistorishches Museum. Vienna, Austria.

Pieter Bruegel 1565 Oil Paint on Wood Panel Realist Period Vienna, Austria 117 cm by 162 cm Contrapposto, dynamic movement Figures with their back towards the viewer -- draws eye into the scene, away from the foreground Lots of contrasting colors -- draws eye around the composition Sharp forms, less gentle blending Very, very subtle use of atmospheric perspective in the back-most mountains and hills Represents both the hardships and the enjoyments of winter Sheds light on the activities of everyday life Reaction to the renaissance themes of nobility and religion Making art to depict the world as it is seen Part of a six-part series of images called seasons of the year Figures, and houses painted in warm, earthy tones -- contrasting from the cold blues and grays used to represent the elements Homogenized figures, none of which show their face--represent the poor, "nameless" Hunters return from what might have been an unsuccessful hunt Both figures and dogs bend down and sulk, looking exhausted Small figures in the background dot a pair of frozen lakes, seemingly enjoying the winter Figures dance about the ice, interacting with each other and small objects Mood in the foreground -- solemn, sense of despair Figures in bottom left third sag, trudging through the snow Left-most figures huddle by the fire, desperate for warmth Almost every visible figure has a downward gaze Architecture -- where nature and civilization meet Rows of houses fall away into vast fields of snow Painted by Pieter Bruegel the ElderPainted in 1565Bruegel is best known for his landscapes and his focusing on the life and mannerisms of peasantsthis is fitting considering the content of this workThis is probably the reason this work's patron picked Bruegel It was commissioned by Nicaels JonghelinckThis is a secular paintingThis is one of six works in series entitled Months of the Yearstrangely there are only six works instead of twelve and only 5 still exist Northern RenaissanceThe patron was from Antwerp in modern day HollandThis probably depicts a scene somewhere in the alpsThis is because Holland is an extremely flat country, yet there are mountains in the background The viewers eyes are drawn across the painting diagonally by the positioning of the subjects and statically placed linesNo linear perspective!Aerial Perspective! We start at the bottom right as these figures are largest and appear closest to the viewerThese figures appear to be coming back from an unsuccessful huntThey don't have much in the way of food and appear to be trudging through the snow with despairThey are hunched over and appear to be defeatedWe do not see their faces, so we have to assume their emotions based on their stancesThey are positioned, facing towards a small village and frozen pond Our eyes instantly shift onto the frozen pond were the peasants appear to be enjoying the winterThe immediate shift between the hunters and the other peasants indicate that Bruegel wanted to contrast these two groups of people This was probably to contrast the two sides to winter These figures appear to be playing a version of hockey and iceskating and do not have the give of the same negative feelings that the hunters do As our eyes continue along, we see a village in the background on the left It is pretty empty and probably is meant to keep the viewers eyes on pond, moving up into the mountainsLike I said before, these mountains are probably indicating that this is in the Alps, around modern day Switzerland The birds are also pointed at the pond and help focus our eyes on the subjects Everyday life and mannerisms Social commentary Beauty in simplicity

Self-Portrait with Saskia. Rembrandt van Rijn. 1636 C.E. Etching, 3'4" x 3'1". Fitzwilliam Museum, University of Cambridge, Cambridge, England.

Rembrandt used a copper plate, eroded by acid, to create this workThe Etching plate is deeper for Rembrandt than SaskiaShows him as more important, but also closer to the viewer He first etched in Saskia to help create the illusion that she is behind Rembrandt This was likely etched in a mirrorit depicts Rembrandt as left handed, yet he used his right Private artwork comments on the nature of their relationshipWe are getting a view into a private moment as if we have literally interrupted it Depicts a thirty year old Rembrandt and his wife Saskia, two years after they were married Rembrandt is one of the most prolific etchers of his time with nearly 300 to his name many of his early etchings have the immediacy and spontaneity of a rapid sketch Highly experimental artistUsed a soft ground to allow him to draw freely on the plate He is also well known for his portraitsHis style changed greatly over his lifetimeWith his early works we see a much more extensive use of ChiaroscuroHis later works show his evolved confidence as an artistWith the Self-Portrait with two circles we see him defiantly claiming his geniusWe also see his comparing of himself to the likes of Giotto with the two circles in the background this is a marriage portraitdepicts a young Rembrandt with his wife SaskiaThis is the only etched portrait of the two together Rembrandt rarely depicted himself as the contemporary GentlemanAgainst the style of time We are present in sceneWe appear to have interrupted an intimate moment This etching also marks the first time Rembrandt depicted himself as an artist in the work this was probably etched in the mirror causing a reversed image While this is the only portrait of the two together, it was not unusual for Rembrandt to use his wife as a model

Fruit and Insects. Rachel Ruysch. 1711 C.E. Oil on wood, 1'4" x 1'9". Galleria degli Uffizi, Florence, Italy.

