Renaissance ArtH exam 2
Diego Velazquez, Las Meninas, 1656
"The Maids of Honor" -setting is a palace in Spain: Alcazar - The painter represented himself standing before a large canvas. The young Infanta (Princess) Margarita appears in the foreground with her two maids-in-waiting, her favorite dwarfs, and a large dog. In the middle ground are a woman in widow's attire and a male escort. In the background, a chamberlain stands in a brightly lit open doorway. -What is Velázquez depicting on the huge canvas in front of him? He may be painting this very picture—an informal image of the infanta and her entourage. Alternately, Velázquez may be painting a portrait of King Philip IV and Queen Mariana, whose reflections appear in the mirror on the far wall. If so, that would suggest the presence of the king and queen in the viewer's space, outside the confines of the picture. Other scholars have proposed that the mirror image is not a reflection of the royal couple standing in Velázquez's studio but a reflection of the portrait the artist is in the process of painting on the canvas before him.... the figures in the painting all appear to acknowledge the royal presence. -added later to the painting was the order's red cross on his doublet -the location of the completed painting reinforced this act of looking—of seeing and being seen. ->placed in king's office so it was private and few got to see the painting. -with its cunning contrasts of real spaces, mirrored spaces, picture spaces, and pictures within pictures—itself appears to have been taken from a large mirror reflecting the entire scene...Las Meninas is a pictorial summary and a commentary on the essential mystery of the visual world, as well as on the ambiguity that results when different states or levels interact or are juxtaposed. - the extension of the composition's pictorial depth in both directions is noteworthy. The open doorway and its ascending staircase lead the eye beyond the artist's studio, and the mirror and the outward glances of sev- eral of the figures incorporate the viewer's space into the picture as well. -Velázquez also masterfully observed and represented form and shadow. Instead of putting lights abruptly beside darks, following Caravaggio, Velázquez allowed a great number of intermediate values of gray to come between the two extremes.
Lucas Cranach, Law and Gospel, 1530
(appears in Kleiner book, read text next to image for a good summary about the image) 13 years after Luther announced his theses against the Church Shows Old Testament vs. The Gospel itself Separated by tree that grows on Protestant side and is dead on the Catholic/ Old Testament side Catholic: Moses is there to show you need to study the laws of the Church Protestant: Blood from Christ, direct access to god Right: Catholic No access to God except by Saint Chaotic / Confusion of different people Greed Priest pointing down God looks vengeful not merciful Left: Protestant Words go right to god Much more orderly Can go to dog directly, don't need to use somebody else Baptism and the Eucharist Direct relationship between Sacraments and God In a space that is Church-like Catholic versus Protestant Views of Salvation -Protestant reformers question how Christians achieve salvation. -Redemption by faith alone, with the guidance of holy scripture, was the fundamental doctrine of protestantism. - Lucas cranach the Elder gave visual expression to the doctrinal differences between protestantism and catholicism. cranach contrasted catholicism (based on old Testament law, according to Luther) and protestantism (based on the gospel belief in god's grace) in two images separated by a centrally placed tree that has leafy branches only on the protestant side. on the left half, judgment day has arrived, as represented by christ's appearance at the top of the scene, hovering amid a cloud halo and accompanied by angels and saints. christ raises his left hand in the traditional gesture of damnation, and, below, a skeleton drives off a terrified person to burn for eternity in Hell. This person tried to live a good and honorable life, but despite his efforts, he fell short. Moses stands to the side, holding the tablets of the law—the Ten commandments, which catholics follow in their attempt to attain salvation. In contrast to this catholic reliance on good works and clean living, protestant doctrine emphasized god's grace as the source of redemption. Accordingly, god showers the sinner in the right half of the print with grace, as streams of blood flow from the crucified christ. At the far left are Adam and Eve, whose original sin necessitated christ's sacrifice. In the lower right corner of the woodcut, christ emerges from the tomb and promises salvation to all who believe in him.
