Art History Midterm

Pick an Essay Q!

1) In his chapter, "A Week in the Life," William Wallace details how Michelangelo spent his time as an artist in 16th-century Italy. Write an essay that explains how this essay challenges our ideas of artistic genius as vested in the notion of the single artist working alone in his/her studio. You should discuss how others - besides Michelangelo - figured into the production of at least two of his pieces. Then discuss one work of art by an artist other than Michelangelo, and explain how you believe others besides the artist affected its form and appearance. 2) Patrons and patronage greatly affected artistic production during the Renaissance and Baroque periods, especially as we discussed during week 5. Write an essay that defines patrons and patronage and considers the different ways that patronage shaped art during the Renaissance and Baroque periods. You should discuss three (3) works of art from different periods and locations in your answer to demonstrate the shifting patronage practices in Western Europe between 1400 and 1750. 3) During week 4 we examined the relationship between religion and art. Write an essay that discusses how art production in Western Europe changed relative to changes within Christianity between 1400 and 1750, using three (3) works of art to illustrate the changes you discuss. Although you may discuss shifting iconography in representations of Christian art, be sure to think about how the changing religious climate affected art in other ways as well - perhaps considering what was produced and for whom. 4) Representations of "everyday life" have become more frequent as we have moved chronologically forward in this class (and even religious scenes have become more secularized in some respects). Write an essay that examines the rise of genre paintings (or everyday life in other kinds of representations), particularly as discussed during Week 6, and discusses the reasons for their popularity. In your answer you should discuss three works of art (at least one should be from a different period style besides Dutch Baroque) that consider how these scenes are not straightforward, as well as consider the ways in which they are tied to the cultural contexts in which they were produced.

Absolute Power of Monarchs- "Divine Right of Kings" - art in service of their image creation and maintenance of power Rising Status of artists Rise of Landscape painting Baroque Qualities in Art: Exploration of light and optical effects Dynamic movement Theatrical effects- including reliance on classical elements of calm, order, and stability Addressing of viewer Genre painting

17th century europe/art

Mature Northern Renaissance. painting referencing a battle that is looking back in time Influence of classicism, an illusion here to classical matter if you look closely, you are looking at a classical battle (contemporary dressed people in their uniforms/ contemporary architecture) Drew parallels between his current time to Alexander the Great's trip into battle Artist made use of linear and atmospheric perspective Period of map making/printing (geographically correct her ) - incorporated that scientific knowledge World beyond one could walk or travel by horse

Albrecht Altdorfer, Battle of Isus

Mature Northern Renaissance. Durer was the son of an artist (goldsmith) traveled to Italy many times he wrote/theorized classical conventions This work show him bringing the knowledge of classicism together with traditional elements of N. Renaissance art (symbolism and sharp naturalistic detail) we see the hallmark norther feature of symbolism (which can show us meaning) Little mouse- symbol of satin Parrot- a symbol of false wisdom (parrots just repeat knowledge) Cat, rabbit, ox, elk (represents different temperaments) He is also the first western artist to use printmaking as a major artistic medium Perfected the technique of engraving to achieve naturalistic effects (especially chiaroscuro) Engraving allowed for much more detail that other techniques(woodcuts)

Albrecht Durer, Adam and Eve

Mature Northern Renaissance. Durer paints himself here in the image of Christ (not necessarily new) self- confidence Latin inscription "I, Albrecht Durer of Nuremberg portrayed myself in everlasting colors aged twenty-eight years." People now see themselves with more confidence and worthy of higher standards

Albrecht Durer, Self-portrait (as Christ)

Mature Northern Renaissance. Durer, was known as the Leonardo Da Vinci of the north Reference to the 12 disciples of Christ who spread the word after his crucifixion Who are these people?- Peter, John, Paul, and Mark Particular way in which the people are positioned in relation to one another and their symbols Peter holds the prominent "key to heaven" (his attribute/symbol) he was associated with the church/close to religious ties John (red)- he is the most prominent here and focus' on Christ person in his book, he was the Evangelist (spread the world)- emphasis on the authority of the Bible Paul (white) - he was also an inspiration to Martin Luther because his belief was that the just shall live by faith alone Mark- anxious look reveals his anxiety bout the major change in christianity which put more emphasis on the word Inscription on the bottom - quotations on the bottom about both of these pictures (in German) Luther translated the bible into German We see the religious meaning through uncovering the characters (who they are) figures are engaged in discussion Reflects new Protestant beliefs of Durer and his immediate context as well as change in patronage Emphasis on word of God versus the Catholic authority (with Peter in background) Reaction to the Reformation (art is linked into the reformation) Church was gone for painting these monumental alter pieces He gifted this painting to the city of Nurenburg Artists needed to find new patrons and quickly (starting to create an art market) - very much a modern phenomena

Albrecht Durer, The Four Apostles

in the spirit of antique (classical antiquity); not a direct copy e ren

All'antica

roughly 1600-1750 Next major period style (after Renaissance) Derived from Portuguese term barroco (irregularly shaped pearl)- originally derogatory Different manifestations throughout western Europe (and N. America), often dependent upon religions and political concerns (thus like Renaissance, not one thing but many) Baroque- more complicated than the Renaissance style Linked to the counter reformation Baroque vs. Mannerism baroque architecture is absent of the humor, parody, and play Baroque gives mannerism discipline and order Mannerism is an anti- style while the Baroque is a mature style on its own Ultimately- Baroque represents a disciplining of mannerism, it's mature styles that sought to persuade viewers vs. merely "play"/distort represents a new psychology of architecture Baroque period- art schools were founded and taught Renaissance artwork and the influence of ancient Greeks and Romans (how artists built on their predecessors) flexible use of classical forms decorative sense of movement, progression rather than status or harmony - king asserts status through godly self portraits

