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51 Cards in this Set
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Matthias Grünewald Isenheim Altarpiece 1515 [Northern European Renaissance] - Continued currents of medieval mysticism and emotional spirituality to create extraordinarily moving paintings - On weekdays when the altarpiece was closed viewers saw a grisly image of the Crucifixion in a darkened landscape - On Sundays and feast days there are the first opening displays of great joy - the Annunciation, the Nativity, and the Resurrection - Unlike the darkness of the Crucifixion, the inner scenes are brilliantly illuminated in part by auras and haloes, stars glitter in the night of sky of the Resurrection |
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Albrecht Dürer Self-Portrait 1500 [Northern European Renaissance] - Duper strikes an odd pose for a self-portrait, frontal and hieratic intentionally recalling iconic images of Christ that were very popular in northern Europe (Salvator Mundi- Savior of the world) - Dourer is claiming that artists are learned and creative geniuses - perhaps God-like - not laboring crafts-makers - The stable, triangular composition so consistent with High Renaissance norms of harmony and balance could reflect Durer's Italian adventure - This picture fits into a long-standing northern European interest in the meticulous description of surface texture, the soft sheen of human flesh, the reflective wetness of eyes, and the tactile quality of hair, maybe even encouraging viewers also to feel it as they see it |
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Jan Gossaert, St. Luke Drawing the Virgin Mary, 1520 [Northern European Renaissance] - Maintained traditional subject matter and embraced the new Classical art of Italy - Gossaerts "Romanizing" style - inspired by Italian Mannerist paintings and decorative details drawn from ancient Roman art - Mary and the Christ Child appear in a blue of golden light and clouds before the saint, who kneels at a desk, his hand guided by an angel as he records the vision in a drawing - Gossaert, like Durer before him, seems to be staking a claim for the divine inspiration of the artist |
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Caterina van Hemessen, Self-Portrait, 1548 [Northern European Renaissance] - To maintain focus on her foreground subjects, van Hemessen painted them against even, dark-colored backgrounds, on which she identified the sitter by name and age, signing and dating each work - In delineating her own features, van Hemessen presented a serious young person who looks up to acknowledge us, interrupting her work on a portrait of a woman client - The inscription in her Self Portrait reads "I Caterina van Hemessen painted myself in 1548. Her age 20" |
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Gianlorenzo Bernini, David, 1623 [Italian Baroque] - Bernini's David introduced a new type of three-dimensional composition that intrudes forcefully into the viewers space - Unlike the other David's, Bernini's more mature David, with his lean body, tightly clenched mouth, and straining muscles, is all tension, action, and determination - By creating a twisting figure caught in a moment, Bernini incorporates the surrounding space within his composition, implying the presence of an unseen adversary somewhere behind the viewer |
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Gianlorenzo Bernini, Apolloand Daphne, 1622-25 [Italian Baroque] - Each angle gives a different perspective on the scene - From behind, it looks like Apollo might actually catch her - But from the side and front, you can see his hand touching the trunk of the tree ( just missed it) - From the left side you can see her in a tree form, and Apollo is hugging a tree (no longer trying to grab a woman) - Bernini focuses on detail especially since he accomplished this with hammer and chisel and carving out of marble |
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Gianlorenzo Bernini, St.Teresa of Ávila in Ecstasy, Cornaro Chapel, Santa Maria della Vittoria,Rome, 1642-52 [Italian Baroque] - St. Teresa of Avila swoons in ecstasy on a bank of billowing marble clouds - an Angel pierced her body repeatedly with an arrow, transporting her to a state of ecstatic oneness with God, charged with erotic associations - Bernini's style of emotional theatrics was a response to the religious and political climate in Rome during the period of Counter-Reformation - Even though some viewers find St. Teresa charged with sexuality, the Church approved of the depictions of such sensational and supernatural mystic visions - They helped worshipers achieve the emotional state of religious ecstasy that was a goal of the Counter-Reformation |
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Baroque Era |