Gianlorenzo Bernini, Estasy of Saint Teresa, 1645-52
-Artist of the Baroque Era in Italy -Another work displaying the motion and emotion that are hallmarks of Italian Baroque art is Bernini's Ecstasy of Saint Teresa in the Cornaro chapel of the Roman church of Santa Maria della Vittoria (Saint Mary of Victory, so named because of the Virgin's aid in a 1620 Catholic victory near Prague during the Thirty Years' War). -The work exemplifies the Baroque master's refusal to limit his statues to firmly defined spatial settings. -The marble sculpture that serves as the chapel's focus depicts Saint Teresa of Avila (1515-1582), a nun of the Carmelite order and one of the great mystical saints of the Spanish Counter- Reformation, who only recently had been canonized ((in the Roman Catholic Church) officially declare (a dead person) to be a saint) by the Catholic Church. Teresa's conversion occurred after the death of her father, when she fell into a series of trances, saw visions, and heard voices. - Bernini depicted the saint in ecstasy, unmistakably a mingling of spiritual and physical passion, swooning back on a cloud, while the smiling angel aims his arrow. (she killed herself with an arrow). -all carved from the same white marble. Light from a hidden window of yellow glass pours down in golden rays suggesting the radiance of Heaven, whose painted representation covers the vault.
Nicolas Poussin, The Dealth of Germanicus, 1627
-Death of Roman General- lays in death bed in all white and has a green complexion -emotional piece
Iconoclasm
-Iconoclasm is the destruction of religious icons and other images or monuments for religious or political motives. Over time, the word, usually in the adjectival form, has also come to refer to aggressive statements or actions against any well-established status quo. -The Protestant concern over the role of religious imagery escalated at times to outright iconoclasm—the objection to and destruction of religious imagery, a revival of an attitude that, centu- ries before, led to an outright ban on religious art in the Byzantine Empire
Juan Juarez, Salvador de Horta Curing the Sick with the Sign of the Cross, Mexico, 17thC.
-Locale saint curring people -Put into a landscape and in interest to people -Spanish paintings have texts below to explain everything -Mountains have lots of churches
Theodore Galle, America (Amerigo Vespucci awakens a sleeping America), 1600
-New world controversy -> not uniformly one thing ->embodies the view of conquest - the west bringing benefits to the americas -High degree of science, technology -Theorgore represents the West -Native rep as nude female, just awakening -America didn't exist in its own consciousness ->she is only defined by the presence of Europe -material culture -exoticism -a scene of cannibalism - back to mythology -her body follows Renaissance body - muscular, pretty -purity vs savagery -sums encounter of beginning of colonization -sexualized
Nicolas Poussin, Et in Arcadia Ego, 1655
-Poussin's classical style presents a striking contrast to the contemporaneous Baroque style of his Italian counterparts in Rome, underscoring the multifaceted character of the art of 17th-century Europe. -exemplifies the "grand manner" of paint- ing that the artist advocated. -New World - Rather than depicting dynamic movement and intense emotions, as his Italian contemporaries in Rome did, Poussin emulated the rational order and stability of Raphael's paintings. -Dominating the foreground are three shepherds living in the idyllic land of Arcadia. -study inscription on the tomb -female character placing hand on man may be the spirit of death, reminding these mortals, as does the inscription, that death is found even in Arcadia, supposedly a spot of paradisiacal bliss. -resemble Roman statues -d the posture of the youth with one foot resting on a boulder derives from Greco-Roman statues of Neptune, the sea god, leaning on his trident.