Baroque

Spanish Baroque. oil painting Depiction of life in the court of King Philip IV of Spain A break from the stiff formal portraits that typically defined royalty Shows Infanta Margaret Theresa, the king's daughter, surrounded by her entourage as Velazquez stands behinds an easel painting her portrait

Diego Velazquez, Las Meninas

1400-1500 New interest in trade and exchange, networks of commerce become enlarged Increasing balance between religious and secular concerns in everyday life Vastly changed worldview from Medieval period (the 100 years between collapse of Roman Empire and the beginning of the Renaissance) increasing balance between religious and secular

Early Renaissance (e ren)

Early Italian Renaissance. Shows changes in style, influenced by humanism and classicism NOT a secular scene (in this period there are religious scenes alongside non religious scenes) The angel telling the Virgin Mary that she will have a baby Mary looks surprised (humanist element) Looks to be a believable space, 3D depth, everyday court yard (humanist) Columns/arches/naturalism/depth (classicism) Scene of the annunciation Classicism Great deal of spatial depth Relative sparseness vs. the N renaissance painting

Fra Angelico, Annunciation, corridor in the Monastery of San Marco

Italian Baroque. Through his religious commissions Bernini really remade religious art in Baroque image -commission for private cardinal here -completely baroque representation of the biblical hero, David. -Flexible classicism; energy and drama;

Gianlorenzo Bernini, David

Italian Baroque. Private commission for Coronaro family in Chapel, his "work on the side". Bernini's experience in set design comes through in this work that seeks to fuse painting, sculpture, and architecture-creates a theatrical space (very much Baroque). Typical Italian baroque in the marble, color in the theatrical setting. Context of the patron: sculpted people on side is the patrons family put into the work. Patronage is absolutely key, consider what it meant to patronize the artist of the Vatican

Gianlorenzo Bernini, Ecstasy of St. Teresa, in the Cornaro Chapel of Santa Maria della Vittoria

Italian Baroque. Aerial views provide sense of scale-this is the most holy church in Christendom (burial site of St. Peter). Italian Baroque: the paired columns (screen) is a flexible use of classicism, lavish ornamentation on top (enhanced decorative effect-more so than Renaissance). Sense of movement, progression (vs. statis/harmony/proportion). Creating a grand, dramatic, theatrical space for an entrance, the pope was calling all of the shots. The colonnade provided space for corpus domini procession: very much a counter reformation space to assert rituals of catholic church. It's about the popes role just as much-he is portrayed during the ceremony as the leader.

Gianlorenzo Bernini, Piazza in Front of St. Peter's

- Led by scholars/thinkers called humanists in 14th and 15th centuries (protagonists of the Renaissance) - emphasized secular education and expanding pursuit of knowledge (especially of classical antiquity) - Increased exploration of the individual and his/her desire to excel, learn and grow - Increased commitment to civic responsibility and moral duty - Vastly changed outlook that balanced secular concerns with those of christian religion- Admired classical cultures for their artistic achievements, the value they placed on intellectual achievement, the balance they achieved between religious and secular concerns meant new subjects, more patrons (those that support/ pay for art) fresh styles, and new appreciation of the role of the artist in society Balancing secular and religious e ren

Humanism

painting that looks like paste, which is thickly bunked onto the surface of a painting

Impasto

objects are placed at an angle to the picture plane, but their linear elements don't converge at a single point. e ren

Intrusive perspective

neo-classicism - marat (revolutionary shown here after murder) - Evokes classical and renaissance nudes and has air of simplicity and directness associated with Neo-classical style

Jacques-Louis David, Death of Marat,

neo-classicism quintessential neoclassical picture David won the Prix de Rome which allowed him to travel to parts of ancient roman empire one woman is engaged to one of the brothers of the rival faction (romeo Juliet like)

Jacques-Louis David, Oath of Horatii,

High Italian Renaissance. For a chapel in Milan, altarpiece Organization and balance Pyramidal composition : symmetry conveyed Narrative clarity Seems to be some sort of conversation between the figures Mary being the mother here is the central figure, with her arm around John the Baptiste Angel pointing back to John and looks at viewer to invite you in More convincing modeling (naturalism) Chiaroscuro: contrast between light and dark Perspective more naturalistic (not contrived) Light and shadow to create 3D Narrative in the painting, the figures in the piece seem to be in a natural interaction

Leonardo da Vinci, The Madonna of the Rocks

High Italian Renaissance. - done in his late 20s contropasto stance (colossal sculpture) Reflects classicism Originally commissioned to be on the top of Florence Cathedral They decided to put it in the city square No way they could put It on top the the massive Cathedral He works with one large piece of marble (High Renaissance confidence and achievement) This is the story of David who killed Goliath M's statue is depicting David about the through the rock at his rival (different moment depicted than others) Expressive potential of human form- new psychology here Distortion where need be (giant hang to exhibit strength), gaze is down

Michelangelo, David

Mannerism (late italian renaissance) distortions of forms, particularly elongation Bizarre or unusual color Mystery and inexplicability- strange or complicated subject matter Artifice drives

Parmigianino, Madonna with the Long Neck

Flemish Baroque. he creates this for a chapel in his home town of Antwerp 15 by 11 feet an object that does things and has an active role on the view that will be changed by the experience of seeing the image as it opens It is a continual space (not totally separate images on the right and the left all are meant to be on the mound where Christ was crucified all one unified image Baroque grand thrust of line as diagonals things are unstable, in the middle of all the actions makes it feel as though this is happening right in front of us We are caught in the action skill of the way the bodies and anatomy are portrayed that we kind of participate in the scene (strong muscular men) Christ- suffering in his body but not on his face Showing of the body - new way of how he paints a crucifixion scene 3D portrayal Uses the quality of light Caravaggio's portrayal Entombment , quieter drama (Christ is portrayed just like us) - Art appeals to us through plausibilities and draws us into the action

Peter Paul Rubens, Raising of the Cross

Mature Northern Renaissance. Genre painting new forms of patronage:rising middle class in Protestant areas Exploited interest in the scenes of everyday life (was his patrons wanted too) Northern Europe was the site of the reformation (decline in patronage by a centralized church) Pieter appealed to a rising middle class (patron wanted things to decorate their homes) -We want to think about class difference and watch how they are entertaining - this painting is a painting someone in the middle class can "laugh at" for the foolery of peasants it depicts

Pieter Bruegel the Elder, The Peasant Dance

Italian Baroque. secular fresco of the Barberini family in their private palace Religious are does creep into their home Over the top decorative style (classicism gone wild) Ceiling fresco, which appears to be plaster but this is all actually painting (we ask ourselves - is this sculpture or painting features?) this is a scene of divine providence of God giving the people immortality (he is deciding who will go to heaven and who will not) Subject here is about immortality (being given to the Barberini family) Cortona uses foreshortening as part of the tromp l'ceil effect; it's unclear where illusion begins and really ends Lacks any sense of Renaissance balance

Pietro da Cortona, Triumph of the Barberini (ceiling Fresco)

Mannerism (Late Italian Renaissance). tension reflects uncertainty in the age of religious change (reformation and counter-reformation) Anxiety about future shown

Pontormo, Descent from the Cross

Neo-Classicism - design - new fresh sources ( in this case drawn from archaelogicial excavations)

Robert Adam, Design for Etruscan Room, Osterley Park, Middlesex, England

neo-classicsm style very popular in US New style for new nation Streamlined style, classical sources Saucer dome, porch

Thomas Jefferson, Monticello, near Charlottesville, Virginia,

the technique of creating an illusion of depth by depicting distant objects as paler, less detailed, and usually bluer than near objects. e ren

atmospheric (aerial) perspective

second half of 18th century. Age of reason. Promoted reason and individual rights. Shunned religion, myth, and tradition. Associated with French philosophes. in favor of empirical observation, study, and scientific method. Not atheists. Relation to humanism. Believed ills of humanity fixed by reason rather than some higher power. New building forms arise out of study of engineering/math. New styles of art discovered through empires study of past. New subjects. New mood that is anti aristocratic and anti traditional. Realm of science and realm of nature. People look more natural (not in fine dress and in natural stances)

enlightment

scene of elegant enterainment

fete galante

first half of 18th century. late phase of baroque, flourished in France. No one style that dominates like before. Mostly due to a complex political situation. From French word "rocaille"- shell work. Related to grotto decoration. Decorative style popular amongst aristocracy to assert status. Roccoco is "lighter" in feel, more elegant. Aristocratic v monarchical style. Continuation of baroque decorativeness but to a greater degree. Curved lines dominate over straight ones. Pastel colors, and light seems all over versus tenebristic drama. Overall softness to images versus sense of linearity and drama.

rococo

the 14th century of italian literature and art e ren

trecento

3 panels e ren

triptych

high italian renaissance in venice draw off of background intense colors and mood triangular compositions

venetian renaissance

Italian Baroque. Yet these are very different representations this is created by a female artist the women here look fully in control, they know what they are doing is this a parallel of this artist's life where she is successfully triumphing over her successful male counterparts Artemisia often created scenes based upon subjects associated with women Different the way she portrayed women and the way men painted women She was raped by her teacher, and he was convicted and it was a token sentence (she suffered a long demeaning trial Gentileschi was still commissioned to paint works by the church (still working in the counter Reformation timer period) This is paintings very much about gender, but she was a women artists who had expectations very much different than men in what she could paint She couldn't as a women artist paint from nude models she had different expectations than males than artists who were males

Artemisia Gentileschi, Judith Beheading Holofernes

French Rococo considered masterpiece of French rococo Scene of lighthearted elegant entertainment (people frolicking in nature here) ; fete gallant Contemporary French clothing, likely aristocracy Connections to power Going to mythic island Courtship scenes Not serious, no religious narrative

Antoine Watteau, Pilgrimage to Cythera

High Italian Renaissance. Built for Paul III (Farnese Pope)this palace shows how the success of the Renaissance was dependent on relation between artist and patron (here the papacy) Speaks to Michelangelo's relationship with the Vatican Three distinct level (Michelangelo added more classical features and a central doorway to the palace) Symmetry is given to the palace There is a symmetry to the palace Quoins- emphasizes the facade of the palace (points of emphasis at the corners) Alternating window crowns of triangles and semi-circles

Antonio da Sangallo the Younger, completed by Michelangelo, Palazzo Farnese (facade)

Italian Baroque Caravaggio put his subjects in his scenes almost if they were drawn off the streets of Rome. Baroque= he uses perspective to portray these scenes and uses tenebrism (enhances drama) Tenebrism and chiaroscuro is used here Caravaggio places his figures in a contemporary environment (placing his religious subjects in everyday contexts helped them appeal to a populace that was questioning religion in this scene christ is calling Matthew to act Christ calls the tax collector to spring into action We see light in a sharp diagonal line (creates dramatic emotions on this man's face) Gesture illustrates a calling (uses light variety in the Baroque era), versus all light in the Renaissance- which is more calm and subtle (God and Adam by Michelangelo)

Caravaggio, Calling of St. Matthew

Italian Baroque. Caravaggista- followers of Caravaggio- suggests how profound his influence was during Baroque The women in this painting looks more scared and timid The lady is surprised at what she is doing, is more put together and is fairly reserved

Caravaggio, Judith Beheading Holofernes

Italian Baroque Baroque Architecture Links to counter reformation(Italy remained immune to the influence of Protestantism and the Catholic Church tried to reinforce its power/stance) Church/ represents centrality of the Church in everyday lives in Italy (new wave of church building) classicism is used here different in Renaissance buildings- this church is more decorative with lavish decoration (ornamental "gunk" on outside) proportions are used flexibly, variety of size within the levels of the church (ex. First floor column sets) In classicism everything was very uniform and fairly similar paired columns (feature of the Baroque) Baroque- artists were willing to break some rules Visual energy (drama) above the entrance way Busy exterior with more of the sculptural decoration and energy is new for the Baroque (sense of movement, progression)- versus diff and proportional elements) Renaissance Architecture Churches less willing to bend rules very influenced by classicism

Carlo Maderno, Facade of Santa Susanna

the treatment of light and shade in drawing and painting, an effect of contrasted light and shadow created by light falling unevenly or from a particular direction on something. e ren

Chiaroscuro

English Baroque. re-built after the Great Fire of London Wren is an astronomer, mathematician, educated and wealthy man he needs to plan an Anglican Church (Charles the II is the head of the church) The Warrant design- authorized 14 May 1675 (turns into the picture to the left) Longer nave, very classicizing facade, and a baroque figure that he was drawing from many different plans Le Vau (Louvre- the columns influence these structures) Inside there is the baroque drama with the play of light, the gold, airiness and lightness, idea of light itself as divine (spiritual truth in a light space) this is a secular symbol for the city (survived a very major assault by the Germans in WWII) Inscription in Wren's tomb in the Cathedral

Christopher Wren, St. Paul's Cathedral

Interest in classical cultures; ancient greek and roman empires and the style inspired by these cultures New sources of inspiration and new models for artists to follow Portraits can also portray classicism as portraits drawn to the side view represents classical coins where people shown from the side Allusion of depth e ren

Classicism

Spanish Baroque -We see King Philip IV of Spain (r. 1621-1665) when he was around twenty years old in an austere image filled with references to his status and responsibilities and to the reformist intentions with which he began his reign. The sword on whose hilt his left hand rests and the desk bearing a top allude to the administration of justice and the defense of his kingdoms. The Golden Fleece hanging at his waist symbolizes his lineage, while the paper in his right hand refers to his administrative duties. Even his suit is charged with meaning. It is much more sober than was customary in earlier royal portraits, lacking jewels and other adornments, and it is topped by a valona, a Walloon collar of the sort that replaced the more decorative and costly lechuguilla (ruff) in 1623. When this portrait was made, that plainer collar constituted the most important symbol of the desire for austerity, reform, work, and attention to public welfare that characterized the early reign of Philip IV, who sought to distance himself from the image of favoritism, caprice, and squandering associated with his predecessor, his father, King Philip III

Diego Velazquez, King Philip IV of Spain (Fraga Philip)

Early Italian Renaissance. 1st freestanding nude (sculpture in the round- viewable all around it) since antiquity Contrapposto stance, lifelike proportions and accurate anatomy shows interest in naturalism inspired by classical art of ancient Greece and Rome Subject from Christian bible Inspired by all'antica friends with Brunelleschi Toured parts of Europe to study classical style of art and building contrapposto style= standing on one leg (sense of naturalism)- draws from classical sculptures First real start of monumental nude structure, which were popular in classical time, during the Renaissance wasn't as acceptable This has a Christian inspiration- David= the future king of Israel (symbol of Florence) lifelike anatomy, proportions- inspired by classical structures Differences- materials of creation (Donatello words in bronze- can't get very detailed with is sculpture), standing on the head of his rival (based upon a Christian story of David and Goliath), this sculpture is very specific with a background story vs. Classics with their generic structures Donatello celebrates Christianity with Classical art Before christianity, inspired by classical examples

Donatello, David

Dutch Baroque. Dutch landscape painting Scenes of the actual views near Van Ruisdael's home in Haarlem He demonstrates to us that the experience of being Dutch is the experience of being in the sky (since Holland is infamous for being flat) About pride Light effects are really apparent in these types of paintings (light changes as you look into the painting) - clouds moving, sun shining down Windmills do various things such as milling grain and are productive (human ability is celebrated to manage and control their food source and nature) Church in the back which shows how Protestant influence is there but it is a secular culture No where for our eye to go except for all over the surface

Jacob Van Ruisdael, View of Haarlem from the Dunes at Overveen

Spanish Renaissance. counterreformation in spirit Spain remained catholic Painted for a church in Spain at the time Story of a Count in Spain who had died several centuries earlier Strangeness like mannerism

El Greco, Burial of Count Orgaz

French Enlightenment painted on eve of French rev Queen as "natural mother" Trying to appease French populace and show she was "enlightened" Quest for natural- made its way up the social ladder Lebrun expected to work "lower genre of painting" meaning portraits Some Rococo themes

Elizabeth Vigee Lebrun, Marie Antoinette and her Children

Early Italian Renaissance. Begun in 1296 by Arnolfo di Cambio; planned to be most beautiful cathedral in Tuscan Italy (florence) Meant to be dominating, civic pride of the city Di Cambio's plan is a typical Medieval cathedral (Plan NOT Early Renaissance). Interior also typically Medieval (note pointed arches and piers) 1st Monumental Dome since classical antiquity makes it one of the first Renaissance buildings in Italy Inspired by Domes from ANCIET ROME (their use of arch construction and concrete) All'antica; in the spirit of antique (classical antiquity) not a direct copy Brunelleschi was inspired by ancient Roman architecture Type of dome: Cupola ; type of dome on round or octagonal base (inherited from di Cambio). Cupola pioneered in ancient Rome- but this dome required Brunelleschi's ingenuity because of its size (140 feet in diameter at base) How he solved the Dome: Pointed Dome- used principal of pointed arch spun 360 degrees as basis of design (stronger than hemispherical dome) Double shelled dome- supports/buttresses and strengthens dome Built without centering/scaffolding- row by row Shows classicism and humanism (hallmarks of early Renaissance) Culture of humanism; celebrated for his scientific ingenuity (solving the problem) and also dome became pride of city of Florence All'antica spirit; reflects new interest in the classical art of ancient Greece and Rome (revived during quattrocento)

Filippo Brunelleschi, Dome of the Cathedral, Florence

French Rococo Popular painter of French monarchy; portraits and "mythological" scenes Relationship to earlier baroque but with the more lightened palette and softness of rococo No tennerism Classical subject matter of cupid Stylistically- all over Designed likely for private pleasure

Francois Boucher, Cupid a Captive

Dutch Baroque has learned from Rembrandt A type of person (not really a portrait) Genre scene on a category of person He produces a momentary of presence to us Spontaneity of capturing the moment Surface of something very generally and that surface will convey the truth to the viewer

Frans Hals, Merry Drinker (Jolly Toper)

Italian Baroque. He was all about creating a dramatic experience. Monumental of its scale (giant order again), detailed/ornate features, flexibley used classicism (twisted columns). Paid for by pope urban the eighth. All figures on work have symbolical significances. Testament to Barberini Family: emblems-honeybees, laurel wreath, sun. Complex statement of patronage- of the Church as well as the Barberini Family. The bee symbol: about taking ownership of his work Monumental work of Italian Baroque art: -100 foot high canopy -marks altar, burial site of St. Peter -mostly cast bronze -flexible use of classicism, decorative effect, and dramatic presence.

Gianlorenzo Bernini, Baldacchino, over high alter inside St. Peter's

Italian Baroque Shows all three features of Italian Baroque style- especially dramatic building to center (entrance) and decoration. Earned the patronage of the papacy because he had done other churches. Does things to increase drama: the scale is huge, instead of layered columns he enlisted the giant order, column that spans more than 2 stories. Becomes increasingly prominent in Baroque period. Papacy wanted to glorify the religion AND their role as leaders of the church.

Gianlorenzo Bernini, Facade of St. Peter's

Venetian Renaissance. sense of mood and rich colors Work in oil paint which achieved poetic moody effect and deep colors Impending storm depicted (forming in the background) Mood not a clear story in this painting through oil, dramatic light effects were created

Giorgione, The Tempest

Mature Northern Renaissance. new cosmopolitan culture in this period called the high renaissance New forms for patronage: political state (ex. monarchies) this was the English King Founded Anglican church- protestant break from the Catholic church painted with many northern renaissance features (captures precise details) King is depicted as very monumental- state portrait (imposing picture of a powerful leader) He wanted to be shown fully in command Cosmopolitanism- shown in full swing here

Hans Holbein, Portrait of Henry VIII

1500-30 high=mature Renaissance Culmination of impact of classicism and humanism in EARLY Renaissance builds on the achievements of the Early Renaissance, yet has its own distinct period style : Period of 1500-1530 (High= mature Renaissance) Culmination of experiments under taken impact of classicism and humanism in Early Renaissance (quattrocento) extension of humanism's reach and influence Widening knowledge of larger world and cultures beyond city, state, national and regional boundaries Period of religious questioning and re-examination, especially within Christian religion (impact of REFORMATION from Northern Europe) Giorgio Vasari- artist and biographer who set up the distinctions between the Renaissance periods (looked at artists and how they built upon each artist's predecessor) the high renaissance in Italy brings oil paintings, and subject matter continues to broaden out and expand in range Maturation of interest in Naturalism oil paintings, glorifying artists Why did this happen?- during the 1500s in Western Europe 1. Extension of humanisms reach and influence 2. Widening knowledge of larger world and culture beyond city, state, national, and regional boundaries (maturing of the great age of exploration - trade expansion) 3. Period of religious questioning and re-examination, especially within Christian religion (impact of REFORMATION from Norther Europe) new patrons

High (Mature) Renaissance (h ren)

French Baroque. the sun king Gian Bernini - produces Louis XIV images that are extremely elegant and regale "I am the state" - ideal that the sun king is the government this image has to portray what a government looks like and his right to rule with total power How does this figure convey grand right and authority? Answer: he has a ceremonial sword, his emblems of rule, sense of display and drama from the curtain in the background, column as a was of support and strength (Louis 14th is support of France and the government itself) legs are there to reveal his beauty and strength of the state (his body is France) As his role of sun king he act various performances which supported the rise and fall of the sun sun is equated with the divine (Apollo the Sun King) Louis 14th enacts the sun god role through almost playing the role of the sun (wake up procession, red shoes, golden palace) Every single day he enacted a wake up with an estate audience, then he would have people watch him go to sleep (same time everyday- regularity which meant stability for France) His nobles were very privileged who watched his performance of rising/ bedtime (rules helped to convey his sense of absolute authority)

Hyacinthe Riguad, Louis XIV

Dutch Baroque. genre painting Father figure's leg is stretched over the lap of the women (who has access to wealth) He is modeled after Steen himself (subject of/ generates these art pieces) Theme of lust and in a household Sloth and visually disorder of the household Monkey is stopping time (they stand for disorder, lust, rebel, beastly)- represents how this stops time itself Heavily coded Noice maker "bucket" in the background which is what people with the black plague had to carry around with them to warn people they were coming (represents that people in the picture will get the plane an disease for their behavior

Jan Steen, The Dissolute Household

Early Northern Renaissance. Symbols a part of Northern Renaissance Dog represents loyalty in their marriage Fruit=woman will bear children Shoes off=holy house Mirror shows other people in the background Giving property to a man Artist signature + "was here" tells us about a ritual, the value of the marriage (new interest in the artist) Oil painting shows detail Earth northern renaissance artists were working in an artistic medium (such as oil paintings) to achieve realistic scenes Perfection of the oil painting happened at this time (they can achieve sharp detail and textual effects) The details that the oil medium give to the paintings really point to symbols in the portrait (ex. The dog in the painting- symbolize loyalty in this wedding portrait) Fruit symbolizes the fertility of the marriage takes off shoes- will be a holy marriage Depicts humanism- rise in portraiture: portraits has risen extremely with more depictions of daily life artists weren't celebrated for their achievements until the Renaissance "witness" signature of Jan van Eyck signature on the work- people were now proud of their own accomplishment, signature also represents a signing off on the wedding picture commemorates their wedding and provides a record of the union to protect her interests in the family Interesting patronage issue, since it seems to have been commissioned as a "wedding portrait" and maybe could've functioned as a legal document If so, shows secular idea

Jan Van Eyck, Portrait of Giovanni Amolfini and his Wife (Amolfini Wedding)

Dutch Baroque. filtered light creates the drama of light itself Scene of a women indulging in material possessions Is clearly very wealthy herself Picture in the background What is being weighed? - is she in fact meditating on the very idea of balance and weight of the material world vs. life Empty scale (triggers our interpretation by creating passages which are very odd) she is looking at these valuable objects, but not indulging or engaging with them Vermeer also painted girl with the pearl earring (just light and no background) This painting is very tightly portrayed to create meaning, but the meaning is empty work that is about the genre scene that thinks about issues but much different than religious art hole and nail in the background which shows how the painting is moved, asked ourselves "what and why"

Jan Vermeer, Woman Holding a Balance

French Rococo woman flirtatiously flings off shoe while man looks up her skirt Cupid watches Pastels but light and dark also there Over decorative leaves and clouds Playful

Jean Honore Fragonard, The Swing

neo-classicism leaning against a column Contraposto pose Almost like an ancient classical god US Enlisted for symbol of new democracy Irony in that done by French artist of Carrera marble Still- message of democracy- associations with Greece were what mattered

Jean-Antoine Houdon, George Washington

enlightenment at work on his craft (silversmith) Not outfitted in finery Natural Copley truly first born in the US who would make a name as an artist

John Singleton Copley, Paul Revere

Spanish Baroque. Serves as a warning if you go against the Catholic Church. Painted on an epic scale, with possibly larger-than-life figures, the canvas presents the martyrdom as an impressive religious and human tragedy. Saint Philip's long limbs are extended as he turns his face to the heavens in an anguished petition for divine succor.

Jose (Jusepe) de Ribera, Martyrdom of Saint Philip

french enlightenment Science Baroque conventions of tennerism subject matter

Joseph Wright of Derby, A Philosopher Giving a Lecture at the Orrery,

French Baroque. Louis the 14th goes down the Hall of Mirrors on his way to his private chapel from his bedroom He reflects lights from the large windows in the hallway (illuminates the hall space) A room entirely designed to reflect power and light reflecting off Louis the 14th

Jules Hardouin-Mansart and Charles Le Brun, Palace of Versailles: Galerie des Glaces (Hall of Mirrors)

Early Italian Renaissance. reflects Alberti's interest in study of classical architecture (Roman arches, Greek orders) E. Italian Renaissance buildings are al'antica but they would never be mistaken for classical ones; these are Christian churches designed in the spirit of the classical past (they didn't have Christian churches in classical times) inherited a problem to put a new face on the church hired by a humanist patron, so he styled the front of the church in all' Antica spirit- he looked to ancient greek temples for inspiration (the church was so tall it was difficult to manage) Has columns, round arches, classical proportions Alberti was the first to distinguish between Greek and Roman architectural achievements - wrote a book on them This building would never be mistaken for classical Time period creation since it is a Christian church and the arches weren't in typical classical creation (built in the spirit of classical past) Alberti was Brunelleschi's rival

Leon Battista Alberti, Facade of Sant'Andrea

High Italian Renaissance. Religious work mixed with secular Not oil but fresco painting Was "cleaned" which took off some of the original paint Christ and disciples before Crucifixion Seated around a long dinner table Sense of conversation/interaction Moment where Jesus has declared that someone there will betray him Looks natural but very highly constructed Linear Perspective Orthogonal's lead you to Jesus's head Depth natural People carefully grouped into 4 groups of 3 (4 represents cardinal virtues, 3 represents the trinity) Judas to the left; betrayal conveyed by shadow. Has hand on the table

Leonardo da Vinci, Last Supper

High Italian Renaissance. one of the most parody works in the history of art (it is everywhere) Portrait Lisa Gherardini del Giocondo (24 years old wife of merchant) silhouetted against mysterious landscape We see the stylistic shift of increasing shift of the background Her body blacks the vanishing point (no tunnel vision) Da Vinci is working in oil painting (he builds up the players to create bigger texture) in Italy prior to the high Italian Renaissance did a side portrait, but this was the start of a more natural head on portrait (less stifle posed) Drapery on the figure cascades off Mona Lisa (build up of shadows in the eyes and around the neck) Sfumato (no harsh lines in the portrait) Pair the smile with the eyes (equally significant) She is gazing right out at us, looking out at the world to scrutinize the natural world (she is interrogating, looking, trying to discover) She can study, look, engage, but her mouth is closing off any conversation Desire of knowledge but the closed off lips represented that no matter how long people lived or studied they could never understand everything Mystery of the picture is the mystery of the will to know While mystery simultaneously reminds us we can never know entirely (closed off mouth)

Leonardo da Vinci, Mona Lisa

French Baroque. Renovated 1661-1682 to become visualization of Divine Monarchial rule Image of absolute monarchical power (what it should look like) sense of the place itself built to reflect Louis' total control the very size and statistics associated with the palace is grandiose (700 rooms, 5000 nobles, 7 miles gardens, 14,000 servants and military men, 2, 153 windows (sign of wealth))

Louis Le Vau and Jules Hardouin-Mansart, Palace of Versailles (garden facade)

Early Italian Renaissance. Two trends that influences 15C art in Europe : Humanism and Classicism Classicism: columns, arches, (classical architecture), Humanism: balancing secular and religious; Jesus with a real looking body, Emotion on people's face, patrons (from secular world) on the side Pigment on plaster, when dries adheres to the wall Altarpiece Father (god behind Jesus) son (jesus) holy ghost (dove) Barrel vault orthogonals (imaginary lines you can follow to see depth), and vanishing point allow sense of spatial depth (on 2D surface)- what we call perspective, is a key to the style of Masaccio's work

Masaccio, The Holy Trinity

Mature Northern Renaissance. dramatic and gory Example of the mature High Northern Renaissance (context of art in the pre reformation) Painted for a chapel in a hospital treating diseases of the skin Viewing this was supposed to heal you (so to speak) Christ himself looks like he has a decaying skin and he looks truly dead (relate/identify with Christ) Opens up the panel on Sunday when there is relief (see Christ dying for us in salvation rising to heaven)

Matthias Grunwald, Isenheim Altarpiece (partially open view)

High Italian Renaissance. - looks High Italian Renaissance in its triangle shape The draping of the fabric achieves believable effects with the use of shadow too Humanized portrayal of this scene Human natural emotions depicted here of a mother grieving for her dead sonny work he ever signed and he did so prominently across the chest Classicism &naturalism in balance and clarity Idealized classicism- sense of calm response (reflects and idealized classicism) What seems new with Michelangelo?: expressive potential of the human form (he uses the human body expressively that other artists don't) Christ's body looks utterly dead Mary's face is in utter despair as she gazes down at her son Mary's hand presents the shock and misbelief of the death of her son and almost presents the body Michelangelo is willing to distort for getting the message across to others (Mary's lap is huge, Christ's arm is very long, her hand is very big) - created when Michelangelo was 23 years old

Michaelangelo, Pieta

High Italian Renaissance. panel where God creates Adam with the spark of life (he emerges from the rock) As God touches Adam is seems that the side of the body closest to God is coming to life All of the figures seem involved in the story, yet it is not cluttered

Michelangelo, God and Adam, Sistine Chapel Ceiling

Mannerism (Late Italian Renaissance) interior space by Michelangelo By 1550s he has morphed into a mannerist artists example of a mannerist building Michelangelo is working on a library built to hold manuscripts Huge stairwells are out of scale (broad and spills out into the room) Very first free standing staircase in history hard to find the walls, transformed by Michelangelo into mannerism architecture (freedom from classical antiquity) there are a lot of classical elements, but they are integrated into the palace in a different manner

Michelangelo, Laurentian Library: Staircase in the Vestibule

Early Italian Renaissance. E. Renaissance Palaces such as this one show new interest (investment) in secular building forms (and secular life) Rustication houses started to be influenced by humanism and classicism, especially by those who were very wealthy renaissance palaces such as this one shown new interest (investment) in secular building forms (and secular life) Inspired by Alberti and Brunelleschi's achievements he built this palace to celebrate his own accomplishments, and for the citizens of Florence to have a building in the latest architectural fashion Classical features: rounded arches, rougher stone at the base- emulating deteriorating ancient ruins, street level stone less dressed than above street levels (colosseum- different dresses levels) interior courtyard was much more muted than medieval time period- depicts classical vocabulary inspired by classical architecture (private space for contemplation) Interior courtyard shows classical vocabulary inspired by classical architecture. Much more muted, less coloristic than Medieval Roman Palace of Diocleitan at Split, Crotia ; inspiration for interior courtyard Calm Classicism

Michelozzo di Bartolommeo, Palazzo Medici-Riccardi

15th century as a period of Italian art or architecture Humanism and classicism in Italy during the 1400s had major consequences for architect Studied ancient buildings and strive to build in their spirit (all'antica) Adopted new architectural vocal for their religious buildings inspired by classical architecture Built new secular building dorms as well (I.e. civic structures) Some (I.e. Leon Battista Alberti) began writing books about their newfound knowledge of classical buildings New subject matter (inspired by classical subjects, Outside of christian subject matter joins), new patrons (supported new subjects and styles. Used to be mostly just Churches purchasing), new style based on classical art Everyday people shown in art more (new patrons=portraiture as a genre of art become popular in an Italian culture that values human achievement alongside religion) e ren

Quattrocento

High Italian Renaissance high renaissance features Pyramidal composition is natural not overly forced balance Linear perspective but looks natural here because Virgin's head blocks vanishing point Exude calmness/stability Raphael epitomizes the High Italian Renaissance picture is a series of triangle created in multiple ways All softness here (Raphael figured out an ideal of sorts and painted it over and over again) Pyramidal composition Linear perspective which was matured and used Raphael mastered the use of oil painting to achieve a soft/mysterious picture)

Raphael, Madonna of the Meadow

High Italian Renaissance. series of 4 fresco paintings he did in the Vatican (Each represented a branch of knowledge, this was for philosophy) he worked for elite citizens, wealthy merchants, and for the Vatican Still a deeply religious culture (Vatican was very powerful) in the library of the papal apartments reflects the achievements of humans in a religious space Poetry, theology, law, and philosophy (displays the four branches of knowledge) Looks very balanced and proportional, one could see triangular representations in this art piece Plato and Aristotle in the center of the painting, figures are distributed in to tell us in a way who is in the picture and what they studied it is essentially a constructed picture, yet we don't get that feeling He paints himself and Michelangelo and shows how artists are achieving great strides and worthy of being intellectually admired

Raphael, School of Athens

Dutch Baroque. one of the most famous Dutch golden age paintings Colossal size Dramatic use of light and shadow (tenebrism) Perception of motion in what would have traditionally been a static military group portrait; not just rows, but rather animates his portrait Actually takes place during the day; by the time it was given a title the painting had darkened considerably through the accumulation of many layers of dirt and varnish Helped promote a sense of pride and civic duty

Rembrandt Van Rijn, THe Night Watch

Dutch Baroque. interprets the Christian idea of mercy with an extraordinary solemnity, as though this were his spiritual testament to the world Evocation of religious mood and human sympathy unlike rest of Baroque Realism increased by psychological insight and spiritual awareness

Rembrandt van Rijn, Return of the Prodigal Son

Early Northern Renaissance. Northern early renaissance painting in Christian alter pieces, such as this triptych Flemish naturalism Altarpiece Panels Spacial depth by stacking Less of a classical example to follow; had to look closely at natural world Triptych (3 part, more panels=polyptych) Intuitive perspective Symbols: pot mimics Mary's role as a vessel for holding Christ Side panels important : left representing Joseph (naturalistic detail. Although religious figures, setting and furniture is domesticated in a way to make the context the 1400s = humanism). Allow people to relate the scene to their lives more many artists as they were creating more humanistic paintings also created pieces toward religious symbolism Balance between secularism and humanism This piece is also painted in oil (can see the blades of grass) Symbolism prevalent in this art piece Scene of the annunciation (alter in the painting, with the arch Angel coming to deliver news to Mary) Flowers in the vase- a lily (Mary's virginity) Pot in the corner- Mary is a vessel to hold the baby Jesus Lion- strength courage, Mary has a huge responsibility Panels depict Joseph to the right, and to the left the patrons Early northern renaissance Patrons on the right

Robert Campin, Merode Altarpiece

Early Italian Renaissance. Some artists like Botticelli were inspired to draw on classical subject matter; such as the ancient Roman Goddess (classical mythology), Venus. Inspired by classical past (all'antica) Illustrates story of Zephrus (West Wind) who is blowing Venus in from the sea to Cyphrus where a Nymph is covering her up Reflects Humanist interest in studying classical past Generally talked about as the first female nude in a large scale during the Renaissance For a private patron, as it was not seen as acceptable to have a woman nude in a public space New subject matter of female nude Commissioned by a humanist- likely a private commission Botticelli's style reveals less of an interest in naturalism (this is more flat)

Sandra Boticelli, Birth of Venus

Venetian Renaissance. female nude created here Female classical mood based upon classical prototypes earliest classical nudes Naked female form in the guise of allegory and narrative to tell a story She is a Venus in this painting (pure) Actual model was a highly paid prostitute at this time Stare invites us into appreciating her body Titian invents this form

Titian, Venus of Urbino

Dutch Baroque. still life painting Pronk- "rich display" category of still life- with costly objects not found in Netherlands Lemon (imported and traded for medicinal reasons Chinese porcelain Represents this wealth that is accumulated in part of the Dutch's colonial trade project Objects are exotic, costly, and of value The display of these objects are really supposed to appeal to our senses there is play across the light of the surfaces

Willem Kalf, Still Life with a Late Ming Ginger Jar

putting paint on wet plaster which dries to the wall, enabled the artist to come back to the painting, aided to a greater degree of naturalism e ren

fresco painting

depicts everyday life e ren

genre scene

new classicism differs from classicism. Rooted in principles of enlightenment empiricism (more accurate than previously). It is also firmly bound with enlightenment politics (consciously or unconsciously enlisted for political ends). Beginnings of modernism in a way. Trend in western art of later 18c and early 19c. Complete and final rejection of Baroque style (especially Rococo). Shows reinvigorated or renewed interest in study and adaption of forms and subjects of classical antiquity (ancient greece and rome). Archaeological study/accuracy. Simplification in keeping with spirit of classical styles. "Art Academies". self portraits important

neo-classicism

Both share interest in humanism Less of an interest in classicism (during 1400s) in the North (Flanders) Northern early renaissance artists were inspired instead by close, detailed observation of the natural world Northern has abundance of symbols Dog=Loyalty Taking off shoes=house respected fruit=she will bear fruit/be pregnant - Naturalism more in north, Classicism more in south e ren

northern vs southern art

feature of early Italian Renaissance painting (system for creating an illusion of three dimensional space on a flat, two dimensional surface through a measured approach in which all parallel lines appear to converge on a single vanishing point (discovered by Brunelleschi, practiced by Donatello, written by Leon Battista) e ren

linear perspective

Mannerism in Visual Arts distortion of forms, particular elongation; non-naturalistic proportions Bizarre or unusual non-naturalistic colors Sense of mystery and inexplicability, strange or complicated subject matter Sense of artifice seems more important than faithful reproduction of nature Sexual Subjects/Overtones in Mannerism suggest change from classical order/balance/calm of high Renaissance Here a lascivious love scene, loosely referencing classical subjects - Venus, Cupid, Time and Folly Mannerism in portraits texture play at expense of naturalism Odd distortions and emphasis Mannerism upends the focus of paintings

mannerism

freedom/flexibility with classical orders (doesn't follow rules) Sculptural quality Proportions are attenuated, exaggerated, whimsical Aims to elicit reaction through odd juxtaposition, exaggerations Restlessness: playing with the distortion of classicism

mannerist architecture

pictures that appear in books e ren

manuscript illumination

a 16th-century movement for the reform of abuses in the Roman Catholic Church ending in the establishment of the Reformed and Protestant Churches. Counter-reformation- also called the Catholic Reformation (Latin: Reformatio Catholica) or the Catholic Revival,[1] was the period of Catholic resurgence initiated in response to the Protestant Reformation, beginning with the Council of Trent (1545-1563) and ending at the close of the Thirty Years' War (1648).

reformation