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Ar t Appreciation - ART1204 Professor Will Adams
Ar t Appreciation - ART1204 Professor Will Adams
The Rebirth Moves North The Art of the Northern Renaissance
Renaissance Art in Northern Europe
Renaissance Art in Northern EuropeShould NOT be considered an appendage to Italian ar t.
Renaissance Art in Northern EuropeShould NOT be considered an appendage to Italian ar t.But, Italian inf luence was strong.
Painting in OIL, developed in F landers, was widely adopted in Italy.
Renaissance Art in Northern EuropeShould NOT be considered an appendage to Italian ar t.But, Italian inf luence was strong.
Painting in OIL, developed in F landers, was widely adopted in Italy.
The differences between the two cultures: Italy: change was inspired by humanism with its emphasis on the revival of the values of classical antiquity. Nor thern Europe: Change was driven by religious reform, the return to Christian values, and the revolt against the authority of the Church.
Renaissance Art in Northern EuropeShould NOT be considered an appendage to Italian ar t.But, Italian inf luence was strong.
Painting in OIL, developed in F landers, was widely adopted in Italy.
The differences between the two cultures: Italy: change was inspired by humanism with its emphasis on the revival of the values of classical antiquity. Nor thern Europe: Change was driven by religious reform, the return to Christian values, and the revolt against the authority of the Church.
More princes & kings were patrons of ar tists.
Characteristics of Northern Renaissance Art
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].Interest in landscapes.
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].Interest in landscapes.More emphasis on middle-class and peasant life.
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].Interest in landscapes.More emphasis on middle-class and peasant life.Details of domestic interiors.
Characteristics of Northern Renaissance Art
The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].Interest in landscapes.More emphasis on middle-class and peasant life.Details of domestic interiors.Great skill in por traiture.
Flemish Realism
Giovanni Arnolfini & His Wife
Also known as “The Arnolfini Wedding
Por trait” Painted by Jan Van
Eyck 1434 CE
Giovanni Arnolfini & His Wife
Also known as “The Arnolfini Wedding
Por trait” Painted by Jan Van
Eyck 1434 CE
Van Eyck’s “Giovanni Arnolfini
& His Wife” - Detail
van Eyck included the mirror to indicate his interest in optics & to show off his abilities as a painter. Notice van Eyck’s signature and
the date above the mirror. Notice that the mirror ref lects an
inverse of the larger scene, which also includes van Eyck at the easel!
Rogier van der Weyden - 1399 - 1464 CE
“The Deposition”
1435 CE
Notice the detail &
crispness of the figures’ garments
Van der Weyden’s Deposition - Details
Van der Weyden’s Deposition - Details
Van der Weyden’s Deposition - Details
Quentin Matsys - 1465 - 1530 CE
Quentin Matsys - 1465 - 1530 CE
Matsys belonged to the humanist circle in Antwerp that included Erasmus.
Quentin Matsys - 1465 - 1530 CE
Matsys belonged to the humanist circle in Antwerp that included Erasmus.Inf luenced by da Vinci’s sketches.
Quentin Matsys - 1465 - 1530 CE
Matsys belonged to the humanist circle in Antwerp that included Erasmus.Inf luenced by da Vinci’s sketches.Thomas More called him “the renovator of the old ar t.”
Quentin Matsys - 1465 - 1530 CE
Matsys belonged to the humanist circle in Antwerp that included Erasmus.Inf luenced by da Vinci’s sketches.Thomas More called him “the renovator of the old ar t.”“The Ugly Duchess”, 1525-1530 CE
The Original
Da Vinci’s “Grotesque Head”, c. 1480 - 1510 CE
Matsys’ The Moneylender & His Wife, 1514 CE
Matsys’ The Moneylender & His Wife, 1514 CE
Matsys’ The Moneylender & His Wife, 1514 CE
The Moneylender & His Wife - Detail
Interest in optics & personal representation - just like van Eyck!
The Moneylender & His Wife - Detail
Notice the extreme detail of the coinage & the textures of the surfaces.