Peter Paul Rubens, the Miracles of St. Francis Xavier, 1617 Marcus Aurelius, Bronze, 175CE
-Rubens built on the innovations of the Italian Renaissance and Baroque masters to formulate the first truly pan- European painting style. Peter Paul Rubens, The Miracles of St. Francis Xavier, 1617: -his left hand pointing to Fides, the personification of faith -his right hand extended towards the toppling idols -his gaze turned to the listeners and supplicants Rubens has used dramatic lighting (the Jesuit is back-lit - to stage the group of listeners and observers, who, keeping a respectful distance, are bathed in bright light.) -Standing in the shadows the armoured soldier creates an optical turningpoint in the composition, leading the gaze of the viewer to the actual miracle depicted: in the left foreground deathly pale figures are rising from their graves. -The blind man on the right, whose striking posture is based on a work by Raphael, provides counterbalance in the composition. -His outstretched arms also strengthen the compositional effect of the "plinth" on which Francis Xavier is standing. -It was hoped that placing the work on the high altar of the new church in 1618 would hasten the canonisation of Francis Xavier, and indeed both he and the founder of the Jesuits, Ignatius of Loyola, were canonised in 1622. Marcus Aurelius, Bronze, 175CE: -Equestrian Statue -made from bronze
Peter Paul Rubens, Arrival of Marie de Medici at Marseilles, 1635
-Rubens painted 24 large canvases glorifying Marie de' Medici's career. in this historical allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen's arrival in France. - Marie disembarks at that southern French port after her sea voyage from Italy. An allegorical personification of France, draped in a cloak welcomes her. -Neptune and the Nereids (daughters of the sea god Nereus) salute her, and the winged and trumpeting personified Fame swoops overhead. - in the galley's opulently carved stern-castle, under the Medici coat of arms, stands the imperious commander of the vessel, the only immobile figure in the composition... in the galley's opulently carved stern-castle, under the Medici coat of arms, stands the imperious commander of the vessel, the only immobile figure in the composition.
Ignatius Loyola
-Saint Ignatius of Loyola was a Spanish priest and theologian, who founded the religious order called the Society of Jesus and became its first Superior General. The Jesuit order served the Pope as missionaries, and they were bound by a vow of special obedience to the sovereign pontiff in regard to the missions.They therefore emerged as an important political force during the time of the Counter-Reformation. -The passionate drama of Bernini's Ecstasy of Saint Teresa correlated with the ideas disseminated earlier by Ignatius Loyola (1491-1556), who founded the Jesuit order in 1534 (see page 551) and whom the Catholic Church canonized as Saint Ignatius in 1622. In his book Spiritual Exercises, Ignatius argued that the re-creation of spiritual experiences in artworks would do much to increase devotion and piety. Thus theatricality and sensory impact were useful vehicles for achieving Counter-Reformation goals (see "The Council of Trent," page 522). Bernini was a devout Catholic, which undoubtedly contributed to his understanding of those goals. His inventiveness, technical skill, sensitivity to his patrons' needs, and energy made him the quintessential Italian Baroque artist.
Council of Trent:
-The Council of Trent, held between 1545 and 1563 in Trento (Trent) and Bologna, northern Italy, was one of the Roman Catholic Church's most important ecumenical councils. Prompted by the Protestant Reformation, it has been described as the embodiment of the Counter-Reformation. -as part of the Counter-Reformation effort, Pope Paul III convened the Council of Trent in 1545 to review controversial Church doctrines. at its conclusion in 1563, the council issued the following edict regarding the Church's role as patron of paintings and sculptures.
Paolo Veronese, Christ in the House of Levi, 1537
-Veronese's paintings feature superb color and majestic classical settings. The Catholic Church accused him of impiety for including dogs and dwarfs near Christ in this work originally titled Last Supper. -Veronese specialized in splendid pageantry painted in superb color and set within majestic classical architecture. Like Tintoretto, Veronese painted on a huge scale, with canvases often as large as 20 by 30 feet or more. His usual subjects, painted for the refectories of wealthy monasteries, afforded him an opportunity to display magnificent companies at table. - High Renaissance composition, its symmetrical balance, and its ordered architectonics. -His shimmering colors span the whole spectrum, although he avoided solid colors in favor of half shades (light blues, sea greens, lemon yellows, roses, and violets), creating veritable flowerbeds of tone. - Christ sits at the center of the splendidly garbed elite of Venice. In the foreground, with a courtly gesture, the very image of gracious grandeur, the chief steward welcomes guests. Robed lords, their colorful retainers, dogs, and dwarfs crowd into the spacious loggia (an open-sided extension to a house.) -Was put on trial by Catholic church over painting for painting for "lowly creatures" (protestants).
