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Style: Romanesque
School: Catalana
Dates: 11th and 12th Century
Artist: Anonymous
Title: Frontal de Guills
In this painting you can see all of the characteristics of Romanesque art. These include conceptual art, the church is a microcosm of heaven and earth, and the goal is to teach. This painting portrays the Pantocrator in the middle, whom you can see by the following simbolos parlantes:
sitting
holding a book
blessing with three fingers
halo with a cross
mandorla
beard
tetramorfos (eagle=john, angel=matthew, bull=luke, lion=mark)
The Theme of this painting are typical of the Romanesque art which revolved around the bible, especially the second coming of God. As I said before, god is sitting in the middle surrounded by the tetramorfos. There are saints in the other quadrants, which can be seen with halos. In the upper left corner there is the story of the first martyr for Christians, who was Saint Steven. He was stoned to death. Typical of the Romanesque art, he is supposed to be laying down, but because the art is cartoon like and unrealistic, he seems to be standing in a weirdly crouched position.
This comes from the Catalana schol because the background is different painted with different colors. |
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Style: Romanesque
School: Catalana and Castellana
Dates: 11th and 12th Century
Artist: Anonymous
Title: Santa Cruz de Madruelo
This is a typical Romanesque painting. It is of conceptual art, shows the microcosm of the divide of heaven and earth, and its goal is to teach. It's subject is of the book Genesis, which is typical of Romanesque as well. In this portrayal of the original sin, there are four different ideas in one painting. We see the moment that Eve takes a bite of the apple, the moment Adam does and realizes that it is poisonous, Even laying on the ground to hide herself from the God, and
Adam begging forgiveness. The art is not very realistic. As Eve lies on the ground, she looks to be more of in a deformed standing up position. The anatomy is completely cartoon like as well.
The school is both Catalana and Castellan,varying between solid and multi-color or designed backgrounds throughout the church. There is also a pantocrator that can be seen on the ceiling with all of the simbolos parlantes:
beard
sitting
blessing with three fingers
holding a book
mandorla
halo and cross
tetramorfos
alpha and omega |
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Style: Gothic
School: Franco Gothic
Years: 13th, 14th, 15th c.
Artist: Anonymous
Title: Altarpiece of St. Christopher
This was painted during the Gothic period during which the mentality of the people was "conocer a Dios." It was obviously difficult to know him well since he was so far away, but they used Saints as the link between heaven and earth. Saints became an important subject at the time, which one can see by this painting. This altarpiece tells the story of Saint Christopher carrying baby Jesus across the river. You can tell it is him by the simbolos parlantes: he is a giant, he has people in his belt, Jesus is on his shoulders blessing with three fingers, he is walking through the water, he is using a tree as a walking stick, and sometimes he has the flour mill wheel on his arm. This art is still rather unrealistic. As gothic art goes one they try for perfect anatomy, perfect space and perfect light. Here that is definitely not achieve and it still appears cartoon like; however, the painting is more narrative instead of having multiple concepts in one. It tells a comic like story around the edge of the painting. |
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Style: Gothic
School: Hispano-Flemish
Dates: 2nd Half of 16th Century
Artist: Fernando Gallego
Title: Christ Blessing
This was painted during the Gothic period when the mentality was to know God. It was a much lighter time period than the Romanesque and focused on the Bible, the New Testament, The Apocryphal gospels, and the Golden Rule. They tried to paint perfect light, perfect anatomy, and perfect space, but never quite reached it. They used gold to represent God because Jesus is light. In this painting, the use of gold is very apparent. He is surrounded by the tetramorfos, john the eagle, matthew the angle, luke the bull, and mark the lyon. He holds a sphere in his hand that represent the water, fire, and air. You can still see evidence of hierarchal perspective, as Christ is much bigger than the other people portrayed in the painting. He is considered more important, thus he is larger. Christ's anatomy seems almost perfect. He is surronded by two female figures. The one on the left is holding the host and has a crown on her had, representing the triumph of the church. The one of the right is representative of the synagogue. Her body bends under the weight of a tablet and her eyes are blindfolded like the jews who do not recognize Christ.
Fernando has great technique for rendering folds n fabric and he pays great attention to the details of the materials, like that of the globe. He painted under Flemish influence, which allowed him to use the newly discovered oil paint. This paint made the details easier to paint and the paint much more vibrant. |
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Style: Gothic
School: Flemish Primitive
Date: 15th Century
Artist: Rogier Van der Weyden
Title: Descent from the Cross
This masterpiece was commissioned by the guild of crossbowmen. In fact, the guilds mark can be seen on the work in the form of two crossbows in the two corners.
His composition concentrates on the suffering of Mary. The painting looks more like an altarpiece with sculptures rather than a 2 dimensional painting. The figures are almost life size and they have almost perfect anatomy, typical of the Gothic period. It is close, but not quite perfection. As one can see, Jesus' body looks a bit too skinny for that of a grown man with very narrow chest. Although we are starting to see the muscle tone and good proportion. The space in this painting is nowhere near perfection. Because there is no background, you can enter inside the painting, it is simply a brown wall.
The attention to details is outrageous. Van der Weyden painted this after the Van Eyck brothers invented oil paint, so there is a great amount of detail as well as vibrancy. For example, the belt that Mary Magdalene wears look as if it is popping out of the painting.
Each character is experiencing their own pain. We see Saint John, wearing a red robe, and crying as well as Mary Magdalene is hunched in tears.
Christ's hand is tinged with the blue tone of death and Mary's is a pale white. Next to Mary we can see a skull which is traditionally said to be that of Adam, who was buried under the mountain on which Jesus was crucified.
New testament subjects in the bible were typical of the Gothic time period. |
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Style: Gothic
School: Flemish Primitive
Dates: 15th c.
Artist: Jan Van Eyck
Title: The Annunciation |
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Style: Renaissance
School: Italian
Dates: 15th c.
Artist: Antonello de Messina
Title: Jesus and an Angel
Example of PERFECT ANATOMY. chest, details, angel is a child without muscle and its different from Jesus. Closer to perfect anatomy and proportions. During the Renaissance we see perfect anatomy, light and space. The mindset changed to humanism, the value of the human being as the most important entity. Religion was obviously still a big part of the subjects but they also focused on portraits, history, and mythology. This painting still focuses on relgion. Background...almost perfect blah blah blah |
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Style: Renaissance
School: Italian
Date: 15 c.
Artist: Andrea Mantegna
Title: The death of Mary
This was painted in the Renaissance style and represents the Death of Mary, which was told in the Apocryphal gospels. This was a common theme still expressed in the Renaissance paintings. This was an example of PERFECT space. Horizon line. Vanshing point where all of the parallel lines will eventually converge. Look at the tiles on the floor and the background through the window. Shows the death of Mary. Saint Thomas is missing because he came late and once he arrived Mary threw down her belt to convince she had died and went to heaven. Realistic atmosphere, colors, light, and anatomy. |
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Style: Renaissance
School: Castellana
Date: 16th c.
Artist: Pedro Berruguete
Title: Auto de Fe
SANBENITO = YOU wear horrible hat and cape and everyone identify you as a nsiiner if you falsly converted. This is a bridge between gothic and renaissance (anatomy is renaissance, when naked the space and light) (medeveil background because god and geological perspective because saint is larger)
You can see Saint Benedict up on the top, hierarchal perspective. Still medieval thoughts that he is more important so he should be larger.
The anatomy of the naked jews is very bad, they had not studied cadavers in Spain so nudity was difficult.
Burning at the stake, public punishment of heresy during the Spanish Inquisition.
Pope ordered Saint Dominic to get rid of the heretics, so he burned them at the stake.
berruguete organized the scene form the top downwards. Saint Dominic is the most important which we can see from his size. We see down that there is a monk leading heretics wearing a San Benito, what heretics wore to make themselves stand apart. |
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Style: Renaissance
School: Valenciana
Dates: 16th c.
Artist: Yanez de la Almedina
Title: Saint Catherine
This was painted during the Spanish Renaissance in the 16th c. by Yanez de la Almedina. He portrayed Saint Catherine, you can tell by her simbolos parlantes of the broken wheel with spikes, elegant dress because she was a princess, book to show her intelligence, sword with which she was killed, and crown because she was killed by the king.
Valencia was the gateway of new artistic ideas because of trade between Valencia and Italy. Yanez de la Almedina visited Italy and is thought to have studied under Da Vinci.
This painting demonstrates the success of his apprenticeship. Frontal, well centered harmonious composition. Detailed dress. Good spatial composition, converging line, good anatomy, realistic light of the Renaissance.
Still Spanish influence of the strong religious undertones. |
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Style: Renaissance
School: Italian
Dates: 16th c.
Artist: Rafael
Title: School of Athens
PERFECT BALANCE AND COMPOSITION. Great Italian Artist. Used people talented and intelligent form his time to represent the ancient philosophers and mathematicians and intellectuals.
Represenation of tehe acient age and ancient philosophers. (he is using the famous people (architects, writers) and he is going to portrait philosophers of ancient Greece such as Plato, Aristotle, Rafael self portrait as well, and real people living in Italy at that time) |
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Style: Renaissance
School: Italian
Date: 16th c.
Artist: Michelangelo
Title: Creation of Adam
the two hands, god the father and adam that are in contact. Very masculine and god the father is old man but really muscular with young body
Michelangelo emphasize perfect anatomy. At this point he had begun exagerate a bit. Look is Eve behind God a man or a woman? |
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Style: Renaissance
School: Italian
Date: 16th c.
Artist: Titian
Title: Bacanal
“Baccus is the God of Wine” Botellon where all of them are having wine and then the. Shows the different stages and consequences of drunkeness. Man passed out, people getting sexual, a baby peeing.
one of the four great masters: COLOR
Titian is from Venice where every color is perfect and beautiful. He emphasizes this |
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Style: Mannerism
School: Spanish
Date: Second half of 16th c.
artist: El Greco
Title: Saint Andrew and Saint Francis
Characteristics: No real lights, no real colors, no real anatomy
Anatomical deformation of the two saints. Their legs are so long and they don't even look balanced, look like they could fall over. Saint Andrew's hand looks like it has no bones.
Can not get inside the picture, there is just the portrayal of a blue cloudy sky in the background.
Saint andrew: Cross of an X
Saint Francis: Brown or grey habit, rope with three knots representing the three things they must obey (no sex, poor, obedient to God)
mystical dialogue: dialogue between two people from different time periods that takes place in heaven because there is no time in heaven. Saint Andrew is an apostle ffrom the 1st century and Saint Francis a monk from the 13th century.
Not real light, that color green of Saint Andrews cloak would not exist in real life. The tonalities are off, there seems to be a metallic reflection.
Why?
The deformities in the painting represent the conflict of the time period. The Protestant Reformation began in germany by Martin Luther in 1517. The divide between the Christians in Catholicism and Protestantism is represented. This conflict set Europe in a spiral of unbalance and warfare.
At the bottom you can see the flap of white paper on which el greco painted his signature in greek characters |
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Style: Mannerism
School: Spanish
Date: Second half of 16 c.
artist: El Greco
Title: The Crucifixion
No real lights, space, anatomical deformation
Why: Protestant Reformation 1517, conflict in Europe, chasm in the world of christianity
anatomy is NOT real: Jesus feet are completely deformated, they are so long as well as his arms that are long and very thin.
Light is supernatural. It looks like it may be nigth time but there are weird tonalities. The contrast of the green and red of St. John the Baptist's cloak. Metallic.
The background in grey and black, you can not enter inside, there is no dimension.
some angels are taking the blood of Jesus directly
another conceptual idea- angels took the blood and put it inside the wine chalice in chruch
Mary the Virgin
Mary Magdalene kneeling at the cross, cleaning the cross, or drinking Jesus’ blood |
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Style: Baroque
School: Italian
Dates: 17th c.
Artist: Caravaggio
Title: The Death of Mary
Tenebrism: there is only one focus of light that illuminates the foreground of a composition but leaves the background either black or very dark
Caravaggio got along very well with the high society, he was adored by Popes, priests, nobles, etc. but he has a very dirty clandenstine life. Most of the models that he used in his paintings were prostitutes.
The painting recalls the Entombment in the Vatican in scope, sobriety, and the photographic naturalism. The figures are nearly life-sized. Surrounding the Virgin are overcome Mary Magdalen and apostles. Others shuffle in behind them. He expresses the greater grief of the former not by a more emotive face, but by hiding their faces.
Baroque: Light and Realism
In response to the Protestant Reformation: Paint saints, miracles, and the Virgin Mary all of which the Protestants don't believe in! It is Catholic positive
Compared to Andrea Mategna that has perfect mathematical perspective, vanish point
In this there is no background only complete black with a red curtain
GENTE DE LA CALLE: Apostles are real fisherman, real poor people
They are very sad,they are crying- not only a real portrait but a real situation
Mary Magdalene is included. Scandal: he uses a prostitute to paint mary and she was really dead. She had appeared in the river drowned
He is very controversial, he is always on the border with the hierarchy
propaganda. |
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Style: Baroque
School: Italian
Dates: 17th c.
Artist: Caravaggio
Title: Saint Catherine
Tenebrism
Realism
Simbolos parlantes: broken wheel with spikes, sword, dressed elegantly (does not have all of the same ones as does Yanez de la Almedina) there’s a palm because she is a martyr
Compared with Yanez de la Almedina
different because it is a real portrait
she is a prostitute- he pays her to model for her
He was very controversial, dirty underground life
Why paint Saints: Protestant Reformation, Counter Reformation, Create Catholic propaganda, contradict the Protestant beliefs
The beauty of saint Catherine Yanez de la Almedina is understated beauty painted by Leonardo Da Vinci. Here, this is a REAL portrait. |
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style: Baroque
School: Spanish
Dates: 17th c.
Artist: Ribera
Title: Saint Andrew
Light, tenebrism: only one light that illuminates the foreground of the composition.
Counter Reformation, portray saints to counter the Protestants who don't believe
in them. Paint clear subjects realistically displayed to evoke piety. Positive catholic propaganda.
Saint Andrew, with X cross to represent his martyrdom.
VERY REALISTIC- gente de la calle
muscles, skin, rib cage, beard. |
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Definition
Style: Baroque
School: Spanish
Date: 17th c.
Title: Los Borrachos
Artist: Velazquez
Period: Primera Madrilena
Light: change from tenebrism to luminism
Mythology is forbidden in Spain but Velazquez is in a special circumstance because he is the royal painter. He represented the God of the wine- Bacchus. He also represents that different stages of drunkeness. There are those waiting to be drunk, those that are being crowned with a ring of leaves have reached the perfect point, and those to the left that have already passed the limit. He mixes reality and mythology, hiding the mythology under it.
Realism: the people are extremely realistic. Looking at the face of the smiling man in the middle you see his true happiness, he is missing teeth, he is a real model.
this was when Rubens came to meet Velazquez in Madrid. V was working as the royal painter and Rubens told him that he had to change his style. He said that tenebrism was old fashioned in Europe and that he had to switch to luminism. You can tell that Velazquez painted over a black background to create a sky. The black paint is now raising--arrepentimientos. |
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Style: Baroque
School: spanish
Date: 17th c.
Artist: Velazquez
Title: La Fragua de Vulcano
LUMINSIM
First Trip to Italy
The Praxitieles Curve- ancient sculptor that changed the position of the human's stance from squared hips and rigid to more dynamic. The weight of the body is balanced on one foot and relaxed.
Luminism- he took Rubens advice and switched to luminism as well as learned about light and anatomy in Italy. The sun is coming through the window, the fireplace, the burning coal, outside. Luminsim is different focuses of light with different intensities that illuminate the entire composition.
The king of the volcanoes is very ugle, but he is married to the goddess of beauty, aphrodite. Apollo goes to tell Vulcano that his wife is having an affair with Mars.
Perfect anatomy of the human man, you can see the perfect body from every angle. 3D vision f the same perfect body.
Velazquez paints nudity and mythology which is forbidden in Spain. Details: groin muscle, typical of classic Italy |
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Style: Baroque
School: Spanish
Dates: 17th c.
Artist: Velazquez
Title: Principe Baltasar Carlos en caballo
Seguna Madrilena
Portrait painted for the Salon de Reinos. Future of the monarchy. Painted at the time of the 30 years war in a room in the new castle through which all of the foreign ambassadors would have to walk. Purpose is to show Spain's strength and the power of the monarchy.
Portrait of the Prince. He was the son of King Phillip IV and Isabel de Borbon. He was heir to the Spanish throne.
At the age of 6 he appears riding a forceful horse. The horse is on two legs, which shows power. He is holding a scroll which states that he is to be King. He appears in military robes and effortlessly in control of the horse like he would in battle. V uses a clear foreshortening to make it seem like the horse is jumping off the canvas.
The beautiful robes contrast the sober background. |
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Style: goya
School: Spanish
Dates: Second half of 18th and beginning of 19 c.
Artist: Goya
Title: La Familia de Carlos IV
Mocks the royalty
Goya was liberal and he despited their conservative reign. He was conflicted because he depended on them but he also hated them.
He portrayed the family in a way that mocked them. The Queen has all of the power and she is in the middle. Her body is deformated, she had so many children, she was fat, she has no teeth. The two children she holds close are those from the Prime Minister. She had an affair with him.
The King is displaced. He has weak character contrasting with the proud attitude of María Luisa. He looks dumb.
The Future King is to the side, the heir of the throne. Behind him are his brother and the King's sister. Next to her is the young woman who has not been identified, she is the fiance that he does not have yet, so the face is blank.
Grandmother in the back, she has a terrible birthmark that Goya does not hide.
The baby was hated by the Queen because it always cried, but it is happy in the painting. HAHA
Goya is in the left background behind a canvas.
GREAT DETAIL |
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Definition
Style: goya
School: Spanish
Date: Second half of 18th and 19h c.
Goya
La Maja desnuda
Prime minister's gypsy lover
OR
Duchess of Alba Goya's lover
Revoluationary in Europe and in Spain
REAL naked woman, pubic hair
without neck-- not real portrait of face, only body
he was persecuted by the inquisition after he painted the naked maja |
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Goya
second half of 18th c. and beginning of 19th c.
spanish
goya
saturn devouring his son
DARK PERIOD
physical: deaf, syphillis
emotional: betrayed his wife, not loved by the Duchess of alba
political; he offended the royal family, he is persecuted by the inquisiton
could be the tale of a myth:
Saturn cut off his fathers genitals and threw them in the ocean to help his mother. The oracle told Saturn that he was going to die in the same way, being killed by his son. SO every time his wife had a baby, he would eat it BUT it is impossible to change his destiny. One time his wife hides the baby and this baby, Jupiter, kills him because he ate his brothers and sisters
it is impossible to stop time from devouring all of us
could be a metaphor of Spain
Theory that this is a self portrait
Goya has 13 babies, but only one is alive
why? because he has an STD that he gave to his wife, so that every time she had a baby the baby died two days later
he might feel like saturn, he killed his babies except one |
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