France in the Renaissance
Renaissance Art in France
Renaissance Art in FranceA new phase of Italian inf luence in F rance began with the F rench invasions of the Italian peninsula that began in 1494 CE.
Renaissance Art in FranceA new phase of Italian inf luence in F rance began with the F rench invasions of the Italian peninsula that began in 1494 CE.The most impor tant royal patron was King F rancis I.
Actively encouraged humanistic learning. Invited da Vinci & Andrea del Sar to to come to F rance. He collected paintings by the great Italian masters like Titian, Raphael, & Michelangelo.
Portrait of King Francis
I Painted by F rench ar tist
Jean Clouet 1525 CE
Depicts the King in his more casual hunting attire,
which is still extremely luxurious.
The School of Fontainebleau
The School of Fontainebleau
It revolved around the ar tists at F rancis I’s Palace at Fontainebleau.
The School of Fontainebleau
It revolved around the ar tists at F rancis I’s Palace at Fontainebleau.
A group of ar tists that decorated the Royal Palace between the 1530s and the 1560s.
The School of Fontainebleau
It revolved around the ar tists at F rancis I’s Palace at Fontainebleau.
A group of ar tists that decorated the Royal Palace between the 1530s and the 1560s.
It was an offshoot of the Mannerist School of Ar t begun in Italy at the end of the High Renaissance.
The School of Fontainebleau
It revolved around the ar tists at F rancis I’s Palace at Fontainebleau.
A group of ar tists that decorated the Royal Palace between the 1530s and the 1560s.
It was an offshoot of the Mannerist School of Ar t begun in Italy at the end of the High Renaissance.
Characterized by a refined elegance, with crowded figural compositions in which painting and elaborate stucco work were closely integrated.
The School of Fontainebleau
It revolved around the ar tists at F rancis I’s Palace at Fontainebleau.
A group of ar tists that decorated the Royal Palace between the 1530s and the 1560s.
It was an offshoot of the Mannerist School of Ar t begun in Italy at the end of the High Renaissance.
Characterized by a refined elegance, with crowded figural compositions in which painting and elaborate stucco work were closely integrated.
Their work incorporated allegory in accordance with the cour tly liking for symbolism.
The Palace of Fontainebleau
The School of Fontainebleau
Gallery [right] by Rosso Fiorentino & F rancesco
Primaticcio 1528 - 1537 CE
The School of Fontainebleau
Gallery [right] by Rosso Fiorentino & F rancesco
Primaticcio 1528 - 1537 CE
Germain Pilon - 1525 - 1590
“The Deposition of Christ”, Bronze, 1580-1585 CE
Jean Goujon
1510 - 1565 CE
“Nymph”, Plaster 1548 - 1549 CE “Nymph & Putto,”
Plaster, 1547 - 1549 CE
Germany in the Renaissance
Germany
Keep in mind that this is the
bir thplace of the Reformation!
Lucas Cranach the Elder - 1472 - 1553 CE
Lucas Cranach the Elder - 1472 - 1553 CE
Cranach was the Cour t painter at the cour t in Wittenberg from 1505 - 1553 CE.
Lucas Cranach the Elder - 1472 - 1553 CE
Cranach was the Cour t painter at the cour t in Wittenberg from 1505 - 1553 CE.His best por traits were of Mar tin Luther (to the left)
Lucas Cranach the Elder - 1472 - 1553 CE
Cranach was the Cour t painter at the cour t in Wittenberg from 1505 - 1553 CE.His best por traits were of Mar tin Luther (to the left)1533 CE
Matthias Grünewald - 1470 - 1528
Matthias Grünewald - 1470 - 1528
Conver ted to Lutheranism.
Matthias Grünewald - 1470 - 1528
Conver ted to Lutheranism.Possibly involved in the Peasants’ Revolt on the peasants side.
Matthias Grünewald - 1470 - 1528
Conver ted to Lutheranism.Possibly involved in the Peasants’ Revolt on the peasants side.Depictions of intense emotion, especially painful emotion.
