Art History 6B: Pieces for the Final

Rembrandt van Rijn Night Watch

dates: 1642 medium: oil on canvas style: Baroque in Northern Europe * context: group portrait of elite citizens who have helped defend the city against Spanish military through the establishment of militias * would parade in celebration in public displays of civic pride * militia group: Amsterdam Civic Guard Company of Musketeers * 3 muskets depicted * most important figures in the militia are placed centrally * accumulated so much grime in its contemporary placement that the pigment became dark, therefore named Night Watch. However, original scene took place during the day * takes group portraits in a new direction - he imposes a hierarchy of figures * central figures placed in an intense Baroque light to make them stand out, almost as if there is a spotlight * central figure's gesture gesticulates out into the audience - foreshortening * shadow appears on his contemporary's uniform * celebrating the muskets (militia's special weapon) * depicts three stages of using the muskets * one man is loading the musket * one is aiming/raises the musket and it has just been fired (see smoke in the detail as it fades into the hat), musket seen flying * older man is blowing out the barrel of the musket's chamber to make it ready for another round * A young girl is depicted * mysterious figure that has been identified as a "mascot" of the group * detail * gun placed in the foreground covering part of her dress * dead chicken lays over her waist - chicken feet are highly detailed * dead chicken also seen on necklaces of the militia group * dead chicken is symbol of the militia * makes viewer interact with the scene * figures are dynamically placed within the scene to depict them while telling a deeper story about them and their connections to one another * reflects in the actions/eagerness of the modern audience while viewing the painting * originally placed in Amsterdam in the Great Meeting Hall of the militia * was larger in its original placement

Bernini Fountain of the Four Rivers

dates: 1648-1651 medium: marble style: Baroque architecture * replaced a drinking trough in the Piazza Navona in Rome * sculpted travertine grotto supporting an ancient obelisk that Pope Innocent had transferred from the circus of Roman emperor Maxentius * transformed the piazza from an everyday workspace into a scenic representation of papal power, a stage upon which was enacted the drama of post-Tridentine Catholic expansion across Europe and around the world * four rivers symbolize spread of Catholicism throughout the world * personifying major rivers of the four continents - Danube, Nile, Ganges and Ria Plata * Nile is covering its head because at that time, people did not know the source of the Nile * robust naturalism * free deployment of forms in space * River Gods disposed in lively attitudes on an irregular, deep cut rocky base * craggy mass appears inadequate to support weighty obelisk on top * complexity and multiplicity of parts but possesses a powerful unity of a spectacular monument * symbol of universal triumph of the church * no one way to look at the artwork - involves the viewer in its meaning * rise of Age of Exploration, which will cause imperialism in later times

Diego Velasquez Las Meninas

dates: 1656 medium: oil on canvas style: Baroque in Spain * Baroque painter, one of Spain's most famous paintings is Las Meninas * royal portrait now in the Prado * promoted as main court painter for Philip IV and his family * focus on PRoncess Margaret Teresa and her maids of honor, las meninas * depicts himself on far left working on his painting * outfit stands out * red cross is a symbol of order of Sant Diego * aristocratic order for noble and high esteemed * painted on afterwards once he received this honor * on right side of the painting * in reflection of mirror, vague image of king and queen * similarity to Goldchanger and His Wife * theory that painting is a reflection of painter in his studio as princess plays with her maids

Rembrandt van Rijn Self Portrait as a Painter

dates: 1660-1662 medium: oil on canvas style: Baroque in Northern Europe * embrandt created a portrait of himself every year throughout his career * shows himself aging realistically - wants to show what life is like living through his self-portrait * becomes a meditation of living and dying in preparation for death * context: Rembrandt enjoyed great success and fame but had financial issues * detail of him holding his paint palette * loosely rendered * examination of the interior of ourselves - empathetic sense

Albrecht Durer Self-Portrait

dates: 1500 medium: oil on wood style: High Renaissance and Mannerism in the North * Durer appears to look similar to Christ - with his short beard and long hair * hand is raised in a way that is close to a sign of blessing in Byzantine icons, however it does not duplicate it for that would have been blasphemous - focus on the hand is in reference to the artist's hand as a creative instrument * inspired by humanistic view * painted in the Italian style - half-length with 3/4 view * artist is portrayed in a fur-trimmed coat against a dark background

