ART HISTORY 1304 CHAPTER 20

42. (Fig. 20-19) & (FIG. 20-18C) Who is the artist of these paintings?

(20-18) Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen

42. (Fig. 20-19) & (FIG. 20-18C) Who is the artist of these paintings?

(20-19) Jan Vermeer, The Letter

78. Did this French artist pursue classicism?

(no/false) The works of Louis Le Nain, have more in common with contemporaneous Dutch art than with Renaissance or ancient art.

74. Did Claude Lorrain formalize nature?

(yes/true) Claude's formalizing of nature with balanced groups of archi-tectural masses, screens of trees, and sheets of water followed the great tradition of classical landscape.

75. Are Claude Lorrain's landscapes ideal classical landscapes?

(yes/true) Claude's formalizing of nature with balanced groups of architectural masses, screens of trees, and sheets of water followed the great tradition of classical landscape.

Did Rubens have assistance in the practice of his art which he produced for an international clientele?

(yes/true) To produce a steady stream of paintings for a rich and powerful inter-national clientele, Rubens employed scores of assistants.

15. What is a still life? (also see the Glossary)

A picture depicting an arrangement of inanimate objects.

16. Who was the Flemish artist who was a pioneer of still-life painting?

A pioneer of this genre was Clara Peeters (1594-ca. 1657), a native of Antwerp who spent time in Holland and laid the groundwork for many Dutch artists

41. What Dutch painter made his reputation as a painter of interior scenes?

Although he also painted landscapes, such as View of Delft, Johannes Vermeer made his reputation as a painter of interior scenes

14. (Fig. 20-5) Who is the artist of this painting?

Anthony Van Dyck, Charles I Dismounted

43. Historians believe that Vemeer used what tools in his painting?

Art historians believe that Vermeer used as tools both mirrors and the camera obscura

55. As Dutch prosperity increased, what made subject matter their way into still-life paintings?

As Dutch prosperity increased, precious objects and luxury items made their way into still-life paintings in great numbers.

70. What artist rivaled Poussin in fame?

Claude Lorrain

71. (Fig. 20-33) Who is the artist of this painting?

Claude Lorrain, Landscape with Cattle and Peasants

76. Therefore, are the settings in Claude Lorrain's paintings a specific location or place?

Claude's land-scapes owe their timeless appeal to the distinctive combination of the natural beauty of the outskirts of Rome and the mystique of the past.

49. The meticulously crafted Dutch still lifes, just like Vermeer's interior scenes, possess what two characteristics?

Dutch Vanitas Still-Life Paintings, it tells you the answer. It says that they are both 1) scientific in their optical accuracy and 2) poetic in their beauty and lyricism. Therefore, they are 1) scientific and 2) poetic. Those are the two characteristics.

45. What suggests that Vermeer was ahead of his time in the understanding of the science of color?

Enhancing this quality are colors so true to the optical facts and so subtly modulated that they suggest that Vermeer was far ahead of his time in color science.

79. What 17th-century French theory does this painting reflect, if not classical?

Family of Country People reflects the thinking 17th-century French social theorists who celebrated the natural virtue of peasants who worked the soil.

1. What close connections did 17th-century Flemish art retain with their artwork?

Flemish Baroque painters retained close connections to the Baroque art of Catholic Europe.

73. What was the essential theme of Claude Lorrain's landscapes?

For the French artist, painting involved essentially one theme—the beauty of a broad sky suffused with the golden light of dawn or sunset glowing through a hazy atmosphere and reflecting brilliantly off rippling water.

22. What kind of portraiture did Frans Hals produce?

Frans Hals produced lively portraits that seem far more relaxed than traditional formulaic portraiture.

23. (Fig. 20-10) Who is the artist of this painting?

Frans Hals, Archers of Saint Hadrian

68. What type of settings did Poussin represent in his landscapes?

His classical style presents a striking contrast to the contemporaneous Baroque style of his Italian counterparts in Rome, underscoring the multifaceted character of European art of this era.

