ARTH154: Intro to Art History, Renaissance to Modern Midterm

Northern Europe, 1400 to 1500 cont. (FRANCE)

-100 Years Wars crippled the economy but dukes and royal court commissioned works -Expansion of illusionistic capabilities of manuscripts (Limbourg Bros), full page calanders -Feature nobility and peasantry -Feature seasons, nature, realistically painted figures -Integration of sacred and secular themes

Michelangelo Buonarroti, Plan for Saint Peter's

-Admired Bramante's plan, but modified it -Replaced core with compact Greek dome inscribed in a square

Jacques Callot, "Hanging Tree", etching

-Among first realistic pictorial records of human disaster of military conflict -Depicts mass execution of thieves in presence of army -Sharp details of life- and (ominously) death -Critical of horrors of war

Robert Campin, "Merode Altarpiece", oil on wood

-Annunciation set in Flemish merchant's home -Objects have significance (religious) -Mix secular and religious

Italy, 1600-1700

-Baroque (meaning irregularly shaped pearl) -Dynamic, theatrical art style -Rejected classical style -Sculptural qualities of buildings -Figures in motion -Used in the Counter-Reformation -Dramatic contrasts of dark and light -Everyday scenes of common people -Combination of drama and realism -Illusionistic paintings/ ceiling paintings

France

-Biggest patron was the Sun King (Louis XIV) who had the Louvre and Versailles built -Proponents of classical, sweeping, grand painting with heroic or divine subjects -Classical landscape with atmospherical perspective and ancient ruins

Donatello, "David", bronze

-Both relaxed contrapposto and sensuous beauty of nude Greek gods -Revival of classical statuary style

Frans Hals, "Archers of Saint Hadrian", oil on canvas

-Brilliant composition -Portrays each individual in the group portrait while retaining action and variety in painting as a whole -Rely on convention to convey sense of sitters, but intense casualness and intimacy

Jules Hardouin-Mansart and Charles Le Brun, Palace of Versailles

-Building for the major art patron of time, Louis XIV, the Short King (my mistake, Sun King) -Vast palace and garden complex -Sumptuous furnishings and sweeping vistas -Marriage of french classical and Italian baroque styles -Proclaims mastery og human intelligence over disorder of nature (supposedly)

Northern Europe, 1400 to 1500 (BURGUNDY AND FLANDERS)

-Burgundy & Flanders= controlled by the powerful Dukes of Burgundy (wealthy, great patrons of the arts) -Flemish artists popularize oil on wood and translucent glazes (more depth) -Altarpieces in churches and homes alike -Portraiture becomes important form of art

Hieronymus Francken II and Jan Brueghel I, "Archduke Albert and Isabella Visiting a Collector's Cabinet", oil on wood panel

-Collecting as a sign of wealth, power, and knowledge -Want the most rare/monstrous curios -Used system of classification to order material things -Display one's objects in a cabinet of sorts -Show everyone that you're super worldly and jazz

Michelangelo Buonarroti, "David", marble

-Colossal size -Heroic, classical nude -Capture tension and emtoion -Idealized, athleticism

Michelozzo di Bartolommeo, Palazzo Medici-Riccardi

-Combo of dressed and rusticated masonry -Classical moldings draw heavily on ancient Rome architecture -Creatively reinterpret own model

Titan, "Pastoral Symphony", oil on canvas

-Conveys poetry -Evokes pastoral mood -Meaning unknown -Supported instead by rich color and mood

Albrecht Durer, "The Fall of Man", engraving

-Two figures based on ancient statues -Demonstrates knowledge of human proportions -Virtuvian theory of human proportions

Hans Schlottheim, "Automated Clock in the form of a mechanical galleon", metal

-"Automaton" -Ship construction was most advanced technology of time -Display of weath/prestige -Will run along a table and dazzle your guests. So exciting.

Sandro Botticelli, "Primavera", tempera on wood

-Lyrical painting celebrating love in spring, -Blue, cold Zephris in wind marries Nymph Cloris and transforms her into Flora -Appeal of Greek and Latin literature

Gianlorenzo Bernini, Cornaro Chapel, "Ecstasy of Saint Teresa"

-Dramatic depiction correlated with ideas of Saint Ignatius Loyola -Argued re-creation of spiritual experience would encourage piety

Masaccio, "Holy Trinity", fresco

-Early application of mathematics to the depiction of space according to perspective -Fully modeled figures bathed in light -Guide from despair of death to hope of ressurection and salvation

Michel Wolgemut, "Madeburga", Nuremburg Chronicle woodcut

-Early example of woodcut illustration in printed book -detailed views of towns, but generic rather than specific portrayls

Jan Van Eyck, "Arnolfini Wedding", oil on wood

-Early secular portraiture example -Ambiguous, possible marraige vows or bussiness reception -Van Eyck in mirror

Rembrandt van Rijn, "Anatomy Lesson of Dr. Tulp", oil on canvas

-Early work of Rembrandt -Unusual composition because arranges all members on one side as they watch Tulp dissect corpse -Students all different -Corpse in foreground is foreshortened and diagonal to activate space

Titan, "Venus of Urbino", oil on canvas

-Elevates classical mythology to display sensual Italian woman in bedchamber -Set standard for representation of reclining nude (divine or mortal)

Heinrich Vogtherr the Elder, "Pope Antichrist", woodcut

-Example of strife between Protestants and Catholics -Protestant propaganda against the structure and practices of the Catholic Church, pope as figurehead, distant from God -Caricature of pope, negative view

Giambologna, "Abduction of Sabine Women", marble

-First large scale group sculpture since antiquity -Designed to be seen from multiple viewpoints -Three bodies interlock to create vertical spiral of movement

Hyacinthe Rigaud, "Louis XVI", oil on canvas

-First off, what a looker -Portrait set against a stately backdrop -The Sun King (conceited much Lou?) was only 5' 4" (rough), but is shown richly in red heeled shoes and ermine-lined robes to give image of power/wealth anyway

Michelangelo Buonarroti, "Sistine Ceiling", fresco

-Four years of labor -300 figures representing both creation and fall of human kind

Lucas Cranach the Elder, "Allegory of Law and Grace", woodcut

-Friend to Martin Luther -Contrast Catholic and Protestant views of how to achieve salvation

Jules Hardouin-Mansart and Charles Le Brun, "Galerie des Glaces"

-Grandiose hall overlooking park at palace -Hundreds of mirrors illusionistically extend room's width -Reflects gilded and jeweled furnishings -Not at all vain. Not at all.

Jan Vermeer, "Woman Holding a Balance", oil on canvas

-Holding empty scales in perfect balance -Ignores pearls and gold on the table -Allegory of temperate life -Last Judgment on wall behind her reminds viewers of death

Diego Velazquez, "Las Meninas", oil on canvas

-Huge, complex, and ambiguous work -Cunning contrasts of real, mirrored, and picture spaces -Elevation of both himself and the profession of painting in the eyes of Philip IV -Includes self, uses interesting perspective

Francesco Borromini, "San Carlo alle Quattro Fontane"

-Hybrid of Greek cross and an oval -Walls pulsate in a way that reverses the facade's movement -Molded, dramatically lit space flows from entrance to altar

Limbourg Brothers, "The Very Sumptuous Hours of the Duke of Berry", illuminated manuscript

-Illuminated manuscripts called Book of Hours produced for Duke of Berry -Full page calendar pictures alternating representing nobility and peasantry -Integrated secular and religious

Pieter Claesz, "Vanitas Still Life", oil on panel

-Important new class of patrons emerged in Dutch Republic (how exciting!) -These aforementioned successful merchants took pride in their material possession (selfish bastards) and wanted them depicted -The kicker in the "vanitas" paintings is the reminder that everyone and everything dies- and no material possession or success will matter then. Live it up.

Raphael, "Philosophy (School of Athens)", frescoes

-Included self in gathering of great philosophers and scientists -Conveys calm reason -Setting recalls massive vaults of ancient basilicas

Dutch Republic (N. Europe) 1600 to 1700

-Independent from Spain and became predominantly Protestant -Portraits, genres, still life, and landscape -Portraits of middle-class with more informality -Still life of worldly goods and reminders of death -Rembrandt= biggest painter, covered religion and portraits with drama and gradients of light, human emotion -Scenes and occupants of normal Dutch homes

Giotto, Scrovegni Chapel, fresco

-Inside Arena Chapel in Padua -Giotto= pioneer in pursuing naturalistic approach (core of classic traditionalism)

Ambrogio Lorenzetti, "Allegories and Effects of Good and Bad Governments", frescoes

-Inside Sienna's Palazzo Publico -First notable secular themes, focus on government (reflects location of paintings) -Among first landscapes

Rembrandt van Rijn, "Self-Portrait", oil on canvas

-Interest in revealing the soul evident -Attention given to expressive face -Controlled use of light and non-specific setting cause focus on figure/face

Italy, 1300 to 1400

-Italy suffered Black Death -Renaissance humanism first takes root -Religion occupies primary position in Italian life, but artists become increasingly concerned with natural world -Secular themes first emerge to the forefront

Leonardo da Vinci, "Last Supper", fresco

-Jesus just announce betrayal, shows isolated moment in time -Various expressions reflected -Jesus face is focal point of all convergin perspective libens

Francisco de Zurbaran, "Saint Serapion", oil on canvas

-Lighting calls attention to his tragic death -Dramatic impact -Monk's coarse feature label him as common, evoking empathy from a wide audience

Jan Steen, "Feast of St. Nicholas", oil on canvas

-Lively scene of Dutch children discovering their Christmas gifts -Potential allegory of selfishness, pettiness, jealousy -Contrast to orderly, instead shows chaos and disruption

Filippo Brunelleschi, Santo Spirito, Interior and plan

-Mathematical clarity and austerity of decor -Classically inspired architectural style -Contrast and opposes saoring drama of gothic style

Artemisia Gentileschi, "Judith Slaying Holofernes", oil on canvas

-Narrative involving heroic women -Dramatic lighting of action in foreground -Emulate Caravaggio

Caravaggio, "Entombment", oil on wood

-Naturalism into representation of sacred objects -Reduce them to human dramas -Common people can relate -Increase support and piety in Counter Reformation -Use dark/light extreme contrast

Aelbert Cuyp, "Distant View of Dordrecht, with a Milkmaid and Four Cows and Other FIgures", oil on canvas

-Not overtly idealized like Renaissance landscapes -Painting portrays a specific locale Cows, shepherds, and *charming* milkmaid refer to Dutch dairy industry. Yay.

Northern Europe, 1500 to 1600

-One of most commercially advanced regions -Landscapes emerge and rise in popularity and depict seasonal changes -Genre paintings -Women artists

Italy, 1500 to 1600- Venice

-One of the richest states in Italy and major link to Byzantine Empire, retained sovereignty but fortune started to decline later -Architecture boasted greatest churches in Europe, Medieval secular architecture -Developed flourishing, independent school of artist -Painting movement led by Bellini, developed coloristic oil painting style and rich surface texture

Jan Van Eyck, "The Ghent Altarpiece", oil on wood

-Painting of salvation from original sin of Adam and Eve and God the Father -Meant to celebrate Christianity through sumptious detail and inspire piety

Explorations and Collections, 16th and 17th Cent.

-Period of European explorers (Magellan, Columbus, other guys) -Global network of conquest, trade, colonization, exchange -Emerging world economy -New technologies (arms, ships, clocks) -New sciences (astronomy, cartography, etc) Mapping of routes becomes very important

Albert Eckhout, "Negro from the Gold Coast", oil on canvas

-Pictures of landscapes and peoples of colonies grow popular -Depictions of "savages" painted for colonial audience -Means of codifying knowledge of non-European peoples/ culture

Spain, 1600 to 1700

-Power of Hapsburgs declined but the royal family (CATHOLIC) spent much on art -Embraced drama and emotionalism of Italian Baroque art -Scenes of death and martyrdom in Counter-Reformation Spanish art -Ranging from genre, religious subjects, royal portraits, and historical events -Influence art of Spanish colonies

Albrecht Durer, "Self Portrait", oil on wood

-Presents self as frontal Christ-like figure reminiscent of medieval icons -Image of artist as a divinely inspired genius -Inconceivable before Renaisssance

Lorenzo Ghiberti, "Isaac and his Sons", gilded bronze relief

-Recall painting techniques in depiction -principles of architecture -illusion of space through linear perspective -Vanishing point, relief flattens as moves up

Leon Battista Alberti, Sant' Andrea

-Reflect study of ancient Rome -Colossal order, combines triumphal arch and roman temple front with pediment