Still-Life paintings Painted for her Cosimo III = sign of friendship and common wealthy status Sold for double that Rembrandt's paintings sold for Painting for a widening merchant class Intricate and formulaic approach that dominated the late Renaissance Less complex but more realistic Renaissance art was at its peak--> artists began to challenge the societal norms (accepted artistic styles and elements of the time) Artists reinvented the way art was portrayed --> led to a new form of art Vibrant colors (red and green) Uncommon subjects 1648 = Netherlands became independent from Spain (economic prosperity) Flourishing international trade = newly affluent middle class Wealthy merchants created a new kind of patronage and art market = producing directly for buyers (rather than work commissioned by the church) Historical, mythological, or religious paintings were no longer desired = buyers wanted portraits, still-life, landscapes, and paintings of everyday life Artworks that would reflect their success Rachel Ruysch became known as one of the greatest floral painters of her time Rachel Ruysch Grew up in Amsterdam into a wealthy family of Dutch artists, architects, and scientists First successful female artist during the Baroque She specialized in still life (a theme of natural beauty in life) Art that reflected the time period (microscope was perfected) Her father, Frederik Ruysch, was a scientist (professor of anatomy and botany) who inspired the small details in her work He had a collection of rare natural historic specimens that led Rachel to help, catalogue, and record Led Rachel to her fascination with insects He encouraged her artists talents with careful observation of the natural world At 15 years old, began apprenticeship with famous painted Willem van Aelst (also specialized in still life) At 18 years old, she produced her first still life and established her career... At 29 years old, she married painter Juriaen Pool (had 10 children) Remarkably prolific = produced 250 paintings in 7 decades "Holland's art prodigy" "Our subtle art heroine" Scientific interest into categorizing Possessed elegant skill and technique (element of sensitivity) She used bold and dynamic colors and textures Parallel to the growth of the Dutch industry and science of botany Flowers became newly appreciated simply for their beauty and fragrance Desirable status symbols for the wealthy However this work speaks to fruits and insects Season = Autumn Subject = fruits, vegetables, harvest, and insects Composite of the studies (combined into this composition) Grapes = blood of Christ Animals = naturalism Corn, Squash, Chestnuts Also Wheat = Eucharist (christian symbolic value) Attention to detail (particularly leaves and flowers) Less symmetrical and much more lively Curves (a sense of movement) Less formalized and orderly Possessed energy and creativity A sense of illusion and realism (the painting seem real) Story (a world of its own) Butterfly that is about to land but perhaps has second thought because their is a salamander or a small lizard

Frontispiece of Codex Mendoza. Viceroyalty of New Spain. c. 1541-1542 C.E. Pigment on paper, 12 3/8" x 8 7/16". Bodleian Library, University of Oxford, England.