Titian, Venus of Urbino, 1534
-fertinility, marriage -dog reps chastity -young women going through a wedding chest, families kept all the things given to her -acknowledges our gaze, that she is sexualized, the face draws you in -soft and relaxed -became to the standard for painting of reclining female nude -round body contrasts vertical edge...meant to move viewers eyes to her left hand and pelvis -right ride of painting shows two peasants searching in a chest for garments to cloth the reclining nude mistress. - beyond the peasants shows a landscape. The painting masterfully constructed the view backward into the room and the division of the space into progressively smaller units. -COLOR- subtle color planning to not simply record surface appearance but also to organize his placement of form. (deep Venetian reds against neutral tones). -oil paint pigmented
Caravaggio, Calling of Saint Mathew, 1601
-light source importance -Jesus asking Mathew to follow him
Peter Paul Rubens. Allegory of the Consequences of War, 1638
-rushes forth with shield and bloodstained sword -He pays little heed to Venus, his mistress, who, accompanied by amors and Cupids, strives with caresses and embraces to hold him. -From the other side, Mars is dragged forward by the Fury alekto, with a torch in her hand. -Near by are monsters personifying Pestilence and Famine, those inseparable partners of War. -on the ground, turning her back, lies a woman with a broken lute, representing Harmony, which is incompatible with the discord of War. There is also a mother with her child in her arms, indicating that fecundity, procreation and charity are thwarted by War -an architect thrown on his back, with his instruments in his hand, to show that which in time of peace is constructed for the use and ornamentation of the City, is hurled to the ground by the force of arms and falls to ruin. -on the ground, under the feet of Mars a book and a drawing on paper, to imply that he treads underfoot all the arts and letters. -also a bundle of darts or arrows, with the band which held them together undone; these when bound form the symbol of Concord. Beside them is the caduceus and an olive branch, attribute of Peace -That grief stricken woman clothed in black, with torn veil, robbed of all her jewels and other ornaments, is the unfortunate Europe who, for so many years now, has suffered plunder, outrage, and misery, which are so injurious to everyone that it is unnecessary to go into detail. - Europe's attribute is the globe, borne by a small angel or genius, and surmounted by the cross, to symbolize the Christian world. -Consequences of War is a chaotic scene filled with twisting, straining, foreshortened male and female bodies, but Rubens used the commission from the Medici duke as an opportunity to express his desire for peace in an age when war was constant. Consequences of War is a commen- tary on the Thirty Years' War
Diego Velasquez, Surrender of Breda, 1634-35
-shows aggressive political policy to bring back Catholicism and eradicate Protestantism control trade of Netherlands -Spain was bankrupt -became a diplomate for Spain Portraiture: ...not a lesson ...showed importance of power/rulers ...show nobility of the subject and your distance from them -As Philip IV's court artist, Velázquez produced many history paintings, including fictional representations such as this one depicting the dutch mayor of Breda surrendering to a Spanish general. - celebrating recent Spanish military successes - Velázquez depicted the victorious Spanish troops, organized and well armed, on the right side of the painting. In sharp contrast, the defeated dutch on the left appear bedraggled and disorganized. In the center foreground, the mayor of Breda, Justinus of nassau, hands the city's keys to the Spanish general—although no encounter of this kind ever occurred. Velázquez's fictional record of the event glorifies not only the strength of the Spanish military but also the benevolence of Spínola.
