Renaissance to Modern Art Midterm

Jan Van Eyck, Netherlandish, The Ghent Altarpiece, 1432 (painted with his brother Hubert) - EARLY RENAISSANCE IN THE NORTH

Collaborative effort with brother Hubert, a painter on call for the city of Ghent, who died 6 years before the piece was finished, Jan was a diplomat and personal painter to the Duke of Burgundy in Bruges, inscription: "the painter Hubert, greater than anyone, started the altarpiece and Jan, second best artist, finished it." brilliantly colored on the inside, refracting light, semi-translucent, glowing, radiant, Christ with Mary and John the Baptist, singing angels, Adam and Eve to the sides, this is the Divine world, Heaven below with Lamb of Christ with blood pouring into the cup, self-sacrificing, allsts converge in Heaven (OT left / NT right and Apostles) Knights of Christ, Just Judges (left), Holy Pilgrims and Hermits (right), exterior: coloration subdued, Jodocus Vijd and Elizabeth Borluut the donors are in red, they kneel, this is our world, the Earth world, John the Baptist and John Evangelist between, depicted as painted statues the Vijds pray to, Annunciation to the Virgin is above, angel Gabriel speaks in text to her, she speaks back, distracted from her previous reading, OT figures, Sibyls of Rome above, prophecies to predict the coming of Christ, shadows on outside conform with direction of light, frame casts shadow onto painted floor, shadows on left, highlights on right, natural world is more muted, conforms to real world context where it would be hung, on inside, the light is more uniform, comes out of the Dove, Gabriel raises his hand and hold lilies (white purity of Mary and symbol of Mercy), words written backwards and upside down so God reads them first, presented at the baptism of the Duke of Burgundy's child, God "This is God" in Latin, raises hand in blessing, holds scepter, crystal, translucent, highly accurate, fingernails of God, folds of robe, texture of woolen robe, Ghent was big on the wool industry, Crown at His feet, secular crown, crown of a King, rulers would take crowns off to kneel at the feet of the True King, He wears the Papal Crown, Christ's right hand is Mary, her crown is of flowers, she reads, she was the "rose" without thorns, the lily of purity, the violet of humility, inscription reads: "she is more beautiful than the sun and above all the order of the stars" Adam and Eve: very early nudes on a large scale, naturalistic, not idealized, farmers dragged in to model perhaps! sunburned hands and necks, flat footed stance, not graceful, Eve holds apple, citrus fruit, ugly fruit, no emotion, static, neutral, glum expression, Heaven: castle behind, mass in Heaven, Lamb as Bread and Body, controversy of the Lamb because it was overpainted in the 1550s, had four ears because of that, was restored and looks strange, more human? but that makes sense because Christ was human? eyes of Jan's restored Lamb show the two streaks of reflection == the windows of the chapel, Jesus sees into the chapel and into the Mass we have here,

Sofonisba Anguissola, The Game of Chess, Oil on Canvas, 1555 - ITALIAN MANNERIST

Her sisters and governess laughing and playing chess, genre scene - daily scene, this is the type of work she could do, wouldn't have been commissioned by the Church to do piece because she was a woman, later Queen of Spain's personal painter,

Donatello, The Prophet Habakkuk, 1423-1425, Marble, for the bell tower in Florence Cathedral - ITALIAN EARLY RENAISSANCE

A prophet, wearing classic toga, nicknamed 'zuccone' pumpkinhead, head tilts down to look at visitors below, calls attn to presence of God, placed on bell tower = appropriate relations, skinny but muscular, realism of wrinkles, furrowed brow, sense of emotion, mouth open he speaks, concerned look = a warning?

Masaccio, Expulsion of Adam and Eve, Brancacci Chapel, 1427, Fresco Painting - ITALIAN EARLY RENAISSANCE

Adam and Eve cover themselves, they display anguish on their faces, Eve, who covers herself in her shame, does so in a way which resembles classical statues of the Venus Pudica, which suggests that Masaccio was looking at ancient works for inspiration before or during his work on this fresco.

Lavinia Fontana, Madonna of the Silence, Oil paint on copper canvas, 1590 (after Michelangelo) - ITALIAN MANNERIST

After M's drawing, transformed to oil painting, reference to the master, producing art about art, knowledgeable references.

Verrocchio, David, Bronze, c. 1475, commissioned by Lorenzo de' Medici for the family palace, - ITALIAN EARLY RENAISSANCE

Again, a young David, Goliath's head at the bottom, not nude, contrapposto, hand on hip, face modelled after Leonardo?

Albrecht Durer, Knight, Death, and the Devil, 1513, engraving (German), compare Donatello, The Gattamelata - HIGH RENAISSANCE IN THE NORTH

Allegorical picture, knight heroically rides through landscape, death stares him in the face with snakes around his neck and an hourglass, Devil follows behind, Death's horse looks down and leads us to a skull on the ground, heading toward castle on the hill? Heaven? memento mori - remember death, a reminder of death, stalwart in the face of Death, secular story,

Pontormo, The Deposition, 1526-28, Oil paint on wood panel, Capponi Chapel, Santa Felicita, Florence, - ITALIAN MANNERIST

An altarpiece, Jesus after the Crucifixion, right before the Pieta, He is carried to Mary's lap, composition is confused, who is the main subject? void in the center? of hands? anatomy - gestures are strange, guy on tiptoes, with heaviness of body, strange pose, color as pastel and vibrant unnaturalistic, color perspective here.