Matthias Grünewald - 1470 - 1528
Conver ted to Lutheranism.Possibly involved in the Peasants’ Revolt on the peasants side.Depictions of intense emotion, especially painful emotion.
“The Mocking of Christ”
Matthias Grünewald - 1470 - 1528
Conver ted to Lutheranism.Possibly involved in the Peasants’ Revolt on the peasants side.Depictions of intense emotion, especially painful emotion.
“The Mocking of Christ”1503 CE
The Crucifixion
Painted by Matthias Grünewald
1502 CE Shows Christ in agony during the Crucifixion
Meant to evoke an emotional response from the viewer
Albrecht Dürer - 1471 - 1528
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.His patron was the Emperor Maximilian I.
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.His patron was the Emperor Maximilian I.Also a scientist
Wrote books on geometry, for tifications, and human propor tions.
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.His patron was the Emperor Maximilian I.Also a scientist
Wrote books on geometry, for tifications, and human propor tions.
Self-conscious individualism of the Renaissance is seen in his por traits.
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.His patron was the Emperor Maximilian I.Also a scientist
Wrote books on geometry, for tifications, and human propor tions.
Self-conscious individualism of the Renaissance is seen in his por traits.“Self-Por trait at 26”
Albrecht Dürer - 1471 - 1528 The greatest of German ar tists.A scholar as well as an ar tist.His patron was the Emperor Maximilian I.Also a scientist
Wrote books on geometry, for tifications, and human propor tions.
Self-conscious individualism of the Renaissance is seen in his por traits.“Self-Por trait at 26”1498 CE
The Triumphal Arch
Created by Albrecht Dürer Massive, assembled
woodblock print created to celebrated Emperor
Maximilian’s military triumphs = political
propaganda Carved between 1515 - 15
17 CE
The Triumphal Arch
Installed in a modern museum - notice the scale
of the work. It is meant to overawe the
viewer!
The FourHorsemen
of the Apocalypse
Albrecht Dürer Cut & printed in an illustrated
version of the Book of Revelation
1498 CE Depicts the 4 horsemen:
Pestilence, plague, war, & famine.
England in the Renaissance
Hans Holbein, the Younger - 1497 - 1543
Hans Holbein, the Younger - 1497 - 1543
One of the great German ar tists who did most of his work in England.
Hans Holbein, the Younger - 1497 - 1543
One of the great German ar tists who did most of his work in England.While in Basel, he befriended Erasmus.
“Erasmus Writing”, 1523 CE
Hans Holbein, the Younger - 1497 - 1543
One of the great German ar tists who did most of his work in England.While in Basel, he befriended Erasmus.
“Erasmus Writing”, 1523 CE
Henry VIII was his patron from 1536.
Hans Holbein, the Younger - 1497 - 1543
One of the great German ar tists who did most of his work in England.While in Basel, he befriended Erasmus.
“Erasmus Writing”, 1523 CE
Henry VIII was his patron from 1536.Great por traitist noted for:
Objectivity & detachment. Doesn’t conceal the weaknesses of his subjects.
Artist to the Tudors
“Henry VIII” (left), 1540 CE; and the future “Edward VI” (above), 1543 CE.
The Ambassadors
An Anamorphic
Skull!
Hans Holbein 1533 CE
The Ambassadors
An Anamorphic
Skull!
Hans Holbein 1533 CE
This painting hung on the left side of a staircase, so the skull and globe below the table’s surface would not be visible in their undistor ted forms
unless the viewer was ascending or descending the staircase! Optical Trickery!
Multiple Perspectives in One Scene! Holbein challenges the viewer’s sense of perspective!
The Renaissance in The Low Countries
Hieronymus Bosch - 1450 - 1516
Hieronymus Bosch - 1450 - 1516
A pessimistic view of human nature.
Hieronymus Bosch - 1450 - 1516
A pessimistic view of human nature.Had a wild and lurid imagination.
Fanciful monsters & apparitions.