Albrecht Dürer Adam and Eve

dates: 1504 medium: engraving style: High Renaissance and Mannerism in the North * Adam and Eve - complete understanding of human bodies according to the ideals of Italian Renaissance * animals in the foreground represent characteristic of the four humors - melancholy, sensuality, cruelty, sluggishness * believed that these humors had been in perfect equilibrium in the human body until the First Sin * thought that a person's personality was determined by his predominant humor * correspond with the elements that make up our body - phlegm, blood, urine and bile * snake depicted wrapped around the tree with the apple in its mouth * manifestation in the fascination of the idea; - man and woman are nearly symmetrical with transfer of weight on one leg * arms are bent slightly away from the body * referencing back to the Apollobelvediere in Rome * complete mastery of his medium * compare textures * everything rendered so distinctively * branch Adam holds is of the Mountain Ash with a Parrot and fig Eve has broken off is from the Tree of Knowledge * parrot thought to depict salvation or the anecdote to the serpent * mountain goat depicts lust and damnation * mouse depicts male weakness

Hieronymus Bosch Garden of Earthly Delights

dates: 1505-1510 medium: style: High Renaissance and Mannerism in the North * exterior panels show the world during creation, probably before the creation of humans * opens to reveal Adam and Eve in the Garden of Earthly Delights * shows excesses * commissioned for Count Henry III

Pieter Paul Rubens Consequences of War

dates: 1638-1639 medium: oil on canvas style: Baroque * Rubens had great insight into European politics from his diplomatic missions and never ceased to promote peace * allegory of figures: * Europe and Venus (Mars' lover) are depicted as women on the left * Mars (God of War), Fury, Charity, Harmony and Architecture are personified as men fighting * Venus is grabbing onto Mars to stop him from going into war * battle will be ruinous to art and civilization * Harmony falls on a broken lute, an instrument from the Renaissance * painting is a declaration against conflict and war

Jan Steen Feast of Saint Nicholas

dates: 1660-1665 medium: style: Baroque in Northern Europe * Genre Scene - scene from everyday life * woman of the household is criticizing a child for spilling the bread that would have been eaten during the holiday * holiday - present Christmas; held on Dec. 5th when Santa Claus gives toys and goodies to children * relatable, celebrate things that we enjoy in modern times * this cultural aspect was adopted from the Dutch * aspect of Santa Claus carrying a pipe was borrowed from Dutch details such as the pipe in Vanitas Still Life * outside of the window depicts that it is winter - bare branches * scene focuses on children * interlocking gestures are used to tell a story about the family * little girl is clutching her new John the Baptist doll and holding a bucket of candy/treats * shoe clutters the foreground - shoes would have been filled with candy by Santa Claus * younger boy is crying because he has not received anything * sister and brother are teasing him by holding an empty shoe * grandmother is going to give crying child a treat * a child is sharing the story of Saint Nicholas * Genre scenes similar to Diego Velasquez' Water Carrier of Seville and Las Meninas * interesting comparisons between arrangement of forms and figures and the purpose of the painting

Frans Hals The Women Regents of the Old Men's Almshouse

dates: 1664 medium: oil on canvas style: Baroque in Northern Europe * return to group portraiture * group portrait of women - devote women who engaged in charitable works * help out in society and promote social good * lack of energy as in Night Watch or other more dynamic paintings * however sharp contrasts between dark and light, and individualism of the figures creates an interesting scene * facial expressions show "what life they lived" * simple clothes emphasize their features (swollen, sunken eyes and weary faces) and make them appear extraordinary * portraits memorialized individuals * 3 women and their attendant * loosening of technique and brush stroke makes surface more dynamic * makes hands appear older - hands that have worked and lived * imperfect beauty because artist has taken time to properly depict age and the women's lives