Genre
...shows a narrative that engages viewer ...emotion ...small scale scenes of everyday life
Theodore Galle
America (Amerigo Vespucci awakens a sleeping America),1600
Anon. Dutch East Indies map of Batavia (Jakarta Indonesia), 17thC. Andries Beeckman, View of Batavia, 1657
Anon. Dutch East Indies map of Batavia (Jakarta Indonesia), 17thC.: -Colonization of Dutch moving to Indonesia because of spices Andries Beeckman, View of Batavia, 1657
Met. Cathedral, Mexico City, 1573-1817 Church of Santa Domingo, Puebla, 1690
BOTH BAROQUE STYLE STRUCTURES Lorenzo Rodriguez, Sagrario, Metropolitan Cathedral, Mexico City, 1749-68 -Facade- joining different media together Jeronimo de Balbas, choir screen (left) & Altar of the Kinds (right), Metropolitan Cathedral, Mexico City, 1718-37 GOLD, highly worked surface, carving -Royal authority -painting get left behind by the structural/ornament effects -meant to resemble heaven -transformation from the hussle and bussle of everyday life and then ur taken into a godly structure *built on ruins of Aztec Templo Mayor, Tenochtitlan ->often built on sights of saints - historically importance becomes apart of the church -The largest building in colonial latin America is Mexico City's Metropolitan Cathedral, built on the site of the religious center of the conquered Aztec capital. The design reflects Roman Baroque church exteriors. -The articulation of the lower facade, erected during the second half of the 17th century, reflects the style of the churches of Baroque Rome. Santo Domingo Church built on top of the golden House, Cuzco, Peru, Late 15th-early 16C.: -reference to Arch of Constantine, triumphal arch, Roman 315CE
Indulgences
Buy your way into heaven...Supply money to have them pray for you. Pardons for sins reducing the time a soul spent in purgatory. This occurred during the The Counter Reformation
Keystone arch
CORBELLED VAULT -all the weight is concentrated in one area and you can't expand it because it is heavy and would collapse -on the other hand: the rounded arch had the ability to stretch- distributed round and outwards because of : KEYSTONE -Keystone arch became very important and seen locally as something miraculous -Catholicism was miraculous
Caravaggio, The Entombment, 1603-04 Raphael, the Entombment, 1507
Caravaggio, The Entombment, 1603-04: -dramatic lighting -humble ordinary people, modest clothing, occupations Raphael, the Entombment, 1507 There are two principal and distinct motives within the picture... 1) being the suffering Mary swooning at the right, an apparent reference to Atalanta Baglioni, with probably a corollary reference to Mary as coredeemer with Christ as she echoes his Passion. 2) The other motive represents the transport of Christ's body to the tomb, which is shown on the extreme left.
Paolo Veronese
Christ in the House of Levi, 1537
Jan Vermeer, The Art of Painting, 1665-66
DUTCH painting -importance of mapping -change in 3 areas Patronage - away from religious leaders to middle class. Middle class invested in trade. Middle class could commission and buy art. Expansion and diverse art market at this time due to middle class. Genre paintings important Done with Oil Painting , portable paintings, enters into a commercial realm -Not engaging in history but in Genre painting -This subject became popular -objects stand between viewer and subjects -viewer noticed how the artist wants u to read the painting and the amount of time -spatial organization (outside and inside) curtain -foreground -lighting -dimensionality of subjects due to shadows and lighting- gives sense of moving back in 3-Dimensional space-shows a closed space ... distant and compressed -absence of color -at this time many Dutch patrons collected small paintings depicting intimate domestic scenes of family members engaged in the activities of daily life. -Vermeer appears in his own painting. -. Some art historians have suggested that the light radiating from an unseen window on the left, illuminating both the model and the canvas being painted, alludes to the light of artistic inspiration. Accordingly, many scholars have interpreted this painting as an allegory—He is hard at work on a painting of the model standing before him. She wears a laurel wreath and holds a trumpet and book, traditional attributes of Clio, the muse of history. (Also the map adds historical context).
Jan Vermeer, Art of Painting: detail map of the Netherlands
Detail: map of the Netherlands -The map of the provinces (an increasingly common wall adornment in Dutch homes) on the back wall serves as yet another reference to history. -shows close up landscapes from the map -shows understanding of space mathematically
Gianlorenzo Bernini
Ecstasy of Saint Teresa, 1645-52
Jan Vermeer, Women Reading Letter, 1657 Jan Vermeer, Officer & Laughing Women, 1655-60
Genre painting: small scale scenes of everyday life Jan Vermeer, Women Reading Letter, 1657: the open window is on one level intended to represent "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations. Jan Vermeer, Officer & Laughing Women, 1655-60: -interaction btw women and soldier -New World image -light source of window (classic Vermeer)
Geographic map:
Geographic maps are abstractions of the world we live in and phenomena on, within, or above its surface. As abstractions, maps allow features in the real world to be represented in paper, digital media, and databases, allowing us to calculate, present, and better understand the relationships that objects in the real world have with one another.
