Art1204 the rebirth moves north the art of the northern renaissance

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.



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.



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


The continuation of late medieval attention to details.


The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].


The continuation of late medieval attention to details.Tendency toward realism & naturalism [less emphasis on the “Classical ideal”].Interest in landscapes.


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.


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.


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

http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/zoomImage?workNumber=NG186&collectionSection=work

Giovanni Arnolfini & His Wife

Also known as “The Arnolfini Wedding

Por trait” Painted by Jan Van

Eyck 1434 CE

http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/zoomImage?workNumber=NG186&collectionSection=work

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



Quentin Matsys - 1465 - 1530 CE


Matsys belonged to the humanist circle in Antwerp that included Erasmus.


Matsys belonged to the humanist circle in Antwerp that included Erasmus.Inf luenced by da Vinci’s sketches.


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.”


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



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


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.





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


Gallery [right] by Rosso Fiorentino & F rancesco

Primaticcio 1528 - 1537 CE


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


Cranach was the Cour t painter at the cour t in Wittenberg from 1505 - 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)


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


Conver ted to Lutheranism.


Conver ted to Lutheranism.Possibly involved in the Peasants’ Revolt on the peasants side.


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”



“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.



Self-conscious individualism of the Renaissance is seen in his por traits.



Self-conscious individualism of the Renaissance is seen in his por traits.“Self-Por trait at 26”



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


One of the great German ar tists who did most of his work in England.


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.




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

Hans Holbein 1533 CE

http://www.mezzo-mondo.com/arts/mm/holbein/index.html

The Ambassadors

An Anamorphic

Skull!



The Ambassadors

An Anamorphic

Skull!



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


A pessimistic view of human nature.


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.






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


One of the greatest ar tistic geniuses of his age.


One of the greatest ar tistic geniuses of his age.Worked in Antwerp and then moved to Brussels.


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.


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.


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”


The most impor tant Spanish ar tist of this period was Greek.


The most impor tant Spanish ar tist of this period was Greek.1541 – 1614 CE.


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.


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.


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.


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

Education

Art1204 the rebirth moves north the art of the northern renaissance