The Codex: great amount of information about the Aztec empire Frontispiece: Information about the organization, foundation, origins of the (Tenochtitlan) Aztec capital "place of the prickly pear cactus" schematic diagram of Tenochtitlan city divided into four parts by intersecting blue/green smooth diagonals represent: city divided into four quarters= mirror the organization of the universe, believed to be four parts aligned with the four cardinal directions (north, east, south, west). city made of canals: depicts quadripartite division of the city and the canals running through it Aztec myth: Huitzilopochtli (Hummingbird Left) =patron deity told the Aztecs' ancestors to leave Aztlan (ancestral home) and find a place with "an eagle atop a cactus growing from a rock" → when they see this they should settle and build city there: saw this sign middle of Lake Texcoco therefore capital was on an island in the lake Center: an eagle on a cactus growing from the midst of a lake The eagle and the cactus symbolize the city founding + values Catus: The cactus (eagle sits on) symbolizes place name of Tenochtitlan is a nopal (prickly pear cactus) grows from a (tetl) stone Paired together: form te-noch → Tenochtitlan (place of the prickly pear cactus) Other figures: below the cactus + stone: is a war shield= symbolizes Mexica did not settle peacefully in the Valley of Mexico above the eagle: symbolizes a temple= maybe symbolizes Templo Mayor or the Aztec's main temple To the right of the eagle: skull rack (tzompantli)= structure found near the Templo Mayor Different types of plants: including maize (corn) huge food source → dot the city's four quadrants= agricultural fertility in the city Tenoch: Ten men depicted in four quadrants → wearing white garments + top knots in their hair men who led the Aztecs to this island location name glyphs attached to them pre-Conquest manuscripts manner= a thin black line connects to a symbol that indicates their name Priest: amongst the men distinct and differs: seated to the left of the eagle (closest to it), has gray skin, different hairstyle, red mark around his ear= identify him as a priest because he let blood from his ear as offerings to deities + ash covers his skin. His name glyph identities his as "Tenoch" speech scroll coming from his mouth (listen to his words of wisdom/god) + woven mat upon where he sit= convey his high status Surrounding the entire page: year glyphs total of fifty-one year glyphs One year is marked= the year 2-Reed → twenty-six years after Tenochtitlan's establishment this reed has a cord wound around it + fire drill appears above it symbolize year 2-Reed= first year of a new 52-year cycle → new fire was drilled to begin the new cycle and signal the completion of the previous 52-year cycle What is the New Fire Ceremony?: occurred every 52 years (a complete cycle of the solar calendar) and it assured that the sun would rise again. Just prior to the beginning of a new cycle → new fire was drilled in the body of a sacrificial victim and the fire was distributed to people to light their homes Below diagram city: 2 two scenes of military conquest emphasis of military power of Aztecs= shows two soldiers physically tower over the two men they defeat: a hierarchical scale that they are superior shield: identify them as Aztec warriors (identical to the one above that is associated with Tenochtitlan) obsidian-bladed weapons (called macana) What up with the war scene?: The defeated men (place glyphs as Colhuacan and Tenayuca) from different locations around Lake Texcoco → burning temples with hills: Colhuacan and Tenayuca were defeated Codex (Codex Mendoza)= information about the lords of Tenochtitlan, the tribute paid to the Aztecs, daily life year to year, inner working of the empire 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story? Tenochtitlan ( former Aztec capital): established in the middle of Lake Texcoco in the Valley of Mexico (1325) Tenoch (ruler of the Mexicas during the fourteenth century) died in 1363, first Aztec tlatoani (speaker/the ruler) was elected in 1375 by a council of elders This scene of conquest: early Aztec military victories, which aided them in building their power even prior to their first official tlatoani came to power. Show power/ greatness of their empire, to record history, worship and respect the Gods, and important stories of the founding of city 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire for him to know artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story?

The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. Hall of Mirrors, Palace of Versaille. Jules Hardouin-Mansart and Charles Le Brun. Begun 1678. Length approx. 240'.