Lucas Cranach
Hallowed Be Thy Name, 1527 The Passion of Christ and AntiChrist, 1520s Law and Gospel, 1530
Nicolas Poussin, Landscape w/ St John on Patmos, 1640 Nicolas Poussin, Burial of Phacion, 1648 Nicolas Poussin, Landscape w/ Diogense, 1647
Landscape w/ St John on Patmos, 1640: -Poussin placed Saint John in a classical landscape amid broken columns, an obelisk, and a ruined temple, suggesting the decay of great civilizations and the coming of the new Christian era Burial of Phacion, 1648: -Saint John reclines in the foreground, posed like a Greco- Roman river god, amid shattered columns and a pedestal for a statue that disappeared long ago. In the middle ground, two oak trees frame the ruins of a classical temple and an Egyptian obelisk, many of which the Romans brought to their capital from the Nile and the popes reused in their building projects—for example, in the piazza in front of Saint Peter's - The decaying buildings suggest the decline of great empires—to be replaced by Christianity in a new era. In the distance are hills, sky, and clouds, all of which Poussin represented with pristine clarity, ignoring the rules of atmospheric perspective.... Rather, they are imaginary settings constructed according to classical rules of design. Poussin's clouds, for example, echo the contours of his hills. Landscape w/ Diogense, 1647
Lucas Cranach, Hallowed Be Thy Name Jerome Breu, The Sales of Indulgences, woodcut, 1530
Lucas Cranach is the artist most closely associated with the P.R. -provided illustrations for Luther's vernacular bible Images of Preaching: Hallowed Be Thy Name: -Show attitude, dress, mixed congregation, different mix of class and gender all listening attentively -Protestant defined by a social body -First time people encountering images themselves-> Educate -Not ritually based -inside Jerome Breu, The Sales of Indulgences, woodcut, 1530: criticism of indulgences
Antichrist
Many deceivers have gone out into the world, those who do not confess that Jesus Christ has come in the flesh; any such person is the deceiver and the antichrist! Who is the liar but the one who denies that Jesus is the Christ? This is the antichrist, the one who denies the Father and the Son. Luther called Catholic pope antichrist.
Order of Santiago
Order of Santiago, Spanish Orden de Santiago, Christian military-religious order of knights founded about 1160 in Spain for the purpose of fighting Spanish Muslims and of protecting pilgrims on their way to the shrine of Santiago de Compostela. -Throughout his career, Velázquez hoped to be ennobled by royal appointment to membership in the ancient and illustrious Order of Santiago (Saint James). Because he lacked a sufficiently noble lineage, he gained entrance only with difficulty at the very end of his life, and then only through the pope's dispensation.
Georg Pencz, The Content of Two Sermons, 1539
Right: Catholic Preaching on an ornate pulpit to those that are unengaged and talking amongst themselves Class division (clearly see a servant and rich man) Mostly rich people within the image Priest not engaging, no book Left: Protestant People are engaged with speaker and each other Book opened, a thorough preacher Mixed groups of people A certain way of listening, behavior, and aesthetic to strive for (Left not Right)
Lucas Cranach, The Passion of Christ and Antichrist, 1520
Right: Priest is the Antichrist (embodiment of evil) Crown on priest to show wealth Selling and exchanging money / objects
Juan Juarez
Salvador de Horta Curing the Sick with the Sign of the Cross, Mexico, 17thC
Rembrandt van Rijn
Sampling Officials of Drapers Guild, 1662
Willem Kalf
Still Life w/ Late Ming Ginger Jar, 166
William Kalf, Still Life w/ Late Ming Ginger Jar, 1669 Rembrandt van Rijn, Sampling Officials of Drapers Guild, 1662