Baroque artists ( specifically Bernini) love to contort the bod, meaning it is a body in motion The details of the body are in action, as supposed to at rest Baroque artists focused on the serious and more explicit expression David is very concentrated on the task he is about to take Emphasis on things that are exciting, there is a theatrical sense behind the Baroque artists work |
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Francesco Borromini, Church of San Carlo alle QuattroFontane, Rome, 1665-67 [Italian Baroque] - Robust pairs of columns support a massive entablature, over which an oval dome, supported on pendentives, seems to float - He abandoned the modular, additive system of planning taken for granted by every architect since Brunelleschi - The coffers (inset panels in geometric shapes) filling the interior of the oval-shaped dome form an eccentric honeycomb of crosses, elongated hexagons, and octagons - These coffers decrease sharply in size as they approach the apex, or highest point, where the dove of the Holy Spirit hovers in a climax that brings together the geometry used in the chapel -Very important that the triangle represents the trinity |
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Caravaggio, Bacchus, 1595-96 [Italian Baroque] - Caravaggio introduced a powerfully frank realism and dramatic, theatrical lighting and gesture to Italian Baroque art - Caravaggio seems to have painted exactly what he saw, reproducing the farmers tan of the partially dressed youth as well as the dirt under his finger nails - Made up with painted lips and smoothly arching eyebrows, he seems to offer the viewer the gorgeous goblet of wine in his left hand, while fingering the black bow that holds his loose clothing together at the waist - The juxtaposition of the youth's invitation with a still life of rotting fruit transforms this into an image about the transitory nature of sensual pleasure - People criticized Caravaggio because he painted nothing but the nature before him - Others recognized him as a great innovator who reintroduced realism into art and developed new, dramatic lighting effects - Tenebrism is the technique in which forms emerge from a dark background into a strong light that often falls from a single source outside the painting - The effect is that of a spotlight |
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Caravaggio, The Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, 1599-1600 [Italian Baroque] -chiaroscuro- an effect of contrasted light and shadow created by light falling unevenly or from a particular direction on something - Unlike in the Renaissance, where frescos were applied directly to the walls, Caravaggio produced large oil paintings on canvas in his studio, only later installing them within the chapels to form coordinated ensembles - The commissioning document was explicit, requiring the artist to show the saint rising from his seat to follow Christ in ministry
- But Caravaggio was never very good at following the rules - Art historians have not even been able to agree on which figure is Mathew - Most identify him with a bearded man in the center, interpreting his pointing gesture as a self-referential, question response to Jesus' call - Some see Mathew in the figure hunched over the scattered coins at far left, seemingly unmoved by Jesus' presence - The painting is marked by mystery, not by the clarity sought by Counter-Reformation guidelines |
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Caravaggio,
Judith Beheading Holofernes, 1598-99 [Italian Baroque] chiaroscuro- an effect of contrasted light and shadow created by light falling unevenly or from a particular direction on something |
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Artemisia Gentileschi, Judith Beheading Holofernes, 1618-20 [Italian Baroque] - Recounts the biblical passage of when the brave and beautiful Jewish widow Judith risked her life to save people against the Assyrian general Holofernes - Gentiles chi emphasizes the grisly facts of this heroic act, as the women struggle to subdue the terrified Holofernes while blood spurts wildly from the severing of his jugular - Gentiles chi painted many such images of heroic biblical women, which art historians have interpreted in relation to her own struggle to claim her rightful place in an art world dominated by overpowering men |
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Annibale Carracci,