To emphasize and demonstrate Louis XIV's Importance To host parties and military agreements To compare Louis XIV's competence and wisdom with that of the ancient Greeks and Romans, especially Apollo, the Sun God. Residential palace for Louis XIV and successive French monarchs, from 1682-1789 (Revolution began) Demonstrated the shift in the French government's power from the Noble families (aristocracy) to the King, Louis XIV To embody and define the French Baroque style, and establish Louis XIV's dominance over the arts and architecture of the 1600s. To symbolize the power and prestige of Absolute Monarchy. Begun in 1661, completed ~1682 Louis XIV's StaffLouis le Vau: chief architect to the KingBuilt the Grand Façade and the King and Queen's apartmentsBuilt the park's Orangerie and MenagerieAdopted the Italian-style 'invisible' roof hidden by a trophy-adorned balustradeBalustrade: a railing supported by ornamental parapetsAndré le Nôtre: landscape designer of the gardensCharles le Brun: interior decorator and painterJules Hardouin Mansart: favorite architect (toward the latter parts of the construction process)Jean-Baptiste Colbert: Principal advisor to the KingCollaborated with Louis XIV to organize art and architecture to serve the French state.Hyacinthe Rigaud: Painter to the French King Pierre Puget: Sculptor; his works are in the King's Gardens PortraitureOften portraits of Louis XIV, the Sun King, were collaborations by artists with specializations in fabric, architecture, landscape, armor, or fur.Most famous portrait is by Hyacinthe Rigaud, called "Louis XIV," done with Oil on Canvas in 1701.Larger than life portraitNow hangs in the LouvreShows Louis XIV in his finest robes and heels (he was only 5'4"!) Rigaud's portrait hung over his throne, and served in his place when he was absent; courtiers never turned their back to the portrait. Louis XIV Himself -- and his Plots to Control French CultureLouis XIV was most prominent patron of the arts in the 1600sFrance in 1600s was the largest, most powerful European nation, despite its semi-expansive economy.Louis XIV was a master of propaganda and political strategiesHe and Jean-Baptiste Colbert recognized the power of visual imagery and architecture in creating public personas. Louis XIV and Colbert tried to normalize artistic taste and define the dominance of the Classical Style How Louis XIV exercised his controlKept the Nobility's power in check, invited them to festivities at Versailles to remind them of his power Gave them benefits, but didn't let them rebelStated his Divine Right to rule Named himself "le Roi Soleil," the Sun King (Like Sun God Apollo) Louis XIV converted a royal hunting lodge into the palace of VersaillesJust south of Paris Louis XIV hired architects, decorators, sculptors, painters, landscapers under Charles le Brun's control Satellite city to the East of the Palace at Versailles Housed court and government officials, military and guard detachments, courtiers, servantsCity's 3 main avenues' axes converged on Louis XIV's bedchamberHe could keep an eye on all the highest-ranking officials in his regimeKing's bedroom was an informal audience chamber Extremely detailed, ornate interiorTop architects and decorators designed wall paintings, beds, doorknobs in French Baroque style Hall of Mirrors (Galerie des Glaces)Originally had furniture: gold and silver chairs, bedazzled treesWalls inlaid with mirrorsMirrors create illusion, the hallmark of the Baroque styleUsed for Louis XIV's many festivals GardensVisible from Hall of Mirrors: central axis lined with trees, terraces, pools, and lakesDesigned by André le Nôtre, who transformed a forest into the park/gardensFormal gardens serve as a transition from the ordered, man-made palace to the natural gardensManicured shrubs, highly designed spaceChanges depending on time of day, season, and location: it's an experienceGreat undertaking, both in size and complexity Stone, marble, glass, gold, silver, wood, gardens 700 rooms 2153 windows 67,000 m^2 of floor space 2000 acres of gardens

The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood, 33" x 22 ½". The National Gallery, London, England.

Used the glazing technique When you layer you go fat over lean (dark to light) There are different interpretations of the paintings Shows marriage Could be a memorial portrait Woman could have died The man could have given legal authority to the woman Considered a double portrait of couple already married They were a wealthy couple because there were oranges from southern Europe The man was probably a fiancenceer from Lucca They are holding hands which shows togetherness Their shoes are off which shows a sacred event is taking place In the mirror you can see two people walking in It is thought that the man's hand is raised to welcome them In the circles around the mirror are images of Christ's passion The artist signature is above the mirror It is painted by Johannes Van Eyck The dog is a symbol of fidelity His name of Fido which means fidelity The room is most likely a reception room St Margaret is sculpted on the bedpost who is the sacred saint of childbirth is to symbolize a healthy childbirth There is a handbroom in the back which is a sign of domesticity The handbroom and the bedpost with St Margaret are behind the wife The husband stands in front of the oranges and the open window and was wearing fur showing his wealth Green was a very fashionable dress to have and the gathering of the dress was also a trend The red fabric in the house was a sign of luxury The husbands name was Giovanni di Niccolo Arnolfini

Screen with the Seige of Belgrade and Hunting Scene. Circle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlay, 7'5" x 9'.

Uses the technique enchado Shell inlay It functioned at a screen It was in the palace of the Viceroy It is evident in this of Asai and the function of a screen References to Asian painting The scene is copied from a northern European artist Romeyn de Hooghe Made an engraving called the Battle of Belgrade in 1688 The scene is is between the members of the Hapsburg empire and the Turks Spanish=Hapsburg The screen had the purpose of being viewed by the Viceroy Jose Sarmiento de Valladares who was the Count of Moctezuma Made in New Spain Sent a political message of power The other side is a hunting scene It is more relaxed The style is different than the other side because there is a large tree that frames the scene The trees reference asian pastural art The brushwork is more thinned and decorative This side would have been viewed by the women in the palace For the wife's social gatherings South America traded with the East and got their influence from them The lacquer bottom and the floral designs are Asian references Shows that Mexico was in between of the network of exchange between Asian and Europe A mix of cultures

Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 C.E. Marble (sculpture); stucco and gilt bronze (chapel). - height of the sculptural group 11'6".

baroque interior typical structural elements of the church apse, arches, nave etc. Baroque theatrical, expressive of emotion as Catholics, in order to distinguish themselves from protestants, a strong connection/relationship with God is what made you true to your faith Saint Teresa was the first female doctor of the church became a Carmelite nun and reformed her community she emphasized the importance of a relationship w/ God she was a mystic a really personal, deep relationship with God had visions red, white, yellow, green marble her sculpture is almost framed columns, pediments up on a high base presented almost like a stage performance it is an instillation/display theatrical presentation in the baroque the painting above is breaking the boundaries of the frame Sculpture sculpted rays to make it appear as if light is shining down on her during certain times of days sunlight shines to make seem as if the rays are coming down during her life she experience moments of trance being so immersed with God's Love Bernini actually used one of her writings to inspire his sculpture marble feels like pliable plastic crumpling, crinkling contrast it with such smooth skin Proscenium main arch that looks over the "Stage" side sculptures on the walls are purposely sculpted to look like bystanders members of the Cornaro family (patrons) who watching this scene and vision of Saint Teresa play out

Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas, 5'2" x 3'6". National Museum of Art, La Paz, Bolivia.

depictions of androgynous, well dress, harquebus caring angles for the vice royalty of Peru were crated after the first miss ionizing period the angle represented that the gun and mere existence protects faithful Christians graceful and relaxed extremely detailed naturalistic the angel does not hold the trigger not have it at eye level wears dress that combines European and Andean clothing typical clothing of indigenous noblemen

Sistine Chapel Ceiling and Altar Wall Frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 C.E.; altar frescoes: c. 1536-1541 C.E. Fresco. Ceiling 45' x 128'.

every surface--ceilings, floors--are covered in mosaic and fresco where the College of Cardinals decides who the next pope will be Michelangelo began work on the frescoes in 1508 for Pope Julian he continued work on it for 4 years, but took a break in 1510, and the frescoes painted after this time are palpably different--compare the complex narrative of The Deluge, which uses smaller figures, to the more idealized, monumental figures in God creates Adam the vault frescos are undeniably some of the most important images every painted--they turned into an "academy" for painters, meaning that up and coming Renaissance artists would visit the chapel in order to try to study and imitate the monumental weight, harmony, strength, anatomical perfection, and elegance of Michelangelo's figures the chapel has recently undergone a controversial cleaning in which soot and grime from years of the chapel's use were cleaned off to try to bring back the rich colors of Michelangelo's vision revolutionary painting style where the figures were so realistic that they looked like sculptures brilliant, rich colors were used Michelangelo's style involved "carving figures out of paint" figures are massive; have gravity, weight and presence are figures of idealized beauty (shows the relative religious optimism of the time; as compared to when Michelangelo paints The Last Judgement above the altar and his style has become more cynical and Mannerist) emphasized musculature and anatomy anatomy displays drama and power (despite the fact that that many of them are in positions of relative peace--for ex. Libyan Sybil) a complex "stage" of connected yet separate scenes strong visible presence of Ancient Roman and Greek sculptural style no images of Christ, but the scenes lay the stage for the coming of Christ the richly colored, monumental figures help convey the emotional impact of the scenes to the viewers gazing up at them from the floor Layout:9 biblical scenes from Genesis that move across the ceiling lengthwise (starts with God dividing light from dark and moves on chronologically)1. Noah is drunk and disgraced2. The Great Flood/Deluge3. Noah and his family make a sacrifice after the flood4. Adam and Eve are tempted + sent from Eden 5. God creates Eve6. God creates Adam7. God divides the water from the Earth 8. God creates the sun and planets9. God divides light from darknessscenes are framed by a painted architectural framework scenes are flanked on both sides by prophets and sybils that sit within the painted architecture in the spandrels, separate from the depicted scenes but connected ideologically sybils: pagan soothsayers that foretold the coming of Christ sitting on the architectural framework of the four architectural corners of each nine biblical scenes are male nude figures, called ignudiscenes from the Salvation of Israel painted in the pendentives the sibyls were said to be future-seers of pagan times who saw the coming of Christvalidates the Christian faith because the coming of Christ was foretold long before Jesus was even born shows a theme of foretelling present in Christian artwork since the Middle Ages; sibyls foretold the coming of Christ, the Old Testament foretold the coming of the New Testament, Mary foretold the death of her son her body has a circular composition signifies grace, balance, and harmony of proportion she has a "sculptural weight"--looks as though she is actually coming out of the walls due to the painted contour (contrapposto) of her skin and muscle she has idealized anatomy--by the way her muscles are sculpted, she looks as though she has incredible strength, yet she also possesses a sense of calm elegance (sprezzatura: a deceptive ease)shows close attention to human anatomysome believe that she was modeled after a man (which makes sense looking at the prominent muscles in her arms)--"biblical" beauty instead of sexual, like in Botticelli's Venus