Still Life w/ Late Ming Ginger Jar, 1669: -These paintings of worldly pos sessions marked the emergence of an important new class of art patrons—wealthy merchants—who had tastes distinctly different from those of the leading patrons elsewhere in Baroque Europe, namely royalty and the Catholic Church. Dutch still lifes, which were well suited to the Protestant ethic rejecting most religious art, are among the finest ever painted. They are meticulously crafted images both scientific in their optical accuracy and poetic in their beauty and lyricism. -The opulent objects, especially the Persian carpet and Chinese jar, attest to the prosperous Dutch maritime trade. Kalf's inclusion of a watch suggests that this painting may be a vanitas still life. -Kalf highlighted the breadth of Dutch maritime trade through his depiction of the Persian floral carpet -the Chinese jar used to store ginger (a luxury item) -the Mediterranean orange and peeled lemon. -He delighted in recording the lustrous sheen of fabric and the light glinting off reflective surfaces. -he inclusion of the watch suggests that this work, like Claesz's Vanitas Still Life, may also be a vanitas (a still-life painting of a 17th-century Dutch genre containing symbols of death or change as a reminder of their inevitability.) painting, if less obviously so Sampling Officials of Drapers Guild, 1662: -an ideal solution of the principal problem of painting a portrait group. -psychological grasp of the personalities of the six men make this Rembrandt's greatest group portrait. -Rembrandt brilliantly exploits horizontals - a classical rather than a Baroque device -Three horizontals run through the picture at almost equal intervals: the edge of the table and the arm of the chair at the left mark the lowest one; the middle one is established by the prevailing level of the heads; and the upper one runs along the edge of the wainscoting. -strategic color choice
Diego Velasquez
Surrender of Breda, 1634-35 Las Meninas, 1656 Water Carrier of Seville, 1619 Bodegón (Christ in the House of Martha & Mary),1618
Jan Vermeer
The Art of Painting, 1665-66 Woman Reading Letter, 1657 Officer & Laughing Woman, 1655-60
Georg Pencz
The Content of Two Sermons, 1539
Counter-Reformation:
The Counter-Reformation also called the Catholic Reformation or the Catholic Revival, was the period of Catholic resurgence initiated in response to the Protestant Reformation, beginning with the Council of Trent (deals with issues of Church Doctrine and was in response to Protestantism) and ending at the close of the Thirty Years' War (1648). The Counter-Reformation was a comprehensive effort composed of four major elements: 1. Ecclesiastical or structural reconfiguration 2.Religious orders 3.Spiritual movements 4.Political dimensions Protestantism was created. -Was a more personal faith rather adherence to Church practices. -Protestantism believe the only true religious relationship was a personal relationship between an individual and God. -Catholic church viewed art as valuable for cultivating piety... Protestants believed that religious imagery encouraged idolatry and distracted from developing a relationship with God. ->Catholic churches had more art and Protestant churches were more bare : Luther approved the inclusion of illustrations in his translations of the Bible as well as painted altarpieces in churches, which he believed served a didactic purpose. -Wealthy merchants also cultivated art as a status symbol, and the commissioning and collecting of artworks became less and less the exclusive province of the aristocracy. -These important societal changes occurred against the backdrop of a momentous religious crisis. Concerted attempts to reform Church practices led to the Reformation and the establishment of Protestantism (as distinct from Catholicism), which in turn prompted the Church of Rome's response, the Counter-Reformation. Ultimately, the Reformation split Christendom in half and produced a hundred years of civil war between Protestants and Catholics.
Nicolas Poussin
The Death of Germanicus, 1627 Holy Family on the Steps, 1648 Et in Arcadia Ego, 1655 Landscape w/ St John on Patmos, 1640 Burial of Phocion, 1648 Landscape w/ Diogenese,1647
Raphael
The Entombment, 1507
Caravaggio
The Entombment, 1603-04 Calling of Saint Matthew, 1601
Peter Paul Rubens
The Miracles of St. Francis Xavier, 1617 Marcus Aurelius, Bronze,175CE Arrival of Marie de Medici at Marseilles, 1635 Allegory of the Consequences of War,1638
Northern Humanism:
The Northern Renaissance was the Renaissance that occurred in Europe north of the Alps. Before 1497, Italian Renaissance humanism had little influence outside Italy. From the late 15th century, its ideas spread around Europe. -The concerted challenges to established authority and the persistent philosophical inquiry eventually led to the rise of new political systems (for example, the nation-state) and new economic systems (such as capitalism).