Jan Vermeer Woman Holding a Balance

dates: 1664 medium: oil on canvas style: Baroque in Northern Europe * woman holds a small scale * stands in front of a depiction of the Last Judgement * light comes through the window and shines on her - meditation on beauty * shines on details of her dress, and on the scale * composition symbolizes her soul and the ideals of the Christian faith * objects are reminders of what is truly of value in a Christian life

Matthais Grunewald Isenheim Altarpiece

dates: 1510-1515 medium: oil on wood style: Northern Europe * contrast between agony and ecstasy * fitting for hospital setting where the viewers were enduring physical agony and pain * originally intended for Hospital of Saint Anthony * monks took care of patients suffering from a skin disease known as Saint Anthony's Fire * monks were of a silent order, did not speak * wings of the altarpiece are now separated to display all of the panels, which is different from original form * takes the form of a carved wooden shrine, built around an original sculpture by another artist * most of his contemporaries were depicting delicacies, Grunewald depicted a gruesome scene * cross is bowed to represent Jesus bearing the sins of the world * Jesus himself is depicted with the skin disease * loin cloth is same that patients would wear * graphic nature served to define and illustrate the understanding of Christian ministry * patients were brought to the piece to meditate on it before they passed * 3 states * closed - shows crucified cross with Mary, John the Evangelist and John the Baptist; emphasizes suffering of Christ * clues to the suffering: depictions of patron saints of the sick and of the plague (Saint Sebastian and Saint Anthony) * state where altarpiece would have been seen most days of the year * gruesome depiction of Christ's crucifixion * nails are depicted piercing Christ's feet in a realistic way to reconcile Christ's suffering * torment of other figures shown in great suffering * Mary's hands are not peacefully folded * modeled after Christ's hands * predella depicts a Lamentation * middle * suffering transforms into the joys of the Annunciation * Angel Gabriel comes to the Virgin Mary, choir of angels, birth of Baby Jesus, Resurrection of Christ * transformative emotion * viewers can feel the joy of Christ * stark contrast against death * drapery on Angel Gabriel appears to move * God the Father and angels depicted in bright light * incredible ability to show the details of the ordinary world * Jesus appears healed through God's love - connection to the spiritual/faithful contemporary viewers * fully opened * statues inside * Temptation of Saint Anthony depicted on the side panels * Saint Anthony is being tormented by devils * texture! * Body shows signs of the disease that the patients are undergoing * Saint Anthony endured the suffering, which allowed the patients in the hospital for hope of ultimate salvation

Albrecht Dürer Melencolia I

dates: 1514 medium: engraving style: High Renaissance and Mannerism in the North * melancholic was considered to be the least desirable humor because associated with mental health * tended to be associated with the most creative and intelligent individuals * signs of professions can be seen throughout the print * mathematic and carpenter tools * magic square shows an order of numbers that add up to 34, date of production is hidden in the square * bat flies through the sky with a banner that reads the title of the piece * boiled bats were recommended to the ancients as a remedy for melancholia * meditation on what it means to be an artist * episode of artist's block * personification of the humor with wings * female figure * head in hand - contemplative gesture

Jacopo da Pontormo Entombment of Christ

dates: 1525-1528 medium: oil on wood style: Mannerist * cross is not depicted * body of Christ is being held up by disciples/angels on tip-toes * body is exaggerated form - S shape * body's weight is not bearing * those holding Christ are looking outwards to the viewer - almost theatrical * disconnect between the figures * lack of clear narrative * Mary's emotion is disjointed - she floats above * light source appears to be downwards and illuminating upwards - unnatural light source * changes the way we see color - appear unnatural * colors are bright and varied * ex: skin tone and clothing * comparison to Raphael's Entombment * very different styles * body shown horizontal * comparison to Pontormo's vertical composition * gentleness is unsettling

Hans Holbein The Ambassadors

dates: 1533 medium: style: High Renaissance and Mannerism in Northern Europe and Spain * exhibits Holbien's strong sense of composition, subtle linear patterning, gift for recording likeness, color and technique * two men are humanists. They stand at opposite ends of a table covered with an oriental rug and objects that reflect their worldliness and interest in learning/arts. * anamorphic image: distorted image recognizable only when viewed with a special device or from a special angle. (ex: diagonal skull that cuts through the foreground) - reference to death, may have been included to have viewers ponder death and resurrection * portrait alludes to the growing tension between secular and religious authorities - one man was a landowner and the other was a bishop