Triumphof Bacchus and Ariadne ceiling of the Palazzo Farnese, Rome(1597-1601) [Italian Baroque] - Quadro Riportato- is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco - The Carraci placed a high value on accurate drawing, complex figure compositions, complicated narratives and technical expertise in both oil and fresco painting -Annabelle combines the great northern Italian tradition of ceiling painting (Mantegna and Corregio) with his study of central Italian Renaissance painters and the Classical heritage of Rome - Many of Annibale's ideas are inspired by motifs in Michelangelo's Sistine Chapel ceiling - The figure types, true to their source, are heroic, muscular, and drawn with precise anatomical accuracy - But instead of Michelangelo's cool illumination and intellectual detachment, the Carraci ceiling glows with a warm light that recalls the work of the Venetian painters Titian and Veronese, and seems buoyant with optimism and lively engagement |
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Pietro da Cortona, “The Glorification of the Papacy of UrbanVII,” ceiling of Palazzo Barberini, Rome (1632-39) [Italian Baroque] - Theatricality, intricacy, and the opening of space reached an apogee in Baroque ceiling decoration - He structured his mythological scene around a vault-like skeleton of architecture, painted in quadrature, that appears to be attached tot he actual cornice of the room -Baroque ceiling painters sought the drama of an immeasurable heaven that extended into vertiginous zones far beyond the limits of High Renaissance taste - Quadratura ( squaring or gridwork) was an architectural setting painted in meticulous perspective and usually requiring that it be viewed from a specific spot to achieve the desired effect of soaring space - But in contrast to Annibale Carracci's neat separations and careful framing, Pietro's figures weave in and out of their setting in active and complex profusion - Instead of Annibale's warm, nearly even light, Pietro's dramatic illumination with its bursts of brilliance alternating with deep shadows, fuses the ceiling into a dense but unified whole - Around these figures are scenes of Roman gods and goddesses who demonstrate the pope's wisdom and virtue by triumphing over the vices |
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Giovanni Battista Gaulli, “The Triumph of the Name Jesus,” ceiling of the church of Il Gesù, Rome (1672-85) [Italian Baroque] - He fused sculpture and painting to eliminate any appearance of architectural division - Gaulli had worked in his youth for Bernini, from whom he absorbed a case for drama and multimedia effects - It is difficult to sort carved three-dimensional figures from the painted imitations, and some paintings are on real panels that extend over the actual architectural frame - The subject is, in fact, the Last Judgment, with the elect rising joyfully toward the name of God and the damned plummeting through the ceiling toward the nave floor |
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El Greco, “Burial of Count Orgaz,” church of Santo Tomé, Toledo, Spain (1586) [Spanish Baroque] - He believed the artists goal should be to copy nature - The Orgaz family commissioned El Greco to paint a large altarpiece honoring an illustrious fourteenth-century ancestor - The Burial of Count Orgaz uses a mannerist composition that recalls Pontormo - Packing the pictorial field with figures and eliminating specific reference to the spatial setting |
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Juesepe de Ribera,
“Martyrdom of Saint Bartholomew” (1634)[Spanish Baroque] - He combined the Classical and Caravaggesque styles he had learned in Rome to create a new Neapolitan and eventually Spanish style - Describes the apostle who was martyred by being skinned alive) - It captures the horror of the violence to come while emphasizing the saint's spirituality and acceptance - He highlights the intensely realistic faces with the dramatic light of tenebrism (violent contrast between light and dark, and dark usually dominates the picture) JUST LIKE CARAVAGGIO |
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Juan Sánchez Cotán, “Still Life with Quince, Cabbage, Melon,and Cucumber” (1602) [Spanish Baroque] |
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Diego Velázquez, “Water Carrier of Seville” (1619) [SpanishBaroque] |
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Di sotto in su |
- Seen from below - Created a true 3D space in the ceiling when seen from below |
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Diego Velázquez, "Las Meninas (The Maids ofHonor)" (1656) [Spanish Baroque] - Velazquez draws viewers directly into the scene - One interpretation is that the viewer stands in the very space occupied by King Philip and his queen, who's reflections can be seen in the large mirror on the back wall (JAN VAN EYCK REFERENCE) - Echoing Jan's signature, Velazquez himself is also present, brushes in hand, beside a huge canvas - Throughout his life, Velazquez had sought respect and acclaim for himself and for the art of painting - Dressed as a courtier, the Order of Santiago on his chest, and the keys of the palace tucked into his sash, Velazquez proclaims the dignity and importance of painting himself |