Hieronymus Bosch - 1450 - 1516
A pessimistic view of human nature.Had a wild and lurid imagination.
Fanciful monsters & apparitions.
Untouched by the values of the Italian Quattrocento, like mathematical perspective.
His figures are f lat. Perspective is ignored.
Hieronymus Bosch - 1450 - 1516
A pessimistic view of human nature.Had a wild and lurid imagination.
Fanciful monsters & apparitions.
Untouched by the values of the Italian Quattrocento, like mathematical perspective.
His figures are f lat. Perspective is ignored.
More a landscape painter than a por traitist.
Hieronymus Bosch - 1450 - 1516
A pessimistic view of human nature.Had a wild and lurid imagination.
Fanciful monsters & apparitions.
Untouched by the values of the Italian Quattrocento, like mathematical perspective.
His figures are f lat. Perspective is ignored.
More a landscape painter than a por traitist.King Philip II of Spain was an admirer of his work.
The Garden of Earthly Delights
Painted by Hieronymus Bosch 1500 CE
A ghastly, nightmarish scene of all forms of
human depravity & sinful activities.
The Garden of Earthly Delights -
DetailIn this detail, Bosch depicts a monstrous hybrid demon
eating & excreting the bodies of sinful humans in a
nightmarish landscape, meant to represent Hell.
Pieter Bruegel the Elder - 1525 - 1569
Pieter Bruegel the Elder - 1525 - 1569
One of the greatest ar tistic geniuses of his age.
Pieter Bruegel the Elder - 1525 - 1569
One of the greatest ar tistic geniuses of his age.Worked in Antwerp and then moved to Brussels.
Pieter Bruegel the Elder - 1525 - 1569
One of the greatest ar tistic geniuses of his age.Worked in Antwerp and then moved to Brussels.In touch with a circle of Erasmian humanists.
Pieter Bruegel the Elder - 1525 - 1569
One of the greatest ar tistic geniuses of his age.Worked in Antwerp and then moved to Brussels.In touch with a circle of Erasmian humanists.Was deeply concerned with human vice and follies.
Pieter Bruegel the Elder - 1525 - 1569
One of the greatest ar tistic geniuses of his age.Worked in Antwerp and then moved to Brussels.In touch with a circle of Erasmian humanists.Was deeply concerned with human vice and follies.A master of landscapes; not a por traitist.
People in his works often have round, blank, heavy faces. They are expressionless, mindless, and sometimes malicious. They are types, rather than individuals. Their purpose is to convey a message.
Tower of Babel
Painted by Bruegel 1563 CE Tells the
Biblical story of the creation of
the world’s languages as a result of human
pride.
Bruegel’s “Parable of the Blind Leading the Blind”, 1568 CE
“If a blind man leads a blind man, both will fall into a pit.” – Matthew 15:13-14
Bruegel’s “Hunters in the Snow” 1565
Bruegel’s “The Harvesters”, 1565 CE
Spain in the Renaissance
Domenikos Theotokopoulos - “El Greco”
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.He deliberately distor ts & elongates his figures, and seats them in a lurid, unear thly atmosphere.
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.He deliberately distor ts & elongates his figures, and seats them in a lurid, unear thly atmosphere.He uses an agitated, f lickering light.
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.He deliberately distor ts & elongates his figures, and seats them in a lurid, unear thly atmosphere.He uses an agitated, f lickering light.He ignores the rules of perspective, and heightens the effect by areas of brilliant color.
Domenikos Theotokopoulos - “El Greco”
The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.He deliberately distor ts & elongates his figures, and seats them in a lurid, unear thly atmosphere.He uses an agitated, f lickering light.He ignores the rules of perspective, and heightens the effect by areas of brilliant color.His works were a fitting expression of the Spanish Counter-Reformation.
Christ in Agony on the
Cross Painted by El Greco
c. 1605 CE The contor ted body & agonized
face of Christ during the Crucifixion ref lect the religious tension within Spain at the time.
Fin
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