Parmigianino Madonna with the Long Neck

dates: 1534-1540 medium: oil on wood style/period: Mannerist * Parmigianino's is an image of Mary holding baby Christ * Mary is almost diamond shaped * toes barely touch the surface of the ground * old Testament prophet appears in a very small scale in the background * angels look out at the viewer rather than upwards towards Mary * strange sensuousness between vase that the angel holds and the angel's lengthy leg * pillar in the background does not support anything * S-curve in Madonna's neck parallels the shape of the column * hyper-exaggeration

Cellini Saltcellar of Francis I

dates: 1540-1543 medium: gold sculpture style: Mannerist sculpture * Francis I was a major patron and lover of art * patron of this piece * shows greatness of the king * art reflects Italian and Northern Renaissance elements * one of the greatest Renaissance artifacts * created in Mannerist style of the late Renaissance - shows allegory of earth (land vs sea) * Neptune reclines by a ship supported by fish, which holds the salt * the female figure, Roman goddess Tera represents the Earth * beside her is a miniature temple where pepper was stored * figures are seated leaning back with their legs interlaced - intertwines earth and sea * Feature of Mannerism - center of the composition is empty and figures are posed in strange ways * rest of composition is decorated with flowers and sea life * 10in X 13in - small piece * ornate saltcellars were used as centerpieces on tables of kings and princes * salt was expressive and precious - represents wealth * apex of artistic virtuosity and wealth * Cellini was concerned with self-promotion and the cult of personality that was growing around artists as singular makers of their work * published an autobiography * rare object of the period and of the artist - not many works of Cellini survive today * context: Age of Exploration and Imperialism * spices were being brought back to Europe from new lands (pepper brought back from India) * enslaved people were also brought back

Diego Velasquez Surrender at Breda

dates: 1634-1635 style: Baroque in Spain medium: oil on canvas * documents victorious Spanish over the Dutch * painted to decorate the Hall of Realms in the Palace of Buen Retiro in Madrid, which had been built for Philip * celebrated recent Spanish military success and depicted war as a cordial, almost business-like event rather than gruesome and bloody * Spanish troops are depicted as organized in contrast to the disorganized and bedraggled Dutch on the left * two most important figures are in the central foreground, showing the mayor of Breda handing the keys to the city to the Spanish general (this is a fictional event) * inclusion of a fictional event glorifies the Spanish military and its benevolence

Bronzino Eleanora of Toledo

dates: 1546 style: Mannerist portraiture medium: oil on panel * Bronzino considered a Mannerist painter * commissioned by the Medici family * child in the picture is Giovanni Medici * characteristic of Bronzino's portraiture * polished surface * perfect rendering of texture * richness of color * static quality of sitter * off center gazes of subjects * known for elegant portraits and their examples of Tuscan High Mannerist style * pride in depicting aristocratic models/people * Eleanora is presented as an icon, reserved, distanced and encased in her gown * presence of the little boy offers an emotional element/connection to the portrait * Eleanora's arm lies protectively around his shoulder * little boy reaches out towards his mother and leans slightly against her * wrinkle and ascew collar on boy's shirt are depictions of his age/realism * details: * dress is extraordinarily brocaded and tells the origin of her Spanish heritage/family * represents dowry brought to her husband in Spanish textiles * not known if this gown ever actually existed * broccato "embossed cloth" in Italian * surface of her jewelry are highlighted to make them appear more realistic and extravagant * ex: pearls in her tiara, around her waist and on her necklace texture also refers to the creation of imagined surfaces through paint wealth shown by: * depicted with extravagant/expensive clothing * fact that they have portraits of themselves - known historical figures * important daughters and wives - considered equals to their husbands in terms of wealth and power * families came together to create a greater power * posture depicts the women sitting straight up - high status * women fill up the entire composition