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Peter Paul Rubens, "The Raising of the Cross," Church of St. Walpurga, Antwerp, Belgium (1610-11) [Northern European Baroque] - At the center, Herculean figures strain to haul upright the wooden cross with Jesus already stretched upon it - At the left, the followers of Jesus join in mourning - At the right, soldiers supervise the execution - The drama and intense emotion of Caravaggio is merged here with the virtuoso technique of Annibale Carracci, but transformed and reinterpreted according to Ruben's own inure ideal of thematic and formal unity - The heroic nude figures, dramatic lighting effects, dynamic diagonal composition, and intense emotions show his debt to Italian art - But the rich colors and careful description of surface textures reflect his native Flemish tradition |
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Peter Paul Rubens, “Prometheus Bound” (1611-18) [NorthernEuropean Baroque] - a collaboration of Ruben and his workshop - The dramatic lighting, dynamic composition, and loose, energetic brushwork of this painting - which the artist kept for a while in his own personal collection - was clearly Ruben's own - While the detailed technique of Frans Snyders sets up within the painting a telling representational contrast between the massive predator and its writhing, muscular victim - The struggle between Prometheus and the eagle was interpreted during the 17th century as the struggle involved in artistic creativity, or as the heroism involved in enduring suffering of body or soul |
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Hendrick ter Brugghen, "St. Sebastian Tended by St.Irene" (1625) [Northern European Baroque] - spent time in Rome, where he must have seen Caravaggio's works and became an enthusiastic follower - He entered the Utrecht painters guild, introducing Caravaggio's style into the Netherlands in paintings - The sickly gray-green flesh of the nearly dead St. Sebastian, painted in an almost monochromatic palette, contrasts with the brilliant red and gold brocade of what seems to be his crumpled garment - In a typically Baroque manner, the powerful diagonal created by St. Sebastian's left arm dislodges him from the triangular stability of the group - The tenebrism and dramatic lighting effects are likewise Caravaggesque, as is the frank realism of the women's faces, with reddened noses and rosy cheeks |
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Georges de La Tour, "Mary Magdalen with the SmokingFlame" (1640) [Northern European Barqoue] - La Tour's work reveals in the dramatic effects of lighting, usually from sources within the paintings themselves - As in many of his other paintings, the light emanates from an internal source, in this case the fame from an oil lamp - Mary Magdalen has put aside her rich clothing and jewels to meditate on the frailty and vanity of human life |
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Frans Hals, Officersof the Haarlem Militia Company of Saint Adrian, 1627 [Northern EuropeanBaroque] - developed a style grounded in the Netherlandish love of description and inspired by the Caravaggesque style introduced by artists such as Ter Brugghen - Like Velazquez, he tried to recreate the optical effects of light on the shapes and textures of objects - Only when seen at a distance do the colors merge into solid forms over which a flickering light seems to move - Most artists arranged their sitters in neat rows to depict every face clearly, but in Officers of The Haarlem Militia Company of St. Adrian, Hals transforms the group portrait into a lively social event - Hal's composition is based on a strong underlying geometry of diagonal lines - gestures, banners, and sashes - balanced by the stabilizing perpendiculars of table, window and tall glass |
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Andrea Pozzo, “Glorification of St. Ignatius ofLoyolla,” Church of Sant’Ignazio, Rome (1698) [Italian Baroque] |
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Rembrandt van Rijn, TheAnatomy Lesson of Dr. Nicolaes Tulp, 1632 [Northern European Baroque] - Frans Hals had activated the group portrait rather than conceiving it as a simple reproduction of posed figures and faces - Rembrandt built his composition on a sharp diagonal that pierces space from right to left, uniting the cadaver on the table, the calculated arrangement of speaker and listeners, and the open book into a dramatic narrative event - Rembrandt makes effective use of Caravaggio's tenebrosity technique, as the figures emerge from a dark and undefined ambience, their attentive faces framed by brilliant white ruffs |