58. Rachel Ruysch was among the leading Dutch practitioners, with an international reputation, of what kind of still-life paintings?

One of the major practitioners of flower painting was Rachel Ruysch

51. (Fig. 20-21) What is the name of this still-life painting by Pieter Claez?

PIETER CLAESZ, Vanitas Still Life

24. What was the challenge that he succeeded in solving in his group portraits?

PROBLEM: The Calvinists shunned ostentation, instead wearing subdued and dark clothing with little variation or decoration, and the traditional conventions became inappropriate and thus unusable. SOLUTION: Despite these difficulties, or perhaps because of them, Frans Hals produced lively portraits that seem far more relaxed than traditional formulaic portraiture.

18. (Fig. 20-6) This artist won renown for depictions of what?

Peeters won renown for her depictions of food and flowers together, and for still lifes featuring bread and fruit, known as breakfast pieces. In Still Life with Flowers, Goblet, Dried Fruit, and Pretzels

(Fig. 20-3) What is the name of this painting and who is the artist?

Peter Paul Rubens, Arrival ofMarie de' Medici at Marseille

6. (Fig. 20-4) What is the name of this painting and who is the artist?

Peter Paul Rubens, consequences of war

(Fig. 20-2) What is the name of this triptych and who is the artist?

Peter Paul Rubens, elevation of the cross

50. What tempered Dutch pride in worldly goods?

Pieter Claesz, celebrates material possessions, morality and humility central to Calvinism tempered Dutch pride in worldly goods so he had to include reminders of mortality (memento moris)

57. (Fig. 20-23) Who is the artist of this painting?

Rachel Ruysch, Flower Still Life

19. Such still lifes as these became known as what?

Such still life paintings as this one "Still Life with Flowers, Goblet, Dried Fruit, and Pretzels" by Clara Peeters are called what? In the paragraph about this painting, it calls these kinds of still life paintings "breakfast pieces." Therefore, they are known as "breakfast pieces."

60. Louis XIV (14th) and his principal advisor, Jean-Baptiste Colbert, strove to organize art and architecture for what purpose?

The Sun King's desire for control extended to all realms of French life, including art. Louis and his principal adviser, Jean-Bap-tiste Colbert , strove to organize art and architecture in the service of the state.

40. How were Dutch landscape painters, such as Cuyp and Ruisdael, different in their depictions from the classical landscapes in many Italian Renaissance paintings?

The classical Renaissance landscapes were "idealized," which means they are not real, specific places, but an "ideal" or invented location. Renaissance classical paintings were classical "ideals." These are real, specific places and settings that you could recognize if you were there. They are not an invented or idealized setting that you would not recognize.

25. How did earlier group portraits contrast to Frans Hals' group portraits?

The earlier portraits of the Calvinist traditions shunned ostentation. The people in the portraits wore dark, subdued clothing. They were subdued. They were traditional and formulaic. Frans Hals' later group portraits defied this traditional convention. They were lively, contained spontaneity, the people had individuality. They were engaging. (See the contrast in Frans Hals' earlier group portrait called "The Women Regents of the Old Men's Home at Haarlem.") They are somber, no individualism, subdued.

5. What is characteristic of Ruben's human figures in his paintings?

The human body in action, draped or undraped, male or female, would remain the focus of Rubens's art throughout his long career.

8. What did the magnificence and splendor of Baroque imagery reinforce for patrons that it appealed to?

The magnificence and splendor of Baroque imagery reinforced the authority and right to rule of the highborn.

13. Who was the most famous of Ruben's assistants who specialized in court portraiture and was also influential internationally?

The master's most famous pupil was Anthony van Dyck (1599-1641). Early on, the younger man, unwilling to be overshadowed by Rubens's undisputed stature, left his native Antwerp for Genoa and then London, where he became court portraitist to Charles I and was awarded a knighthood.