Pieter Bruegel Return of the Hunters (January)

dates: 1565 medium: oil on wood style: Northern Art * originally 6 paintings in the series that show scenes from the seasons of the year in relation to what goes on in the countryside for the farmers * shows labor and leisure activity * depicts the depths of winter * similar to Limbourg Brother Tres Riches Heures (February) 1413-16 * rather large paintings - taken miniatures from illuminated manuscripts and made them large, while retaining thematic message * these paintings hung in the dining room of a wealthy merchant's country house * where he entertained people * guests would see Bruegel's months of the year while eating fruits of the labor of the farmers * wealth of the city is from the country * title refers to the hunters in the foreground * food is scarce so people go out to hunt rabbits * people are creating a bonfire by the tavern * image focuses on liesure activities * details - patterning of snow on the trees, curling of dog's tails, people out ice skating * Bruegel is having fun while painting - exploring and creating another landscape/world * world is spatial and visual * combines microscopic and telescopic vision - Northern Renaissance characteristic * viewer sees things in high detail up close and in the distance * off into the far distance, see buildings located in the town

Giambologna Abduction of the Sabine Women

dates: 1579-1583 medium: marble sculpture style: Northern European (Condemns the Catholic Church) * Giambologna was the court sculptor for the Medici * born in the North but moved to Florence * exemplifies idea of Mannerist period where beauty is distorted in order to explore the artist's talent * goal was to create a complex, multi-figural group * Roman captures Sabine woman as a male crouches in defeat * interpreted as representing the ancient Roman event * male population was in need of women to continue to the Roman lineage, Roman men abducted the Sabine women * vertical composition * man's straining muscles are evident as he raises his hand up in despair as the Roman strides forward, over the man, carrying the woman * indent of hand can be seen in woman's hip * figures convey movement, aggression, fear and struggle in a flame-like composition * figura serpenata: serpentine composition * no primary viewpoint * viewer engages with the sculpture in 360 degrees * violence towards women is often depicted during this time period * located in the Loggia di Lanzi in Florence

El Greco Burial of Count Orgaz

dates: 1586 medium: oil on canvas style: Spanish Baroque * illustrates a popular local legend * located in church of Santo Tombe in Toledo above the tomb of the Count of Orgaz * clearly divided into two zones * handily above * terrestrial below * both zones are brought together compositionally * El Greco's Mannerist method of composition is nowhere else seen * theme - historical-mystical series of events surrounding the death and burial of a local hero Don Gonzalo Ruiz of Toledo aka Count of Orgaz in 1312 * Saint Stephen and Saint Augustine descended in person from the heavens and buried Count Orgaz by their own hands in from of the dazzled eyes of those present * one saint is depicted much older and the other is young * both dressed fancily * considered to be a miracle * body of Count Orgaz is being laid in the tomb * weight of the body is palpable/in the viewer's space * has a clean cut beard and a dazzling suit of armor * spectators are in awe - are realistic and uniquely depicted; able to identify members of the distinguished community * son of El Greco points to the main scene, on a piece of paper in his pocket, Greco has signed his name * Orgaz had given money to the church upon his death * priest celebrated the local hero by commissioning this painting * all action takes place in the frontal plane - densely populated space * Heavenly realm is characteristic of El Greco's style * elongated form * expressiveness of the bodies as they turn * vibrant color - realms connected by yellow

Tintoretto Last Supper

dates: 1592-94 style: Mannerist medium: oil on canvas * originally made for the refractory at San Giorgio Maggiore in Venice * depiction is off center, unsymmetrical * table appears to go off into the distance endlessly * Christ emerges because he is illuminated by an unnatural light source that surrounds him * Baroque element - emergence from the darkness * activity in the scene is difficult to make out - lots of commotion * almost as if a miracle is taking place * distinctly different than Leonardo's orderly presentation