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Rembrandt van Rijn, CaptainFrans Banning Cocq Mustering His Company (The Night Watch), 1642 [Northern European Baroque] - Rembrandt's mature work reflected his cosmopolitan city environment, his study of science and nature, and the broadening of his artistic vocabulary by the study of Italian Renaissance art - Because a dense layer of grime had darkened and obscured its colors, this painting was once thought to be a nocturnal scene and was therefore called The Night Watch - The complex interactions of the figures and the vivid, individualized likeness of the militiamen make this one of the greatest group portraits in the Dutch tradition |
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If Vermeer did use a camera obscura, does this take away from his talent as an artist? Does his use of a machine make his works less “artistic”? |
Yes: - It diminishes his talent as an artist - Translating 3-D to 2-D via mechanical device is easier - Technology gives him an advantage that others did not have - Tracing is not considered an artistic skill No: - Shows innovation through making a different way to create - Creative liberties still present (i.e. changing the setting of delft) - Not just about what the machine portrays, he still has to come up with a message to be delivered within the painting - Technology still introduces difficulty - Gives him wide knowledge (talented in the arts and sciences) - He still uses art by looking at something and replicating it |
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Rembrandt van Rijn, Self-Portrait,1658 [Northern European Baroque] |
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Jan Vermeer, View ofDelft, 1662 [Northern European Baroque] - Meticulous in his technique, with a unique and highly structured compositional approach and soft, liquid painting style - Vermeer moves buildings around to create an ideal composition - Vermeer may have experimented with the mechanical device known as the camera obscura
This technique meaning "dark chamber" consisted of a darkened room or box with a lens through which light passes, projecting an upside-down image of the scene not the opposite wall, which an artist could then trace - The camera obscure would have enhanced optical distortions that led to the leading of highlights (seen on the harbored ships and dark gray architecture) which creates the illusion of brilliant light but does not dissolve the underlying form |
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Jan Vermeer, WomanHolding a Balance, 1664 [Northern European Baroque] - Most of Vermeer's paintings portray enigmatic scenes of women in their homes, alone or wit ha servant, occupied with some refined activity, such as writing, reading letters, or playing a musical instrument - Her hand and the scale are central, but directly behind her head is a painting of the Last Judgement, highlighting the figure of Christ the Judge in a gold aureole above her head - The juxtaposition seems to turn Vermeer's genre scene into a metaphor for eternal judgement - A sobering religious reference that may reflect the artist's own position as a catholic living in a Protestant country |
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Johann Balthasar Neuman, Church of the Vierzehnheiligen, 1743-72 [Rococo] - |
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Rococo |
The term Rococo combines the Italian word baroque (an irregularly shaped pear) and the French rocaille (a popular form of garden or interior ornamentation using shells and pebbles) to describe the refined and fanciful style that became fashionable in parts of Europe during the eighteenth century |
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Salons |
Intimate, fashionable, and intellectual gatherings, often including splendid entertainments that mimicked in miniature the rituals of the Versailles court |
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Germain Boffrand, Salon de la Princesse, Hôtel de Soubise, Paris, begun 1732 [Rococo] - Its delicacy and lightness are typical of French Rococo salon design of the 1730's - With architectural elements rendered in sculpted stucco, including arabesques (flowing lines and swirling shapes) and naturalistic plant forms - The glitter of silver and gold against the white and pastel shades and the visual confusion of mirror reflections all enhanced this Rococo interior |
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Peter Paul Rubens, The Garden of Love, 1633-34 [Northern European Baroque] |
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Jean-Honoré Fragonard, TheSwing, 1766 [Rococo] - A pretty young woman is suspended on a swing, her movement created by an elderly bishop obscured by the shadow of the bushes on the right, who pulls her with a rope - As the swing approaches, he is rewarded with an unobstructed view up her skirt, lifted on his behalf by an extended leg - The young man reaches out toward her with his hat as if to make a mockingly useless attempt to conceal the view, while she glances down, seductively tossing one of her shoes toward him |