Woman Holding a Balance. Johannes Vermeer. c. 1664 C.E. Oil on canvas, 15 5/8" x 14". National Gallery of Art, Washington, D.C.

pinky is the vanishing point center of the painting is the center of the balance compositional control in the way that color is handled gold from curtain on the inner painting frame and the pearls and dress soft swirled painting style common in baroque generally muted colors save his favorite blue and gold baroque wealth and piety / spirituality need a balance between those twoworld possessions in front christ behind idea of weighing ... judging mirror sign of vanity so maybe relating to the worldly possession idea ignoring the painting and focusing on what is in front of her but also sign of self knowledge and truth scene of everyday life but lots of symbolism woman is dressed in fine clothing she's part of the upper merchant class in Holland during the 17th century this class was increasingly buying more art "the scale and subject of which is very much like this painting"typical cap made of linen worn by women at home fur trimmed jacket meaning it's cold out / in stands in front of table on the wall opposite her is a window letting light in golden curtains also a mirror right hand has a very fine balance nothing on the balanceas if she is waiting for the balance to come to a rest on the table in front of her there are a number of boxes one is open and is thought to have held the balance and weights in the other box are strings of pearls coins also which are an indication of material wealth maybe she's going to weigh valuables Behind her, there is a painting christ "in a brilliant mandola towards the top"functioning as a judge over souls souls at bottomone on the right are blessed and left are damned last judgment strong indication that this painting is about more than just a woman weighing her valuables her head divides the blessed from the damnedLight also plays a huge part in this her front is illuminated = the side of the blessed her back is dark = damned the light also creates motion, brings to life this idea that she is waiting for the balance to become still aka the idea of time and change very real and natural at the same time bc this is a snap shot so it is frozen and quiet She is not pregnant interior scene = intimate artists now painting for the merchant class as opposed to for the church

Spainiard and Indian Produce a Mestizo. Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas, 2'6" x 3'4".

simple composition (arrangement of visual elements in a picture) Spanish father and Indigenous mother with their son mother and father surrounding two children: a young boy is carrying the couples baby Modeled off the Holy Family: Virgin Mary, Saint Joseph, and Christ as a child (interpretation) The indigenous mother: dressed in huipil (traditional woman's garment worn by indigenous women from central Mexico and Central America), lace sleeves, and expensive jewelry turns and looks at husbands as she gesture towards child husband (Spaniard father): wears French-style European clothing, powdered wig gazes down at the children, hand resting on the child's back or wife's arm the young servant looks upwards to the father (not his father): allude to his greatness The family appears calm, harmonious, loving mestizo: (a person of a European and indigenous parent) a Spanish man and an elite Indigenous woman This painting (the first of the series as many like this were= indigenous mother + Spaniard father)belongs to a larger series of works that document the intermix racing of the Spaniards, indigenous, Africans, and mixed population (e.i. mestizo) Casta paintings: focus on bad living conditions for families that become more and more racially mixed, 2nd half of 18th century As the series progresses in casta paintings (different races mixing, as families become more racially mixed) = displayed in tattered, torn, and unglamorous surroundings/ bad family dynamic after the Spaniard and indigenous family: race mixing is bad, seen as lower if you do not have European descent also appear darker as they become more mixed, less attractive and dirty: race mixing in bad Discourage race mixing influences that if mixed with European blood one is superior, the family will live in harmony, and "perfection" as seen in the work casta paintings: reflect increasing social anxieties about inter-ethnic mixing it is possible that elites (pure blood) found the dilution of pure-bloodedness alarming (they were the ones that commissioned the paintings)