Caravaggio Calling of Saint Matthew

dates: 1599-1602 medium: oil on canvas style: Baroque * painted for the side wall of the Contarelli Chapel * commonplace setting (bland street scene with plain buildings and backdrop) * Christ enters from the right and with hand gesture summons the Roman tax collector, who became Matthew to a higher calling/tax collector whose face is highlighted with a beam of light coming from above Christ's head as he points to himself in disbelief * Christ's gesture is reminiscent of Creation of Adam by Michelangelo * Christ's halo is outlined

Juan Sanchez Cotan Still Life with Game Fowl

dates: 1600-1603 medium: oil on canvas style: Baroque in Spain * everyday objects depicted with noble simplicity * depicted with great respect and interest * importance to these compositions organized with care * objects of everyday world are marked with individuality and confined to their own space * depict only raw products * food displayed within a window setting - "cantarero" a typical cooling place within a Spanish house located in a corridor between courtyard, where air will flow and cool food (pantry in a Spanish house) * often foods are strung up so bugs won't get to them * food depicted is local to the Toledo area - shows trade in the area Age of Exploration * fowl - mallard, dove, crow, female little bustard * quince - type of pear * chayote * cucumber * melon * lettuce * uses string - practical use and visual device * cuts off top of window * creates interesting perspective that shows foods as popping out of the frame * 3D effect would not be possible without the dark background * creates a sense of depth - pushes backwards into recesses of window while pushing items forward into the front of the canvas * slice of melon shows that time has passed * timelessness and time are both depicted * signature format - commonplace food stuffs in shallow window with opening * hanging quince and game fowl are arranged at a slight diagonal which senusates the dramatic juxtaposition of the realism * elevated the status of still-life in 17th century Spain and made it an art form acceptable for highly regarded artists to pursue

Caravaggio Entombment

dates: 1603-1604 medium: style: Baroque in Italy and Spain * Caravaggio injects naturalism into the representation of sacred subjects, reducing them to human dramas played out in the harsh, dingy settings of his time and place * unidealized figures, but they are still depicted as heroic with powerful bodies and clearly delineated contours * tenebrism: stark, dramatic contrast of light and dark this obscures the more traditional aspects of his style * figures' hands and gestures draw attention to their individuality and direct the viewer's eye to different points in the picture. Ex: one figure's hands are raised upward, which emphasizes the religious nature of the scene, therefore conveying that although the figures appear realistic and normal, they are of great importance * Mary is depicted as an older woman * large block of concrete that they stand on creates a sense of weight

Pieter Paul Rubens Elevation of the Cross

dates: 1610 medium: oil on wood style: Baroque in Northern Europe * created following a brief period in Italy where Rubens studies works of the Italian Renaissance and Baroque masters * painted for the Church of Saint Walburga in Antwerp - Flemish churches sought to affirm their allegiance to Catholicism and Spanish Hapsburg rule * depiction of heavily muscled men in unusual poses who are straining to lift the heavy cross with Christ's body nailed to it (inspired by Michelangelo's depiction of bodies - Last Judgement) * represented foreshortened anatomy and the contortions of violent action * body of Christ on the cross creates a diagonal line as it cuts across the picture while declining back into it * themes - strenuous exertion, emotional tension * bright high-lighted areas contrast with deep shadow (inspired by Caravaggio's tenebrism)

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

dates: 1611 medium: style: Dutch Baroque * subjects: * flowers, pastries, goblet - able to identify all of the things * background is completely black while foreground is bright * sense of detail

Diego Velasquez Water Carrier of Seville

dates: 1619 medium: oil on canvas style: Baroque in Spain * celebrates the common folk * water seller is giving water to the young boy * interpreted that the old man, youth and middle age man represent the three main ages * elegant in its simplicity * man's thumb and fingers wrap around the ceramic jug * simple dress has holes in it * man represents dignity * young boy looks down in respect * glass is beautiful and striking * light depicts water against glass * fig has been placed in the water to make it taste better

Bernini David

dates: 1623 medium: marble style: Baroque * commissioned by Cardinal Borghese * shows the beginning of the violent, pivoting motion that will launch the stone from his sling * catches the split-second action * dramatic, dynamic pose * seems to be moving through time and space * demands the space around it, the figure moves out into and partakes of the physical space - including the viewer * texture * dramatic and expressive compared to other David's