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Canaletto, The Doge’sPalace and the Riva degli Schiavoni, late 1730s [Rococo] - It was thought that Canaletto used the camera obscura to render his vedette with exact topographical accuracy, but his drawings show that he seems to have worked freehand - In fact, his views are rarely topographically accurate, more often than not, they are composite images, so skillfully composed that we want to believe that Canaletto's vedut are "real" |
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The Grand Tour |
- An extended visit to the major cultural sites of sorter Europe - Italy was the focus of the Grand Tour - Artists in Italy benefited not only from their access to authentic works of antiquity, but also from the steady stream of wealthy art collectors on the Grand Tour - Tourists visited the studios of important Italian artists in order to view and purchase works that could be brought home and spilled as evidence of their cultural travels |
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Capriccio |
an imaginary landscape or cityscape in which the artist mixed actual structures with imaginary ones to create attractive compositions |
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Veduta |
a more naturalistic rendering of famous views and buildings, well-known tourist attractions, and local color in the form of tiny figures of the Venition people and visiting tourists |
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Giovanni Battista Piranesi, View of the Pantheon, Rome, etching from the series Views of Rome, first printed in 1756 [Rococo] - Piranesi produced a large series of veduta of ancient Roman monuments, whose ruined, deteriorating condition made them even more interesting for his costumers - His View of The Pantheon is informed by a careful study of this great work of ancient Roman architecture, which seems even more monumental in relationship to the dramatics clouds that frame it and the lively, small figures, who surround it on the ground, admiring its grandeur from all directions |
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Jacques-Louis David, Oath of the Horatii, 1784-85 [Neo-Classicism] - After his return to Paris, he produced a series of severely plain Neoclassical paintings extolling the antique virtues of stoicism, masculinity, and patriotism - David's composition, which separates the men from the women and children spatially by the use of framing background arches, dramatically contrasts the young men's stoic and willing self-sacrifice with the women's emotional collapse |
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Jacques-Louis David, Deathof Marat, 1793 [Neo-Classicism] - David's painting is a tightly composed, powerfully stark image - The background is blank, adding to the quiet mood and timeless feeling of the picture, just as the very different background of the Oath of the Horatii also added to its drama - The color of Marat's pale body coordinates with the bloodstained sheets on which he lies, creating compact shape that is framed by the dark background and green blanket draped over the bathtub - Marat's pose, which echoes Michelangelo's Vatican Pieta, implies that, like Christ, Marat was a Martyr for the people |
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Francisco Goya, TheSleep of Reason Produces Monsters, 1796-98 [Romanticism] - the slumbering personification of Reason is haunted by a menagerie of demonic-looking owls, bats, and a cat that are let loose when Reason sleeps - His goal was to incite action, to alert the Spanish people to the errors of their foolish ways, and to reawaken them to reason - He was torn between his position as a court painter who owed allegiance to the king and his passionate desire for a more open Spain |
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Francisco Goya, Thirdof May, 1808, 1814-15 [Romanticism] - The populace rose up against the French and a day of bloody street fighting ensued, followed by mass arrests and executions - This painting is not a cool, didactic representation of civic sacrific (like David's Oath of the Horatii) - It is an image of blind terror and desperate fear, the essence of Romanticism - the sensational current event, the loose brushwork, the lifelike poses, the unbalanced composition, and the dramatic lighting |
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Neo-Classicism |
architecture that draws inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome |
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Romanticism |
The movement emphasized intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe |
