Ch. 22/21/23/30 ap art history

Reformation

1517 REFORMATION
-begins when Martin Luther posts his Thesis that explains that the bible is the authority and that a head of the religion is not needed
-At this time the church is selling indulgences
-not a fan of venerating relics
-creation of Protestan

Matthias Grunewald

was a man of many talents, who worked as an
architect and hydraulic engineer as well as a painter. He is best known today for paintings on the shutters or wings attached to Nikolaus Hagenauer's carved Isenheim Altarpiece

Hans Holbein the Younger

Since the Tudors had long favored Netherlandish
and German artists, it is hardly surprising that it was a Germanborn painter, Hans Holbein the Younger (c. 1497-1543), who shaped the taste of the English court and upper classes.

Albrecht Durer

was the foremost artist of the German Renaissance.
He made his home in Nuremberg, where he became a prominent citizen. D�rer did complete an apprenticeship in gold working, as well as in stained-glass design, painting, and the making of woodcuts�which he

Albrecht Durer,
Self-Portrait, c1500

In his self-portrait
of 1500, D�rer represents himself as an idealized,
Christ-like figure in a severely frontal pose, staring self-confidently at the viewer. he incorporated many Italian Renaissance developments into his art. Art historians have acclaime

Albrecht Durer,
Four Apostles, 1526.
HIGH GERMAN
RENAISSANCE

D�rer admired Martin Luther, but they never met. In 1526,
the artist openly professed his Lutheranism in a pair of inscribed
panels, the FOUR APOSTLES (FIG. 22-9). On the left panel, the
elderly Peter, who normally has a central position as the first pope

Albrecht Durer
Four Horsemen of the Apocolypse, Woodcut, 1498

based on figures described in Revelation 6:1-8: a crowned
rider, armed with a bow, on a white horse (Conquest); a rider
with a sword, on a red horse (War); a rider with a set of scales,
on a black horse (Plague and Famine); and a rider on a sickly pale
ho

Albrecht Durer
Adam And Eve,
Engraving, 1504.

Adam and Eve is a metal plate carved w/ tiny lines...Parrot= false wisdom, they are being told false wisdom by the serpent. Cat & rat= may represent JC or vanity since cats are very proud. Represents SELFISHNESS they want to be like God. Elk-black bile, o

Albrecht Durer
Melancholia I, Engraving, 1514.
HIGH GERMAN RENAISSANCE

Germany, N. Renaissance, engraving

Matthias Grunewald, The Crucifixion, 1515
Panel from the Isenheim altarpiece: oil on wood.

Gr�newald reveals a lack of interest in Renaissance or Classical theories of proportion or perspective. Christ is not related in size to the other figures - he dominates the panel - note the hands. It was painted for the Monastery of St. Anthony in Isenhe

El Greco, Burial of Count Orgaz, 1586-88. MANNERISM

captures these miracles in a Mannerist composition that recalls Pontormo (see FIG. 21-30), packing the pictorial
field with figures and eliminating specific reference to the spatial setting. An angel lifts Orgaz's ghostly soul along the central axis of th

Francis I
Jean Clouet
1525-1530

Flemish artist Jean Clouet (c. 1485-c. 1540) found
great favor at the royal court, especially as a portrait painter. About the same time that he became
principal court painter in 1527, he produced an
official portrait of the king (FIG. 22-13). Clouet
crea

Hieronymus Bosch
Creation of the World.
Outer wings of the triptych Garden of the Earthly Delights. c.1504-1510. Grisaille on panel.

People consider him the father of surrealism (Bosh) His stuff is so dreamlike, but it is very Northern highly detailed and symbolic. So different for this time period. depicted the sort of imaginative fantasies more often associated with medieval than Ren

Hieronymus Bosch
Garden of Earthly Delights (Triptych). c.1510. Oil on panel.

pink fountain in a lake from which vicious creatures creep out into
the world. In the central panel, the Earth teems with such monsters, but also with vivacious human revelers and luscious huge fruits, symbolic of fertility and sexual abandon. In hell, at

Pieter Bruegel the Elder, The Hunters In the Snow. 1565. Oil on panel.

represents December and January.
The bleak landscape is gripped by winter as
hunters return home at dusk with meager
results: a single rabbit slung over the largest
man's shoulder. But the landscape, rather
than the figures, seems to be the principal
subj

Hans Holbein the Younger
The (French) Ambassadors,
1533. Oil on Wood.

Although a German-born artist who spent much time in England, Holbein displayed the influence of Early Northern painters in this work. What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly sy

Hans Holbein the Younger
Henry VIII (King of England), 1540
Oil on Wood.

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Traits of the High Renaissance in Italy:

Continuous Warfare by the major monarchs trying to expand their territories (including the popes)
-Rumblings of the Reformation (issues with the papacy and the institution of the Church).
-Pope wanted to remodel and rebuild the vatican and Rome. Required

Leonardo

Leonardo was the quintessential "Renaissance Man", studying all types of subjects. He was an Artist, Sculptor, Architect, Scientist, Engineer and Inventor.
Worked as an apprentice to Verrocchio

Michelangelo

A High Renaissance artist. He sculpted David (1504. Michelangelo also carved great statues of Moses (c. 1513-15), The Dying Slave (1513-16), and The Bound Slave (1513-16). Pope Julius II commissioned him to decorate the Sistine Chapel (1508- 1512).

Raphael

Two young artists�Raphael and Michelangelo�although rivals in almost every sense, were linked in service to Pope Julius II in the early years of the sixteenth century. Raphael w/ painting the pope's
private library (1509-1511) while, nearby, Michelangelo

Titian

Titian had a creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement

Palladio

Andrea Palladio dominated architecture during the
second half of the century by expanding upon the principles
of Alberti and ancient Roman architecture. His buildings�
whether villas, palaces, or churches�were characterized by harmonious symmetry and cont

Leonardo Da Vinci, "Virgin of the Rocks"
1485. Oil on wood (transferred to canvas), approx. 6'3" x 3'7". Louvre Paris.

a painting of the
Virgin and Child with angels, but Leonardo added a figure of the
young John the Baptist, who balances the composition at the left,
pulled into dialogue with his younger cousin Jesus by the long,
protective arm of the Virgin. She draws at

Leonardo Da Vinci. "Last Supper"
ca. 1495-1498. Fresco.

Despite it's ruined state and its restorations, this piece is by far the most impressive of Leonardo's works. Christ and his 12 disciples are seated at a long table set parallel to the picture plan in a simple, spacious room. Leonardo amplified the painti

Leonardo Da Vinci, "Mona Lisa"
ca. 1503-1505.
Oil on wood, approx 2'6" x 1'9". Louvre, Paris.

World's most famous portrait. Leonardo took three years to finish the portrait and it is said to be of Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. It was his favorite piece - so much so that Leonardo kept it for years. The subject

da Vinci "Portrait of Ginerva Benci", Oil on Wood, 1474-76.

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da Vinci "Virgin of the Rocks", 1485. Oil on wood..

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Michelangelo, David 1501-1504.

In 1501, the city of Florence asked Michelangelo to work a great block of marble, called "The Giant," left over from an earlier aborted mission. From this stone, David was sculpted, the defiant hero of the Florentine republic and, in so doing, assured his

Michelangelo, Ceiling of the Sistine Chapel, 1508-12

Pope Julius II gave the reluctant Michelangelo the commission to paint the ceiling of the Sistine Chapel. Michelangelo faced enormous difficulties: relative inexperience in fresco technique, large dimensions, height above pavement, and perspective. Depict

Michelangelo
The Last Judgment
Fresco
Sistine Chapel, Italy
1541.

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Biago da Cesena
(the Pope's Master of Ceremonies) painted as Minos, Ruler of Hell

When the Pope's own Master of Ceremonies Biagio da Cesena said "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but r

Tomb of Pope Julius II: Michelangelo, Moses 1513-1515

Commissioned by Pope Julius II as part of his immense tomb, (which was never completed as planned...
Julius used more funds to the building of St. Peter's)
Horns on head were traditionally meant to be divine, but scripture may have meant that Moses was "r

Michelangelo, Piet�, c1500, Marble, 5'8.5

A Piet� is the Virgin Mary holding and mourning dead Christ Italian for "compassion" Popular in Northern Europe, but rare in Italy. Made by Michelangelo when he was 24. Only major work that has Michelangelo's signature on it (on the strap across her chest

A Brief History of
St. Peter's in Rome...

1506-Bramante designs a Greek-Cross plan for a new St. Peter's to replace the old church.
1514-Bramante dies, and the building of the church is put on hold for over 30 years.
1546-Michelangelo becomes Chief Architect for the building of St. Peter's... bui

Palladio, Villa Rotunda, 1566, HIGH ITALIAN RENAISSANCE

Palladio's versatility was already apparent in numerous villas built early in his career. In the 1560s, he
started his most famous and influential villa just outside Vicenza
(FIGS. 21-45, 21-46). Although villas were working farms, Palladio designed this

Raphael, Self-Portrait, 1506
Oil on wood, Uffizi Galleria.

Raffaello Sanzio, Raffaello Sanzi, and Raffaello Santi
Place of Birth - Urbino, Italy
1483 - 1520
Died of a fever aged 37 years old
Served as an apprentice to Andrea del Verrocchio
Supported by The Medici Family and Pope Leo X

Raphael
Madonna dell Granduca
c. 1505
Oil on wood.
HIGH ITALIAN RENAISSANCE

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Raphael Cowper Madonna, c1505.

Things to notice:
-Use of primary colors
-Three-D modeling through Chiaroscuro
-Triangular composition

Raphael Madonna della Sedia

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Raphael Alba Madonna

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The 'Raphael Stanze'

Pope Julius II commissioned 25 year old Raphael Sanzio in 1508 to paint the frescos in his four room apartment on the top floor. Three of the rooms were of modest dimensions, while the fourth one was considerably larger; with the completion of the work, t

Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura.

PLATO: looks to the heavens [or
the IDEAL realm]. Da Vinci was the model.
ARISTOTLE: looks to this earth [the here and now].

Veronese, Feast in the House of Levi,1573
Oil on canvas, Gallerie dell'Accademia, Venice

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Titian, Penitent Mary Magdalen
1560s, Oil on canvas.

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Titian, The Pesaro Altarpiece, 1522-26, canvas, San Maria Gloriosa dei Frari, Venice

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Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence, Italy. HIGH ITALIAN RENAISSANCE

Here, we seem to see a beautiful Venetian courtesan, with deliberately provocative gestures, stretching laguidly on her couch in a spacious palace, her glowing flesh and golden hair set off by white sheets and pillows. But for its original audience, art h

Titian, Portrait of Isabella d'Este,
1534-1536

Although she is shown as a young woman, Isabella was 62 by the time the work was painted. Titian had originally painted a more aged Isabella, but she was so displeased with the picture that she made him repaint it in an idealized form, so that she looked

Giorgione, The Pastoral Concert, 1509. HIGH ITALIAN RENAISSANCE

Also attributed to Titian Combines the Greek idealism with a pastoral (or "shepherd") setting Not intended to convey a plot, but rather an idyllic, romantic setting

Correggio ASSUMPTION OF THE VIRGIN Main Dome Interior Parma Cathedral Italy
1526-1530

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Characteristics of Mannerism:

-Elongated proportions
-Awkward use of human anatomy (bodies twisting in elegant but unnatural ways)
-Awkward compositions
-Inconsistent lighting and tone (where is the light source)
-Highly intellectual in theme (not typical subject matter or representat

DEPOSITION
Pontormo
Florence
1525-1528

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MADONNA OF THE LONG NECK
Parmigianino
Florence
1534-1540

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ALLEGORY WITH VENUS AND CUPID
Bronzino
Mid 1540's

-Three Masks
-Dove
-Venus and son (venus takes arrow from quiver) Cupid pinches nipple and they kiss.
-Putto Represents Folly, Jest, Playfulness
-He steps on thorny branch and bleeds slightly
-Venus hold golden apple of Discord
-Masks=duplicity
-Old man =

Patrons and their influence on art

How did royal patrons of the arts choose to have themselves portrayed in the art of the seventeenth century? Comparing the art of painters such as Riguard, Van Dyck, Rubens, and Velazquez will help students to visualize the changes that had occurred since

Naturalism/verisimilitude

The desire of seventeenth-century painters to achieve naturalism in their works marks a shift away from Classical ideals. The willingness of patrons to be portrayed, "warts and all" (p. 752), is a startling shift from the trends first seen in the art of t

New patrons

The emergence of a middle-class art-buying public in Holland during this period is an extraordinary development. The Calvinistic mores of that culture need to be closely scrutinized to understand the laces in their portraits and the oysters in the still l

Shifting styles

This chapter includes the Baroque and the Rococo art styles. The reasons, not fully understood, for this shift in taste and what it means visually, are of major importance. Unlike Mannerism, the Rococo style is mostly uniform, and quickly identified. None

Bernini

His works include:
The colonnade of St. Peter's Piazza
Vibrant marble sculpture of David
Ecstasy of St. Theresa sculpture

Borromini

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Caravaggio

Caravaggio, too, interpreted his religious subjects directly and dramatically, combining intensely
observed figures, poses, and expressions with strongly contrasting
effects of light and color. His knowledge of Lombard painting,
where the influence of Leo

Gentileschi

Artemisia was a follower of Caravaggio; she was a woman in a male-dominated art world. Her father figured out that she was a much better artist from his and had teachers come but they raped her. Artesmia was coerced by her teacher to continue the sexual r

Louis XIV,

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Poussin

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Lorrain

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Philip IV

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Velazquez

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Rubens

...

Gianlorenzo Bernini ST. TERESA OF �VILA IN ECSTASY

saint Theresa was a nun of the Spanish Counter-Reformation. Her conversion occurred after the death of her father, when she fell into a series of trances, saw visions, and heard voices. Feeling a persistent pain, she attributed to "the fire tipped arrow o

Jusepe de Ribera
Martyrdom of St. Bartholomew
1634

During this period, the Church�aiming
to draw people back to Catholicism�commissioned portrayals of heroic martyrs who
had endured shocking torments as witness
to their faith. Ribera's painting of the MARTYRDOM OF ST. BARTHOLOMEW, the
apostle who was mart

Hals

the leading
painter of Haarlem, developed a style grounded in the Netherlandish love of description and inspired by the Caravaggesque
style introduced by artists such as Ter Brugghen. Like Vel�zquez,
he tried to recreate the optical effects of light on th

Ruisdael

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Rembrandt

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Vermeer

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Claesz

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Goals of Art during the COUNTER-REFORMATION
(The "Empire Strikes Back")

To deliberately evoke intense emotional response
from the viewer
To create dramatically lit, often theatrical compositions
To use diverse media such as bronze and marble within a single artwork
To create work with spectacular technical virtuosity

Southern or 'Catholic" Baroque:

-The Reformation influences subject matter for religion....
-Church wants to try and entice people back to the church, so in the countries where the Church is still a primary power, they will dictate what will be shown:
-Images of Extreme religious Ecstas

Northern Baroque or "Protestant" :

-As the Protestants are generally trying to remove themselves from religious images that might be considered Icons, they will find other subject matter other than religion, yet often times still have highly symbolic images:
-Look for images showcasing CIV

Gianlorenzo Bernini, "David",
Galleria Borghese, Rome, 1623.

Bernini's sculpture is expansive and dramatic, and the element of time usually plays an important role in it. This marble statue aims at catching the figure's split-second action and differs markedly from the restful figures of David portrayed by Donatell

Carlo Maderno and Gianlorenzo Bernini ST. PETER'S BASILICA AND PIAZZA, VATICAN, ROME
Maderno, fa�ade, 1607-1626; Bernini, piazza design,

exemplifies the Baroque objective to create multimedia works, combining architecture and sculpture sculpture�and sometimes painting as well�that defy
simple categorization. The gigantic corner columns symbolize the union of Christianity and its Jewish tra

Michelangelo Merisi (Caravaggio), Conversion of Saint Paul , 1601

Caravaggio painted Conversion of Saint Paul for the Cerasi Chapel in the Roman church of Santa Maria del Popolo. It illustrates the conversion of the Pharisee Saul to Christianity, when he became the disciple Paul.
The saint-to-be appears amid his convers

Caravaggio, "Calling of Saint Matthew" c1597-1601

Although earlier artists had been called on
to provide paintings for the chapel, it was
only after Contarelli's death in 1585 that the
executors of his will brought the decoration to
completion, hiring Giuseppe Cesare in 1591
to paint the ceiling frescos,

Caravaggio, Crucifixion of St. Peter

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Caravaggio, Flagellation of Christ. c.1606-1607. Oil on canvas.