Bernini Apollo and Daphne

dates: 1623-1624 medium: marble style: Baroque * God Apollo falls in love with the river nymph, Daphne * He chases after her and she does not want his love, so she prays to her father, the God of the River, that she will turn into a tree * escapes him * her arms are shown sprouting branches and leaves and her feet are turning into roots * fingers are becoming twigs and leaves * Bernini has captured these two figures in flight, at the very moment Apollo has laid hands on her * detail of his hand touching the bark that is covering her body * Apollo's expression of surprise * Daphne's expression of terror due to transformation and her fear of being possessed * myths still influence contemporary art and narratives

Artemesia Gentileschi Self Portrait as the Allegory of Painting

dates: 1630 medium: oil on canvas style: Baroque * depiction of herself painting * body takes up the whole composition - emphasis on the action itself * not stopping, shows her in the middle of the act of painting * painting as a heroic event

Judith Leyster Self Portrait

dates: 1630 medium: oil on canvas style: High Renaissance and Mannerism in the North * baroque artist * portrait is more active and animated * shows her painting a fiddler/musician * holds multiple paint brushes and a paint palette with her thumb * paints her self with a stiffened collar and lace over her sleeves - which were precious, contemporary fashion * arms are more open * appears as if someone has just entered the room and artist is greeting them

Pieter Claesz Vanitas Still Life

dates: 1630s medium: oil on panel style: Baroque in Northern Europe * identifying why is was a meditation on beauty of life and understanding of death - momento mori and venitas * reflection of artist in the orb, shown painting with distortion of the table * commands our eye to look at every single object * line of the violent draws viewer's eye to the skull in the background * light source from a window, reflected in the orb and in the glass * turned over ink well, feathered quill/pen shown with ink on the bottom of it * sheets of music/book * oil lamp * balance of circular objects - orb vs skull * creates weight and composition * cut by the sharp line of the violin * creates aspect of sense - sounds of music * impermanence of life, serves as a testament to the expertise of the artist to be able to render these objects

Jan Vermeer Allegory of the Art of Painting

dates: 1665 medium: oil on canvas style: Baroque in Northern Europe * context: Vermeer had an art studio in the front of his home. He was also a merchant and an art dealer * this painting is considered to be representative of the Baroque period in Northern Europe * Vermeer uses the curtain as a device to allow the viewer to feel like they are entering an intimate scene even though the viewer has already passed through the doorway * dramatically frames the scene in the foreground - reveals the scene of the painter and his subject * first figure in the foreground is the artist depicted painting a portrait of the woman * as seen in the detail of him painting her blue crown of leaves * Vermeer depicts himself wearing Burgundian clothing from 100 years earlier - type of costume * he rests his arm on a rod that he uses to measure and rest his arm as he paints * woman is not based off of any known woman * holds a trumpet and a book of history * she is an allegory of history * stands in front of the map of the newly independent Dutch Republic * celebration of new exploration, riches and how these advancements were enriching domestic space * detail of trade ships in the map * shows power, might and reach of the Dutch Republic * Vermeer signs his name on the map to emphasize its importance * celebration of the art of painting * detail in floor and textures - rug and leather seat of the chair

Jacob van Ruisdael View of Haarlem

dates: 1670 medium: oil on canvas style: Baroque in Northern Europe * landscape painting was developed during this time * still life and landscape become the two most expressed forms in modern painting * division of the composition into foreground and a deep background with aerial perspective * scene is illuminated with a glowing light * industry seen - linen is being stretched across the fields, which was a main industry/product of the Netherlands * celebration of work and the working force * St. Bavo Cathedral can be seen in the horizon * shows that church is still an important institution in the period * wind mills are also shown on the horizon * function to pump water of the lands, to create useful agricultural land * symbolize work and the cultural identity of the Dutch * familiar images such as windmills may have communicated the pride Dutch citizens felt in their nation and its successes * sky takes up most of the painting - meditation on clouds * Ruisdael studied clouds and weather patterns to create such a realistic depiction * celebration of the landscape and sky/weather for the sake of glorification