Michelangelo, the Ignudi, Sistine Chapel Ceiling, 1508-1512, fresco painting, Rome - ITALIAN HIGH RENAISSANCE

Attendant figures sitting around scenes, nude, androgynous, angelic, athletic youths, filling voids between narratives, variations on the Belvedere Torso, no precedent for these figures, purely an invention of Michelangelo's,

Raphael, Madonna of the Goldfinch, Oil on Wood Panel, 1506 - ITALIAN HIGH RENAISSANCE

Babies interact in the same way as L's Madonna and Child with Saint Anne and Young Saint John the Baptist, at the knees of Mary, tender relationship, triangular composition, both set in landscape, clothing similar, posing similar, seeing L in R's technique, oil paint instead of tempera, dries slower, not as shiny can use layers for translucency,

Giulio Romano, Hall of the Giants, 1527-1530, Fresco Painting, Palazzo Te', Mantua - ITALIAN MANNERIST

Battle between the gods and the giants, giants fall from Mount Olympus, triumph of civil over barbarism, uses entire space of the room, theatrical space, pillars of Mt. Olympus crumble, instability, buried alive in rocks, funny, witty joke room, place of entertainment for visitors to retreat to, an activity to discuss a room like this, curved wall corners, cloud, breaking conventional rules,

Pieter Bruegel the Elder, The Blind Leading the Blinds, 1568 (Flemish) - HIGH RENAISSANCE IN THE NORTH

Biblical subject, comment on the Protestant Reformation? had to leave Antwerp because of the uproar, all fall into the ditch, church in the background, proverb from Matt: 15:14

Leonardo, Mona Lisa, Portrait of Lisa del Giocondo, Oil painting on Wood Panel, 1503-1519 - ITALIAN HIGH RENAISSANCE

Bust portrait, 'la gioconda' the happy one, subtle smile, oil let L depict subtle light and shade along with sfumato or smokiness on her jaw, balcony overlooks rugged landscape,

Robert Campin, The Merode Altarpiece, c. 1425 (Netherlandish) - EARLY RENAISSANCE IN THE NORTH

Campin was the town painter of Tourni, personal altarpiece, person would say prayers in front of it, coats of arms in the window in the back, (r) Joseph, (m) Annunciation, (l) commissioners, door divides them but it lets them look inside on the occasion as if they were visiting to watch, they kneel, the Virgin is reading, could be her garden they kneel in, Gabriel genuflects and raises his hand in blessing, Mary is seated at the footrest of the throne of Solomon which had lions on the corners, a tiny figure of Christ with the Cross zooms into the room, table with still life, pitcher with lilies, white purity matches her purity, candle just blown out, by entrance of angel, book ruffled, one lily bud = all elements of transition, from OT to NT, scroll to book, Christ coming into existence, candle blown out because light of Heaven has come down, table tipped up to us, "as light passes through the glass, so can the Christ Child pass into the virgin" she is humbly on footrest, wouldn't sit on a throne, guy in between the donors looks OT, could be a page, a herald? little Flemish town outside (melding the religious significance with everyday life), rose bush "she is the rose without thorns", Joseph is working on a mousetrap, metaphor for Joseph's position in the story - tricked the Devil into thinking Jesus was Joseph's son and trapped him, many disguised symbols,

Pieter Bruegel the Elder, Hunters in the Snow, 1565 (Flemish) - HIGH RENAISSANCE IN THE NORTH

Countryside, vast prospect, winter scene represented, hunters return empty-handed, dogs exhausted, people skate, pleasants play, curl, sled, spin tops on the ice, group of season paintings.

Bronzino, Venus, Cupid, Folly and Time, ca. 1546, Oil painting on wood panel, - ITALIAN MANNERIST

Commissioned by Medici as gift for the King of France, hhld painter, allegory, Venus in center kisses Cupid incestuously (her son), Folly has roses in hand, Father Time above meaning is meant to be obscure, challenging to interpret, Cupid steals Venus' crown, is Love superior to Beauty? masks at feet - deception always present in love? figure in shadow howls = Jealousy, Time reveals the scene? Time reveals the Truth? Folly celebrates their incest, lascivious, conversation starter with France about love, Medici marry a daughter into France who later becomes Queen Catherine of France,

Lorenzo Ghiberti, Sacrifice of Isaac, 1402, Bronze Relief, Commissioned by the Wool Merchant's Guild, - ITALIAN EARLY RENAISSANCE

Commissioned to celebrate end of the War with Milan (General of Milanese army caught the flu and died!) doors for the Baptistery, connection of the religious and political centers, competition to select an artist, Ghiberti wins!!, potentially because his reliefs were shallow so would have been less costly and used less bronze, Abraham in the center, angel comes from behind about to tell him not to kill Isaac, moment before the action, suspense!, Isaac is more dignified than in Brunelleschi's version, healthier, muscular, gaze between Abraham and Isaac, more depth, mountain rock included, lamb on top left, symbol of the wool guild who was paying for these.

Pieter Bruegel the Elder, The BirdNester, 1565 (Flemish) - HIGH RENAISSANCE IN THE NORTH

Completely different style but still a parable, big figure, peasant costume but contrapposto pose, brightly colored, sense of distance, proverb = he who knows where the nest is, knows it. he who has the nest, has it. - another little guy grabs the nest, knowledge must be followed by action!

Michelangelo, Creation of Adam, Sistine Chapel Ceiling, 1508-1512, fresco painting, Rome - ITALIAN HIGH RENAISSANCE

Creation of Adam - most famous, moment right before God animates Adam, breathing life in. Mirrored poses are a reminder that we are made in God's image, figure symbolizing Eve is under God's other arm, other eleven figures symbolize their future progeny, OR the Virgin Mary, OR Sophia, the personification of Wisdom from the Book of Wisdom, Adam's torso has extra concealed rib, to allude to Eve's creation out of Adam's rib, became simpler because her realized the smaller, intertwined figures couldn't be seen from the ground as easily,

Rogier van der Weyden, Portrait of a Lady, c. 1460, (Netherlandish) - EARLY RENAISSANCE IN THE NORTH

Different than the man in the red turban by Jan van Eyck, more remote, not as present, generalized fashion, geometric form of veil, red belt, psychological remoteness, style - spiritual painter vs. realist / naturalist.

Michelangelo, Separation of Light from Darkness, Sistine Chapel Ceiling, 1508-1512, fresco painting, Rome - ITALIAN HIGH RENAISSANCE

From first chapter of Genesis: And God said, "Let there be light," and there was light. God saw that the light was good, and He separated the light from the darkness. God called the light "day," and the darkness he called "night." And there was evening, and there was morning—the first day. Framed by four Ignudi - and by two shields or medallions, young nude figures incorporated around the scenes are framing, relaxed poses, idealized male figure, became simpler because he realized the small intricate figures couldn't be seen from the ground easily.

Bernini, David, Marble, 1623 - ITALIAN BAROQUE

David about to throw the stone that will kill Goliath, the moment of action, at his feet is the armor of King Saul which was offered to him to fight in, but he fought better without it, he was too small for it, also a harp at his feet because he was a harpist, diagonal recession, meant to be viewed in 360,

Peter Paul Rubens, The Arrival of Marie de Medici at Marseille, 1622, preliminary oil sketch - NORTHERN BAROQUE

Detailed oil sketch of the plannings for the painting, Rubens ends up angling the arrival of the boat differently, painting ends up showing none of the left side of the boat, cuts off right where the boat ends,

Bernini, Apollo and Daphne, Marble, 1622-25 - ITALIAN BAROQUE

Diagonal, open, unclear, - leaves, water? turning into a laurel tree as Apollo chases her, to escape from him, unity around closeness of faces & hair and leaves, painterly - hair, from Ovid's Metamorphoses, Daphne has been struck by Cupid's non-love arrow so she rejects his advances,

Albrecht Durer, Adam and Eve, 1504, engraving (German), uses Apollo Belvedere and Medici Venus, both Greek 4th c. BCE - HIGH RENAISSANCE IN THE NORTH

Drawn inspiration from Italian art, went to Venice, dense background of trees, parrot, serpent, animals surround, goat balances on mountain top, cat and mouse in front at their feet, human figures ideally beautiful, near perfect musculature, contrapposto, gentle S-curve of the body, has been looking at sculptures, Medici Venus pose, reversed, Apollo Belvedere as model for Adam, printing process reverses things automatically, cat+mouse reference to a pun about sexual pursuit, tails touch Adam and Eve's feet, 'cat after mouse' will occur after the Fall, quiet now, sleeping, rabbit - reference to procreation.

Albrecht Durer, Self-Portrait (as Christ?), 1500 (German) - HIGH RENAISSANCE IN THE NORTH

Durer in Nuremberg, Holy Roman Empire has taken over Netherlands and Germany, High Renaissance, Nuremberg where the regalia of the HRE is kept, printing and book publishing center, turn of the century, "Albrecht Durer of Nuremberg painted it" inscription, looks like Christ, face in near-perfect triangle, opaque background, eyes are intense, fur ruff, holds fingers in blessing pose, benediction hand gesture, huge ego of this, artists are Christ-like in some ways as creators, naturalistic, modelled in light and dark, thinks of himself as bringing Italian Renaissance up North,

Masaccio, Trinity, 1425-1427, Fresco painting, for the Lenzi family, Church of Santa Maria Novella, Florence - ITALIAN EARLY RENAISSANCE

Early linear perspective painting, applied to wet plaster, pigments locked in place when dry, work top down, sections of one day's work, Lenzi family - mother and father at front, virgin Mary and St. John, triumphal arch motif, sense of depth with ceiling, skeleton below speaks - "what I am now, you will soon be"

Filippo Brunelleschi, Sacrifice of Isaac, 1402, Bronze Relief, Commissioned by the Wool Merchant's Guild, - ITALIAN EARLY RENAISSANCE

God asks Abraham to sacrifice Isaac and at the last minute an angel tells him not to, nude Isaac on his knees in center, hands bound, servants below attend, lamb next to Isaac to sacrifice instead, exchange of gazes between Abraham and the angel, Isaac's mouth is open, A grips his neck, drama! Loses contest.

Donatello, David, 1440, Bronze, Commissioned by Cosimo de' Medici, for the courtyard of his palace, a somewhat public space. - ITALIAN EARLY RENAISSANCE

Goliath's head lies at his feet, improbable victory, like that of Florence over tyranny / tyrants, fights naked because he is too small for armor, displayed in Medici Palace, Medici compare themselves to David? Are they not Goliath compared to the peasants? 1st fully male nude sculpted since antiquity, Contrapposto - standing position on one leg, shoulders slanted, hips slanted,

Lorenzo Ghiberti, Isaac and His Sons, East Doors of the Florence Baptistery, 1425-1452, Bronze Relief Panel - ITALIAN EARLY RENAISSANCE

He had more freedom here, no more quatrefoil shape, larger panels, square, linear perspective (from Alberti's On Painting), continuous narrative, self-portrait on a detail along with the saints, shows Jacob and Esau (Isaac's sons) and Isaac, the latter exchanging his birthright as the eldest son for some food from his younger brother, Jacob is depicted in the centre background. In front of this scene in the centre foreground is Esau and his hunting dogs being sent by his old and blind father Isaac to hunt for deer, while Esau's departure on this quest is represented in the background at the far right. During Esau's absence, Jacob and their mother, Rebecca, execute a plan whereby Jacob, dressed in the animal skins typical of Esau, approaches Isaac, and thereby deceives him into recognizing the disguised Jacob as his heir. These scenes are illustrated under and in front of the arch on the right. In the foreground the seated Isaac blesses a kneeling Jacob, who has an animal skin slung over his shoulder, while his elderly mother looks on.

Peter Paul Rubens, King Henry 4th Falling In Love With Marie's Portrait, 1622/1623- NORTHERN BAROQUE (Flemish)

Henry was murdered, series of 21 pictures for Parisian Palace commissioned by Marie as her husband saw it (he was now dead), propagandistic, posthumously, Henry falls in love through Marie's portrait, Zeus and Hera look down with peacock and eagle, Hymen of marriage and personification of France telling Henry to marry her in his ear, cupids disarm Henry from warrior armor (like Mars and Venus parable - Love disarms War) married by proxy, she was in Rome, it was thought she had a part in the murder.

Artemisia Gentileschi, Judith Beheading Holofernes, 1611, Oil Paint on Canvas - ITALIAN BAROQUE

In the manner of Caravaggio, OT figure Judith = hero and her maidservant, famous for cutting off the head of Assyrian General, saves people from invading Assyrian army, offered herself to the general to seduce, moment of the action, gruesome, severing Holofernes' head in his tent, contemp. outfits, 2 women needed to hold him down, asleep when act started, awakened now and fighting, Artemisia was raped in her father's workshop by a colleague, we have trial documents, she sees herself in Judith and Judith is painted in her likeness. spot lit, background recedes, women as heroes, Judith is her David, her expression is calm, determined,

Michelangelo, Moses, Tomb of Julius II Phase II 1513-1516, Marble, - ITALIAN HIGH RENAISSANCE

Highly finished, installed in last phase in 1545, M holds tablets of the Law under his arm, gathers beard with his hand as he twists his neck toward his side, horns are rays of lights, seated but twisting as he hears something beyond the frame, body like the Belvedere Torso position, body similar to Libyan Sibyl, thematic relation across media,

Peter Paul Rubens, Raising of the Cross, 1609-1610 - NORTHERN BAROQUE (Flemish)

In Antwerp - Baroque - for Cathedral, an aristocratic artist, friend to Kings and Queens (of France), Pope, saw King Henry IV marry Queen Marie of the Medicis of France, Heroic body of Christ, muscled, tormentors raise cross up with rope, Greek God style, powerful, diagonal recession, drama, theatre, strong emotion, muscles of lifting, open - pushes into our space, high altar, where the Inquisition was strong to drive Protestants North, after the Farnese Hercules from 4th c. BC - Ancient Greek inspo.

Michelangelo, Rebellious Captive, for the Julius Tomb Phase II, 1513-1516, Marble, ITALIAN HIGH RENAISSANCE

Lifetime employment opportunity, takes 40 years, finished in a much reduced scale, sarcophagus above, 3 story, papacy runs low on funds, put on hold, M does the Sistine in the meantime, Julius dies in 1513, tomb not done, rush to finish, various states of completion, More finished, state of struggle, emotional and physical, breaking free, hands tied, exaggerated contrapposto, spiritual and physical captivity, ref to NeoPlatonism - Plato and Christianity bridge, soul caught between realm of the Divine and the material world. ref to Belvedere Torso

Giulio Romano, Palazzo del Te, 1525-1535, Mantua, ITALIAN MANNERIST

Mantua, run by Gonzaga family of mercenaries, Romano was a courtier for the Duke after Raphael's death and Rome's sack by HRE Charles V who pillaged and destroyed the city, built this palace for the family, beginnings of Mannerism - what follows after Raphael's death, imitating classical intends to surprise or provoke with unconventional style, series of niches, rule breaking, triglyph slips down, ruin in the making, a structure about to fall down, pediment below the frieze, strange, too small, mixing mistakes, sophisticated provocation to those educated, rule breaking, gigantic key stones over the pediments, he stuccoes brick ornamentally, self-conscious artifice,

Petrus Christus, A Goldsmith in his Workshop, 1449, Netherlandish - EARLY RENAISSANCE IN THE NORTH

Jan's successor in Bruges, St Eligius, designed for/by the guild of goldsmiths, St. Eligius is the patron saint of goldsmiths, acts as a goldsmith here weighing elements, another convex mirror, extremely thin halo, perhaps making a wedding ring for the couple next to him, coins, rings, long sash used at betrothals, wrapped around the hands of a couple for marriage, mirror shows people outside window, who have come to the shop, secular town imagery mixed with religious, mirror couple has hunting hawk on man's arm, inscription says "Petrus Christus made me" cracks in the mirror, implies the image in the real world/the imperfect world, our world vs. the saint in the sacred world.

Joachim Patinir (Flemish), Landscape with St. Jerome, c. 1520 - HIGH RENAISSANCE IN THE NORTH

Landscape painter with religious subjects, couldn't paint figures so made them small and specialized in landscapes, St. Jerome is the hermit saint, he took a thorn out of a lion's paw in the desert, looks like the Netherlands, he puts religious themes in the context of the Netherlands, village, castle, lion = double appearance, receding atmospheric perspective, only blue reaches our eyes, green to blue to white, beginning of specialization in painters,

Caravaggio, Calling of St. Matthew, 1599, Oil Paint on Canvas, Cantarelli Chapel, Rome - ITALIAN BAROQUE

Large, from Gospel of Matthew, he is a tax collector, Jesus asks him to join Him as an Apostle, he points to Matthew, Matthew points to himself, as if to say, "Me?" Jesus has faint halo, coins to count on table, unsavory crowd around Matthew of other tax collectors, riff raff, contemporary costumes, some don't look up from the money to recognize Jesus' presence, set in a studio area, harsh lighting on figures from the right, reference to the Sistine Chapel Creation of Adam by Michelangelo with Jesus' pointed finger, enlivening Matthew with purpose, Caravaggio's first name is Michelangelo, he references him, light is theatrical, it illuminates the soul, symbolically as Jesus calls Matthew,

Michelangelo, Jonah, Sistine Chapel Ceiling, fresco painting, 1508-1512, Rome commissioned by Pope Julius II, - ITALIAN HIGH RENAISSANCE

Last scene finished, started with the entrance/exit end and finished with the altar end, Jonah known for trying to escape God's call and being swallowed by a fish/whale for 3 days, until he is ready to answer the call, precursor to Christ's crucifixion and resurrection after three days, foreshortened body, receding into space, perspective manipulation, curved surface coming toward the viewer = difficult, method of shading = color perspective, using the opposite color wheel color to shade darkness instead of the traditional darker/gray/black mix in, green fabric shaded in red?, pink tunic shaded in lime green? makes it more vibrant when seen from the ground, enhances colors, easier to pick out, luminosity provided, discovery of Belvedere Torso from 1st c. BC influenced him greatly, he recreated it in many paintings and sculptures, echoes all over the ceiling,

Caravaggio, Entombment, or Deposition, 1603 - Oil paint on Canvas - ITALIAN BAROQUE

Laying Jesus down, all about body of Christ, relation to transubstantiation, sat above altar, they lay Jesus down like the Priest lays down the Body on the altar, fitting analogy, role of the Body of Christ in Eucharist, trying to follow new guidelines, direct, easy to read, emotionally compelling, hand on a wound of Christ, clarity - compared to Pontormo's Deposition in Mannerism, colors brought into realism, dark background eliminated noise: Tenebrism - illumination of the main subject, everything else is in dark, anatomy, human emotion, straightforward bodily positions, composition, figures wear contemporary fashions,

Michelangelo, Dying Captive, for the Julius Tomb Phase II, 1513-1516, Marble - ITALIAN HIGH RENAISSANCE

Lifetime employment opportunity, takes 40 years, finished in a much reduced scale, sarcophagus above, 3 story, papacy runs low on funds, put on hold, M does the Sistine in the meantime, Julius dies in 1513, tomb not done, rush to finish, various states of completion, More finished, state of struggle, emotional and physical, breaking free, hands tied, exaggerated contrapposto, spiritual and physical captivity, ref to NeoPlatonism - Plato and Christianity bridge, soul caught between realm of the Divine and the material world. ref to Belvedere Torso

Dirk Bouts, Last Supper Altarpiece, Netherlandish, 1464-1468 - EARLY RENAISSANCE IN THE NORTH

Louvain, one of the only pieces still in its original location, besides the Ghent Altarpiece which is being restored out of position nor but will stay at its original location, middle is Last Supper, where Sacrament was instituted, "This is my Body, This is my Blood" elegant style of room, Christ in exact center, even distribution of Apostles, around table, square table = different composition, linear perspective focuses on Christ exactly! Consistent! scientific linear perspective, one of the 1st of the North, James in corner and Judas is towards us on left, portraits of the confraternity commissioners, 4 pictures in 2 wings from OT, each represents a story thought to show a prefiguration of the Last Supper, OT as prophecy of NT, (UL) Abraham meets Melchizedek , (LL) Passover Feast when Israelites leave Egypt, (UR) Manna Falls from Heaven, (LR) Elijah in desert fed by angel, treated sacredly in jars, illusion of 3d on flat surface = coulisses - pocket of landscape activated by the foreground figures, relative to others in the back, scale read by size of figures, gives depth sense,

Michelangelo, David, Marble, 1501-1504, commissioned by the Cathedral Works of Florence, located in front of city hall. - ITALIAN HIGH RENAISSANCE

M had a deformity, a broken nose that made him self conscious about his looks, had an inferiority complex, contrapposto reference, compared to Donatello's David which was figures in the round, youthful, made for Cosimo de Medici - pater patriae - father of the fatherland, M's is full-grown, moment before the fight, David stares down Goliath, G's head not at bottom, hand on shoulder, not hip, muscular, masculine, idealized body, hand very very large out of proportion, left hand has slingshot over shoulder, right hand has stone, monumental scale, hand veins are ultra-realistic, furrowed brow, M said "David with his sling, and I with my bow" bow = his tool for carving marble sculptures, right hand large because of original plan to place the work high outside the Cathedral on a buttress, it ended up going in front of the city hall, Palazzo Vecchio.

Rogier van der Weyden, St. Luke Drawing the Virgin, 1434-1440, (Netherlandish) - EARLY RENAISSANCE IN THE NORTH

Mary seated again at the foot of a throne, humility, columns, river in the back, Luke = patron st. of the arts, didn't live at the same time as Mary so this is a vision of his, separation of the 2, couple and river at crenelated wall, commissioned for the altar of the painter's guild in Brussels, offices behind Luke with books on table, her silverpoint pen, can just see her image on Luke's work in progress, he looks not at her but into the distance, seeing her in his mind's eye, front plane conveys a mystical vision while the back plane conveys an average Flemish town, everyday life, Virgin feeds the Christ child, He's excited, wiggles toes and fingers, Adam and Eve on the foot of the throne, anonymous figures could be man pointing in the distance, town is busy, man on white horse, everyday, secular, cityscape, religious vision vs. natural world.

Pieter Bruegel the Elder (Flemish), Netherlandish Proverbs, 1559 - HIGH RENAISSANCE IN THE NORTH

More famous rival of Aertsen's, in Antwerp, traveled to Italy, does designs for publishing houses, known as Peasant Bruegel because he would visit peasants and observe them as inspo for his paintings, sympathetic, conveys common knowledge, everyday life sayings, middle = husband in blue, 'she puts on him the blue cloak' wife in red, little figures = she had cuckolded him, man with banner - 'he pisses at the moon' he tries to do the impossible, guy fills a hole after a calf has fallen in 'too late' guy throws roses before pigs - "casting roses before swine" they don't appreciate them, "catches light in a basket" gallows in the distance = "he shits on the gallows" - contemptuous of authority, defiant, daring,

Caravaggio, Judith Beheading Holofernes, 1599 Oil on canvas - ITALIAN BAROQUE

More focus on Holofernes, same subject as Artemisia Gentileschi, Judith's expression is horrified, disgusted, Judith is far removed from the act, she holds herself at arm's length, the maid is more of a crone, not a beautiful, powerful helper to Judith, less involved, doesn't help, just looking on, lighting is a spot light on the action, darkness of everything else,

Peter Paul Rubens, The Arrival of Marie de Medici at Marseille, 1622-1623 - NORTHERN BAROQUE

Personified France welcomes her, Henry's representative in Black, Tritons and Nereids held dock the boat, sea gods, France bows, oil sketch as pre-design as model for the work. Accompanied by her sister and aunt.

Filippo Brunelleschi, Dome of Florence Cathedral, 1420-1436 - ITALIAN EARLY RENAISSANCE

Octagonal space they couldn't figure out how to cover, B suggest they use both double shell structure (inner rib vaults + outer brick wall) and a herringbone brick pattern, B explained this approach by smashing bottom half of an egg on a table, so that the inner contents supported the whole upper half remaining. Cupola - Cathedral dome.

Jan Van Eyck, Netherlandish, Man in a Red Turban (Self-Portrait?), 1433 - EARLY RENAISSANCE IN THE NORTH

One of the best known painters in the world, invented oil painting technique, credited with it by Vasari, oil painting went before Jan's time but he perfected it, signed and dated to 1433, man is about 50-60, around Jan's age at the time, glance straight ahead = unusual, looking in a mirror to paint himself? dark tunive, ruddy-cheeked, highlights of nose, chine, shirt is fur-lined, brilliant red turban with folding pattern, dramatic garment, deep, dark background, so he comes out towards us (this is haptic style - he projects from back, touchable, as opposed to optical which is receding in space) modelled in light and dark to give 3-D, "als ich xan" Jan's motto - as best I can, Johnannes de Eyck Me Fecit, Anno - Jan made me! why dated to the day? could be his birthday? or Saints day? Oct. 21st is St. John's day, eye detail, mimicry of nature, wrinkles, no eyelashes, blue eyes, red veins, bloodshot, wet teary quality to surface of eyeball, 4 o'clock shadow painted individually, every whisker painted separately, careful observer of natural world, gray in the beard, year after Jan's most famous painting.

Hans Holbein the Younger, The French Ambassadors, 1533, including anamorphic skull, (German) - HIGH RENAISSANCE IN THE NORTH

Painted in London, globe in the back, one a gov. official, one a bishop, emissaries of Francis I and the Pope to try to convince Henry to not leave the church, table loaded, various clockwork devices, shelf below has lute, hymnal book, globe, in front of brilliant green curtains, only 2nd Northern Renaissance full length portrait, Jean de Dinteville and Georges de Selve, commissioned by Dinteville (Ambassador) for his house, still life below with musical instruments, memento mori - skull, streaks of white paint, brevity of life, transience of things he paints, skull floats, only appears when sideways, - anamorphic image - one thing from one angle, something else from another.

Hans Holbein the Younger, Henry VIII, 1540, (German) - HIGH RENAISSANCE IN THE NORTH

Printmaking takes off in 1500, religious reform lit, Protestant Reformation, books printed at 100s instead of individually written and painted, engraving on copper plates, inking the plate, burin - digs into plate forming letters, Holbein is from Basel, but spends most of his time in England, with a Royal Court position, Basel was a horrible place for artists during the Protestant Revo, presence of images in churches vs unacceptable in Calvinism/Protestantism, wealthy strong representation here, flattering, large indicates power, fills painting with broad shoulders, regal, monarchical, complicated and rich costume, no background to distract, he is the main show, head modelled in Northern tradition - light and dark = 3d,

Jan van Eyck, Netherlandish, "The Arnolfini Wedding Portrait", 1434 - EARLY RENAISSANCE IN THE NORTH

Private commission, 2 1/2 feet tall, bedchamber, a wedding picture or betrothal picture, husband raises his hand as if he's taking an oath, hands clasped in the middle, man dressed in dark, woman has gorgeous green and ermine trimmed gown, she is next to the bed (the interior, home world) and he is next to the window (the exterior world), shoes off, white clogs and red slippers, as one does before a religious ceremony, dog looks directly at us or at someone behind us, convex mirror, spectacular chandelier with one lit candle, not needed for light, man is of the Italian banking industry, much older than wife who maybe 14/15, in Bruges, man is ugly, harsher, warier view, back wall is Jan's signature "Jan van Eyck was here" as if he was a witness to the ceremony, 1434 date, script is that of a legal document, mirror reflects couple and two people in blue and red, the couple's fathers perhaps, tradition of fathers wearing blue and red to wedding, mirror surrounded by images of the Passion, eye of God joining the ceremony, prayer beads hand on wall, part of a whisk broom reminds one of the slinging of the Holy Water down the aisle at church, cruciform window, see in the mirror the room across the hallway with a window, captures more than a flat mirror, they didn't have the tech for flat mirrors yet, little dog not in the mirror = Griffin terrier, between them, must belong to woman, fur is extremely detailed, Fido - I am faithful, symbol of fidelity, clogs taken off as if this is a sacred place, union between two people, division down the center, joined across the axis, 3 points of perspective convergence, not quite linear perspective science yet,

Raphael, The School of Athens, Fresco Painting, 1509-1511, Room of the Signature, Commissioned by Pope Julius II, Vatican Papal Apartments, Rome - ITALIAN HIGH RENAISSANCE

R finds work in Rome when Michelangelo is painting the Sistine Chapel, decorates the walls of the private rooms of the Pope, library/study, Julius II may have been trying to pit R and M in a rivalry to get their best work out of them, divided into four themes (theology, poetry, jurisprudence, philosophy), this wall is philosophy, an aperture for a corridor with figures walking to us, they converse, draw, exchange ideas, imitated the New Basilica church next door being built at the same time, included figures of contemporary papal courtiers, Plato, Aristotle, uses likeness of Leonardo for Plato, self-portrait in corner, M. sees this as a copy of his Sistine Chapel, similar body positions as the prophets and the sibyls.

Raphael, The Veiled Woman, Oil paint on panel, 1516 - ITALIAN HIGH RENAISSANCE

Raphael as a kind of copycat to M and L, later work, skill has developed, 3/4 view portrait of a woman, deep folds in fabric, not sure who it is, a girlfriend? lovingly points to her heart with her hand, wealth and status of dress, sleeves are voluminous, type of outfit not allowed to walk the streets in, guise of the Madonna? ability to transform his skills, admired for his speed? Raphael's Roman mistress, clothing strikingly opulent, shadow and light, realness of her appearance, hand reaches/points at her heart, reference to love, feelings.

Leonardo, Madonna and Child with Saint Anne and Young Saint John the Baptist, Ink and Chalk on paper, c. 1500, - ITALIAN HIGH RENAISSANCE

Raphael strongly influenced by this, L. displayed his works in progress, this is a cartoon - a preparatory drawing/study for a painting, St. Anne - Mary's mother, anatomical studies to understand the origins of human life, to represent it, R. wants to work in L's manner after seeing it and changes his style.

Michelangelo, Pieta, marble, 1498-1500, commissioned by the French Cardinal Lagraulas Basilica of Saint Peter's Rome, - ITALIAN HIGH RENAISSANCE

Reason for M getting the David Commission, Mary holding Jesus' body, funerary monument for a cardinal, French commission, scene popular in France, awkward positioning to portray but he composes it excellently, natural recline in her arms, behind is rough, unfinished, polish of the body, she used her garments as a glove/lining to touch his body with reverence, wounds of Christ but otherwise pristine, hint of a smile, at peace, veins in arms, ambiguity as to alive or dead, suggestion of resurrection soon, Jesus caresses Mary's gown fold, Mary's face is too young? but M wanted to represent the purity of her soul, her inner spirit, signing of his name across the chest of Mary.

Michelangelo, Expulsion of Adam and Eve, Sistine Chapel Ceiling, 1508-1512, fresco painting, Rome - ITALIAN HIGH RENAISSANCE

Reinterprets earlier Masaccio scene, reinvents traditional, intensely physical nude figures for Adam and Eve, the mastery of which shows his intense early study of anatomy. This style is particularly effective when he contrasts the smooth, young bodies of Adam and Eve at the point of Eve's temptation to their older and unattractive bodies when they are banished from Eden. Tree of Life in the middle with a serpent with a woman's head wound around it, offering Eve the fruit, avenging angel expels A and E on the right, continuous narrative.

Sandro Botticelli, Primavera (Spring), 1482, Tempera painting on wood panel. - ITALIAN EARLY RENAISSANCE

Rejection of linear perspective, classical mythology scene, Venus, Medici commissioned for a wedding, cupid blindly shoots arrow at three nymphs (Graces?), Mercury on the side chases wind, Zephyrus (God of Wind) steals nymph Chloris away, comes back as Pomona, Goddess of Spring, Allegorical paintings, self-expression as viewers, ideas about love, all takes place in an orange grove.

Renaissance vs. Baroque Art

Renaissance: Linear, Planar, Tectonic or Closed, Multiplicity, Clear Baroque: Painterly, Diagonal Recession, A-tectonic or Open, Unity, Unclear

Rogier van der Weyden, The Descent from the Cross, c. 1435, (Netherlandish) - EARLY RENAISSANCE IN THE NORTH

Rogier is a pupil of Campin, town painter of Brussels, public altarpiece, probably had wings at one point, after the Crucifixion, shallow space, in a little box, almost a stage set, gestures and actions important, no other distraction, Christ's nudity stands out against the vibrancy of the other's and matches Mary's paleness because she has fainted, they are in the same position, conveys the idea that Mary has the powers of salvation, like her son, shared in His suffering, compassion and co-Redeemer, altar would have been right under this piece, as if Jesus would have been laid down on it, where the Body and Blood lay, John the Evangelist and Mary Magdalene form parentheses around the frame, Nicodemus and Joseph of Arimathea hold Jesus, emotions are palpable, tears stream, translucency of the tears,

Masaccio, The Tribute Money, Brancacci Chapel, 1427, Fresco painting, - ITALIAN EARLY RENAISSANCE

Scenes of St. Peter's life, Tribute Money - 3 moments shown, continuous narrative, curious combo of linear perspective and different timelines, Peter gets the coin to pay the tax out of the fish's mouth,

Michelangelo, Libyan Sibyl, Sistine Chapel Ceiling, 1508-1512, fresco painting, Rome - ITALIAN HIGH RENAISSANCE

She is known for predicting that the day would come when the hidden would be revealed, foretold the coming of Christ, interconnected, symbolic of lightness and darkness, Libyan "there will come the day + illuminate the density of darkness" close to God separating the light and dark, deliberate choice of subject matter, holding a huge book from which she probably reads oracles, balanced precariously with toe splayed, two children in conversation in front of her,

Lavinia Fontana, Self-Portrait with Harpsichord, Oil on Canvas, 1577 - ITALIAN MANNERIST

She plays with servant behind, ran successful workshop in Rome, Father was painter, discovered by Pope, breadwinner of her family, commissioned by women,

Hieronymus Bosch (Flemish), The Garden of Earthly Delights, c. 1500 - HIGH RENAISSANCE IN THE NORTH

Similar to the Medieval tradition, worked in S'Hertogenbosch, didn't travel, Moralizing, sharp, pointed triptych, God in lefthand corner, OT quotes on top, psalms about Creation, flat landscape in globe, early phase of Creation, separation of land from water maybe? 100s of people inside, horizon very high to fit in a lot, naked humans and animals, right hand is Hell scene, middle is Earth, and left is Eden, variety of races, not modelled, floating, deep landscape, Christ with Adam and Eve, Satan eats souls, frozen pond in Hell, not an altarpiece, too weird! chosen to compare to religious altarpieces, commissioned for the house of Duke of Nassau, introductions scene between Adam and Eve, Christ almost gifts Eve to Adam, she is demure, he is excited, 3 headed crane near them, cat and mouse allusion again, acting according to their nature, not according to God's direction, exotic creatures, unicorn, giffin, lion killed its prey, not the peaceable Kingdom here, a pessimistic Heaven, details, birds flock in abstract, (M) - Earth in the time of Noah, pairing for physical pleasure, pool of nude women, men surround them riding beasts of a sexual nature, only original sin present here, ripe fruits burst, strawberries, once called 'the strawberry plant' a couple inside a glass orb, beneath is a guy trapped in a fruit with a rat coming towards his face in a cylindrical tube, couples are nude and touching each other, (R) - color change to black with fire, treeman with drinkers inside, stands in water = movement of a drunk, Satan, background, sees souls enter the gates of Hell, other fall into Hell, ladder = still building in Hell, always room for more, bagpipe = Devil's instrument and phallic quality, Demon serves those waiting for drinks, Satan is a voracious baby bird who eats the souls, blackbirds fly out of their butts and he defecates the souls into his privy pit, Pride = woman with mirror, Greed = person defecates gold coins, Gluttony = drunk throws up into privy pit, convex mirror, face of condemned soul in privy pit, torture of sinning instruments, shield with dice, backgammon board, hunters punished by those they hunt, harpist crucified on harp, drummer inside the drum, flute player tied to flute, composer has song written on his butt, melancholic tune,

Pieter Aertsen, The Meat Stall, 1551 (first still life) (Flemish) - HIGH RENAISSANCE IN THE NORTH

Specialized in still lifes, religious subject in the back field, goriness of meat display, would have been a delicious mouthwatering sight, butter, pigs feet, butcher in red with tools on his belt, Flight into Egypt from the Massacre of the Innocents in the back, Mary gives bread to a begging child, feeds his spirit, chickens, lunds, esophagus hans, Church tower in right side, pretzels and wine hang, symbol of the city of Antwerp is shown - two hands above a castle, things in the foreground point to the background, the pig's ear to Mary, spiritual food vs. temporal food idea, composition helps the meaning of the picture, probably hung at a butcher's, 50th anniversary of building of butcher's guild hall commission.

Sofonisba, Anguissola, A Boy Bitten by a Crab, Drawing on paper, 1554, - ITALIAN MANNERIST

Taught the fine arts as a noblewoman, becomes a professional painter - somewhat unusual, Vasari mentions her with praise, drawing sent with letter to M to get feedback through intermediary, crab pinches his finger, he cries, it seems she took his advice and adds a weeping boy to the laughing girl because it is harder,

Parmigiano, Madonna of the Long Neck, 1534-1540, Oil painting on wood panel, - ITALIAN MANNERIST

Travelled to Rome to study with M and R, friendly with Giulio Romano, extremely long proportions, head of Mary = so small, spindly bodies, extremely long fingers, strange space columns behind, edge of the outside/inside, theatrical setting with inserted traditional subjects, figure holds vase - beautiful women's proportions compared to a vase? an amphora? at this time a statement on beauty? not a naturalistic goal, self-consciously mannered, idea of artifice, reference to M's Pieta?

Raphael, Portrait of Maddalena Doni, Oil on wood panel, 1505-6 - ITALIAN HIGH RENAISSANCE

When R. sees Mona! posture identical, aerial perspective - atmospheric perspective - haziness of mountains far away, loss of precision with distance, arms set the same, both on balcony, shading on side of face the same, more ornate clothing, shoulders missing! didn't understand the body the way Leonardo did! sfumato in neck, jaw, less of a smile, larger than Mona, bigger body, R. accused of being a copycat often, Michelangelo freaked out when his nephew said he had let R into see his personal drawings and R had drawn David from the back,