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Caravaggio, The Taking of Christ, 1602.

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Caravaggio, "The Incredulity of St. Thomas", 1602.

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Caravaggio, "Entombment" 1602-1603

Beyond its ability to move its audience, this composition also had theological implications. To viewers in the chapel, it appeared as though the men were laying Christ's body onto the altar, which was in front of the painting This served to visualize the

Artemisia Gentileschi
"Judith Slaying Holofernes"
ca. 1614-1620

Gentileschi used what might be called the "dark" subject matter Caravaggio that favored. Significantly, Gentileschi chose a narrative involving a heroic female, and favorite theme of hers. The story, from the work of the Old Testament, the Book of Judith,

Artemisia Gentileschi
"Judith and Maidservant With Head of Holofernes"
ca. 1612-1613

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Caravaggio, "Judith Slaying Holofernes", ca. 1599.

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Giovanni Battista Gaulli, "Triumph in the Name of Jesus",
Church of Il Gesu, Rome, Italy, 1676-1679 ITALIAN BAROQUE

As the mother church of the Jesuit order, Il Gesu played a particularly prominent role in the Counter-Reformation. Gaulli's compostion focuses on the joyful rise of spirits to Christ's aura. In contrast, figures of the damned seem to plummet through the c

Francisco de Zurbaran
St. Serapion
1628

Zurbar�n primarily worked for the monastic orders. In this
painting, he portrays the martyrdom of Serapion, member of the
thirteenth-century Mercedarians, a Spanish order founded to rescue the Christian prisoners of the Moors. Following the vows of
his or

Diego Velazquez
Las Meninas
1656

Vel�zquez draws viewers directly into the
scene. In one interpretation, the viewer stands in the very space
occupied by King Philip and his queen, whose reflections can be
seen in the large mirror on the back wall, perhaps a clever reference to Jan van Ey

the dutch

DUTCH FREEDOM
The Dutch succeeded in securing their independence from the Spanish in the late sixteenth century. Not until 1648, however, after years of continual border skirmishes with the Spanish were the northern Netherlands officially recognized as th

Frans Hals, Officers of the Haarlem Militia Company of St. Adrian, 1616.

Hals'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. The black suits and hats make the white ruffs
and sashes of rose, whit

Frans Hals. Officers and Sergeants of the St Hadrian Civic Guard. c. 1633.

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Frans Hals. The Governors Of The Old Mena Almhouse At Haarlem, 1664.

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Frans Hals
Buffoon (Jester) Playing A Lute
1623

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Rembrandt van Rijn
Self-Portrait
1660

Rembrandt absorbed an interest in the naturalism, drama, and tenebrism chapioned by Caravaggio. By the 1630s, Rembrandt was established in Amsterda primarily as a portrait painter, although he also painted a wide range of narrative themes and landscapes.

Rembrandt van Rijn, Anatomy Lesson of Dr. Tulp, 1632.

In his 1st group portrait rembrandt combined his scientific and humanities interests. Frans Hals had activated the group portrait rather than conceiving it as a simple reproduction of posed figures and faces; rem brant transformed it into a charged moment

Rembrandt van Rijn, The Nightwatch, 1642.

The Militia Company of Captain Frans Banning Cocq is more commonly known as Night Watch. This common title is , however, as a misnomer- Night Watch is not a nocturnal scene

Judith Leyster
Self-Portrait
1630

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an Vermeer
The LaceMaker
1665-1670

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an Vermeer
Allegory of the Art of Painting
1670

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Jan Vermeer
The Letter
1630

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an Vermeer
The Music Lesson
1662-1665

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