59. Who was the preeminent or major art patron of the 17th century in France?

The preeminent French art patron of the 17th century was King Louis XIV himself.

10. (Fig. 20-4) What term is used to describe this type of painting?

Therefore, it is an historical painting or "history" painting and also an "allegorical" painting. There are "history" paintings and "allegorical" paintings in art history. So, this painting is an historical event and also depicted as an allegory.

67. Do these two landscapes represent a specific time and space?

These are two landscapes by the artist named Poussin. If Poussin was a classical landscape painter (remember that classical Renaissance landscapes are "idealized") then, would the settings of these two classical landscapes be a specific time and place that is real and would be recognized if you were there? You should be able to answer this.

61. What did Louis XIV and his principal advisor understand about the power of art?

They fully appreciated the power of art as propaganda and the value of visual imagery for cultivating a pub-lic persona, and they spared no expense to raise great monuments celebrating the king's absolute power.

12. (Fig. 20-3) This painting is a commentary on what?

This painting is called "Consequences of War." The title tells you what the commentary of the painting is. It comments or describes the "consequences of war." It is a commentary on the attitude of war, the discords of war etc.

72. How did the figures in Claude Lorraine's landscapes differ from those in Poussin's pictures?

Unlike the figures in Poussin's pictures, those in Claude's landscapes tell no dramatic story, point out no moral, praise no hero, and celebrate no saint.

46. What did Vermeer realize about shadows, adjoining colors, and light?

Vermeer realized that shadows are not colorless and dark, that adjoining colors affect each other, and that light is composed of colors.

(Fig. 20-13) This painting, The Company of Captain Frans Banning Cocq, is better known as by what title?

better known as Night Watch. This more commonly used title is a misnomer

56. (Fig. 20-22) In this still-life painting by Willem Kalf, what item suggests that the work is a vanitas painting?

he inclusion of the watch suggests that this work, (like Claesz's Vanitas Still Life), may also be a vanitas painting, if less obviously so.

9. (Fig. 20-4) Who was the patron of this painting and what was its purpose?

in March 1638, Peter Paul Rubens wrote a letter to Justus Suster mans (1597-1681), court painter of Grand Duke Ferdinando II de' Medici of Tuscany, explaining his Consequences of War and his attitude toward the European military conflicts of his day.

21. Dutch art production during the Baroque period catered to what audience?

one distinguishing hallmark of Dutch art production during this period was that it catered to the tastes of a middle class audience, broadly defined.

64. What image does this portrait successfully convey?

portrait successfully conveys the image of an absolute monarch.

48. What kind of paintings reflected the pride that the prosperous Dutch had in their accomplishments?

still-life paintings had a double appeal to Dutch patrons as celebrations of their prosperity and as reminders of the transience of life. As Dutch prosperity increased, precious objects and luxury items made their way into still-life paintings in great numbers.

52. What is a vanitas painting?

vanitas symbols are objects or things included in an artwork to remind us of the inevitability of death, and the impermanence of the material world.

33. This misnomer is due to what reason?

Night Watch was one of six paintings by different artists commissioned by various groups around 1640 for the assembly and banquet room of Amsterdam's new Musketeers Hall, the largest and most prestigious interior space in the city.

44. What is a camera obscura?

Latin, "dark room." An ancestor of the modern camera in which a tiny pinhole, acting as a lens, projects an image on a screen, the wall of a room, or the ground-glass wall of a box; used by artists in the 17th, 18th, and early 19th centuries as an aid in drawing from nature.

77. (Fig. 20-34) Who is the artist of this painting?

Louis Le Nain, Family of Country People

63. Who is the subject of the portrait?

Louis XIV

17. (Fig. 20-6) Who is the artist of this painting?

Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels

62. (Fig. 20-24) Who is the artist of this portrait?

Hyacinthe Rigaud, Louis XIV

54. Where is the self-portrait in this painting and what is the message, and what purpose does it serve?

If you look at the still life and read about it in the same paragraph, it tells you this. Read about the self-portrait in this still life. It talks about the glass ball in this still life and what is reflected in it.

32. Why is this more commonly known title a misnomer?

It features dramatic lighting, but the painting's darkness (which explains in part the com-monly used title)

53. (Fig. 20-21) What objects are references to mortality or passages of time in this still life?

It tells you that Pieter Claesz's still-life painting contains references to mortality with objects such as the skull, timepiece, tipped glass, and cracked walnut. Still life paintings, such with references such as these about mortality or life's transience, are called "vanitas" still life paintings.

65. Who was the leading French proponent of classical painting during the 17th century?

Nicolas Poussin

66. (FIG. 20-32A) Who is the artist of these painting?

Nicolas Poussin, Burial of Phocion

66. (FIG. 20-32) Who is the artist of these painting?

Nicolas Poussin, Landscape with Saint John on Patmos

47. (Fig. 20-1) Who is the artist of this painting?

Johannes Vermeer, Allegory ofthe Art ofPainting

26. (Fig. 20-11) Who is the artist of this painting?

Judith Leyster, Self-Portrait

27. This artist, who also had a thriving career, was a student of whom?

Judith Leyster. Some of Hals's followers developed thriving careers of their own as portraitists.

34. What did Rembrandt do differently in his use of light as opposed to using the dramatic effect of sharp chiaroscuro?

Rather than present assembled men posed in orderly fashion, the younger artist chose to portray the company members rushing about in the act of organizing themselves, thereby animating the image considerably.

20. After succeeding in securing their independence from Spain, did the Dutch Republic produce a large amount of religious art? Why?

Religious differences were a major consideration during the northern Netherlands' insistent quest for independence in the 16th and early 17th centuries. Whereas Spain and the southern Netherlands were Catholic, the people of the northern Netherlands were pre-dominantly Protestant. The prevailing Calvinism demanded a puritanical rejection of art in churches, and thus artists produced relatively little religious art in the Dutch Republic at this time (especially compared with the volume of commissions created in the wake of the Counter-Reformation in areas dominated by Catholicism; see "The Council of Trent,"), and all of it was intended for display in private settings instead of churches.

37. (Fig. 20-15) This is a portrait of whom?

Rembrandt van Rijn (himself)

29. (Fig. 20-12) Who is the artist of this painting?

Rembrandt van Rijn, Anatomy Lesson of Dr. Nicolaes Tulp,

39. (Fig. 20-16) Who is the artist of this artwork and what is the medium?

Rembrandt van Rijn, Christ with the Sick around Him (Hundred-Guilder Print),

28. A younger contemporary of Frans Hals, who was the artist of great versatility and the greatest Dutch artist of his time?

Rembrandt van Rijn, Hals's younger contemporary and the leading Dutch painter of his time, was an undisputed genius

36. (Fig. 20-15) Who is the artist of this painting?

Rembrandt van Rijn, Self-Portrait

30. (Fig. 20-13) Who is the artist of this painting?

Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch)

38. Besides painting, Rembrandt was known for his virtuosity and mastery of what other art medium?

Rembrandt's virtuosity also extended to the graphic media, especially etching

35. In contrast to the Renaissance artists, in general, Rembrandt's technique of using light is closer to what?

Rubens and Caravaggio.

2. What innovations did Peter Paul Rubens build on to formulate the first truly European painting style?

Rubens built on the innovations of the Italian Renaissance and Baroque masters to formulate the first truly pan-European painting style.

7. Did the ostentation and spectacle of Baroque art appeal only to the Catholic Church?

Rubens's interaction with royalty and aristocracy provided the Flemish master with an understanding of the ostentation and spectacle of Baroque (particularly Italian) art that appealed to the wealthy and privileged.