Flanders (N. Europe) 1600 to 1700

-Remained Catholic and under Spanish control -More closely tied to Baroque art of Italy than rest of North -Led by Rubens -Baroque splendor in color and ornamentation

Joachim Patinir, "Landscape with St. Jerome", oil on wood

-Renowned landscape painter -Subordinated story of St. Jerome to the depiction of the craggy landscape, rocks, and rolling fields/bodies of water

Jacopo da Pontormo, "Entombment of Christ", oil on wood

-Represent departure from compositions of early Renaissance -Does not concentrate masses in center, instead leaves a void -Omits painting of both tomb and cross

Rogier van der Weyden, "Deposition", oil on wood

-Resembles a relief carving -Biblical figures act out a drama of passionate sorrow in shallow theatrical stage -Emotional impression

Domenico Ghirlandaio, "Giovanna Tornabuoni". oil and tempera on wood

-Revival of portraiture -Reveals wealth, courtly manners, and humanistic interest in classical literature

Gianlorenzo Bernini, "David", marble

-Sculptures are expansive and theatrical -Element of time plays an important role -Emotion-packed statue seems to be moving through time and space

Sebastiano del Piombo, "Reception of Venetian Ambassadors in Damascus", oil on canvas

-Symbolic of Venice as Europe's principle source of oriental trade and luxury goods -Venice has trade, diplomacy, pilgrimage, and ships. Good stuff.

Michelangelo Buonarroti, "Last Judgement", fresco

-Terrifying vision of fate for sinners -Placed own self as flayed skin

Northern Europe, 1400 to 1500 cont. (HOLY ROMAN EMPIRE)

-The Late Gothic style remained popular in 15th Cent. Germany, highly emotive figures -Development of printing press brought about woodcut illustrations -First masters of engraving and linear effects

Nicolas Poussin, "Et in Arcadia Ego", oil on canvas

-This dude was the leading proponent of classicism in the 17th Century Rome (big deal apparently) -"Grand manner" paintings are models of arrangement and manner -Incorporates figures inspired by ancient statuary

Leonardo da Vinci, Cartoon for "Madonna and Child with Saint Anne and the Infant Sanit John", charcoal on paper

-Tranquil grandeur with monumental figures reminiscent of classical goddesses -Interconnected figures

Pieter Bruegel the Elder, "The Carrying of the Cross", oil on wood

-Treated as landscape -Mannerist treatment -Christ is mixed with the procession to calvary -Mary & co. in rocky foreground, deliberately separate from crowd -Christ and cross are at center -Small details of groups/people going to or at Calvary

Peter Paul Rubens, "Elevation of the Cross", oil on wood

-Triptych -Foreshortening of anatomy -Violent action -Seethes with a power of heroic exertion -Emotional and physical tension -Counter-Reformation allegiance to Catholicism

Claude Lorrain, "Landscape with Cattle and Peasants", oil on canvas

-Use of atmospheric and linear perspective to transform rustic Roman country filled with peasant peeps and their animal friends -Ideal classical landscape bathed in sun and in infinite space. We are truly blessed to have this godly piece today.

Andrea Mantegna, "Camera Picta", fresco

-Viewer becomes viewed- figures gaze into room from painted oculus -First perspective view of a ceiling from below

Italy, 1500 to 1620s

HIGH AND LATE RENAISSANCE: -Artists were employed by the papacy -Focus on classical cultures, perspective, proportion, and human anatomy -Da Vinci was quintessential Renaissance man, used sfumato and psychological MANNERISM: -Alternate to High Renaissance style, focuses on artifice -Ambiguous spaces, departure from convention, unusual presentations, rejected convention

Italy, 1400 to 1500

IN FLORENCE: -Coming together of artistic genius, the spread of humanism, and economic prosperity allowed for the blossoming of the Renaissance -Sculptures expressing "contraposto" and first male nudes -Revival of antiquity and interest in classic culture, Greco-Roman mythological themes -Some artists continued to paint in late-medieval and Gothic styles, but with more physical credibility -Secular side of this time period explored historical events and portraits IN VENICE/PRINCELY COURTS: -Bellini's High Renaissance School of Art -Decorating of the Sistine Chapel -Renaissance linear perspective -Treatise of perspective -Mantua and Urbino became large center