Reformation:
The Reformation also referred to as the Protestant Reformation and the European Reformation, was a schism from the Roman Catholic Church initiated by Martin Luther in 16th century Europe. The period is usually considered to have begun with the publication of the Ninety-five Theses by Luther in 1517. Protestant Reformation: Martin Luther 1517 -Published 95 theses protesting the Catholic Church : in which he enumerated his objections to Catholic practices, especially the sale of indulgences. Indulgences were Church-sanctioned remittances (or reductions) of time Catholics had to spend in Purgatory for confessed sins. The increasing frequency of their sale suggested that those who could afford to purchase indulgences were buying their way into Heaven. - Luther facilitated the lay public's access to biblical truths by publishing the first translation of the Bible in a vernacular language. -Catholic = Bad, Dishonest Protestant = Good, Honest The deteriorating relationship between the faithful and the Church of Rome's hierarchy stood as an obstacle for the millions who sought a meaningful religious experience. Particularly damaging was the perception that the Roman popes concerned themselves more with temporal power and material wealth than with the salvation of their Christian flock. The fact that many 15th- century popes and cardinals came from wealthy families, such as the Medici, intensified this perception.
Jeorge Breu
The Sale of Indulgences, 1530
Inquisition
The Tribunal of the Holy Office of the Inquisition, commonly known as the Spanish Inquisition, was established in 1478 by Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile. an ecclesiastical tribunal established by Pope Gregory IX c. 1232 for the suppression of heresy. It was active chiefly in northern Italy and southern France, becoming notorious for the use of torture. In 1542 the papal Inquisition was re-established to combat Protestantism, eventually becoming an organ of papal government.
Titian
Venus of Urbino, 1536
Andries Beeckman
View of Batavia, 1657
Diego Velazquez, Water Carrier of Seville, 1619 Diego Velazquez, Bodegón (Christ in the House of Martha and Mary), 1618
Water Carrier of Seville, 1619 -a genre scene that seems to convey a deeper significance: the contrast of darks and lights, and the plebeian nature of the figures, reveal Velázquez's debt to Caravaggio. - In this genre scene that seems to convey a deeper significance, Velázquez rendered the figures with clarity and dignity, and his careful and convincing depiction of the water jugs in the foreground, complete with droplets of water, adds to the scene's credibility. The plebeian nature of the figures and the contrast of darks and lights again reveal the influence of Caravaggio, whose work Velázquez had studied. Bodegon (Christ in the House of Martha & Mary), 1618 -work isn't just labor it's spiritual -extends the space and adds another scene that relate-builds a narrative (this is what genre painting is able to do) Who buy them? For who are they produced? -for middle class -not super expensive and they are well painted -two different worlds of classes-never interacted -what's interesting is what is excluded from the images is poverty, discontent of social exploitation -social awareness made them comforting -study of light, optics, and observations -how light hits glass and vase and hwo it gives a sense of atmosphere, light defines the composition of space -weight and texture
Allegory
a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one.
Cronographic map
a timepiece capable of measuring extremely brief intervals of time accurately, as a stopwatch able to record fractions of a second as well as elapsed time.
Bodegón
a type of genre scene of Spanish origin
Heresy
belief or opinion contrary to orthodox religious (especially Christian) doctrine.
Philip Neri
known as the Third Apostle of Rome, after Saints Peter and Paul, was an Italian priest noted for founding a society of secular clergy called the Congregation of the Oratory (small church).
Dutch East India Trading Company VOC:
referred to by the British as the Dutch East India Company, was originally established as a chartered company in 1602, when the Dutch government granted it a 21-year monopoly on the Dutch spice trade. Dutch East Indies Trading Company (VOC), Charter 1602: Williem Jansz Blaeu, "Africa" World Atlas, 1630 -pictures on maps -ships -not visually placed in any relation
Eucharist
the Christian ceremony commemorating the Last Supper, in which bread and wine are consecrated and consumed.
Idolatry
worship of idols.
