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Artist: Durer Title: Four Saints – Four Apostles Date: 1526 Medium: panel Original Location: his gift to Nuremburg Town Hall Patron: Artist Peter identified by the key. St. Paul “head of Protestants” shown in front. Lutheran beliefs shown as important (larger). Protestant – lack of halos, no outward sign of saint hood, plea for sanity in a chaotic world Depicts Apostles John and Peter, Mark (not one), and Paul (not until after Christ’s death) Supposed to be the sides of the altarpieces |
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Artist: Holbein Title: Madonna of Burgomaster Meyer Date: 1526 Medium: panel Original Location: In chapel of his castle in Basel Patron: Burgomaster Very few religious commissions. Virgin centralized and the child is blessing people |
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Artist: Veronese Title: Last Supper – Feast in the House of Levi Date: 1573 Medium: canvas Original Location: Refectory (Dominican) Monastery S. Giovanni e Paolo, Venice Patron: Lots of extra stuff added (dog, buffoons, servant with bloody nose), commissioned to make beautiful according to his standards, expanded, Levi was rich (st. matthew), colors |
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Artist: Tintoretto Title: Last Supper Date: 1592-1594 Medium: canvas Original Location: Choir, S. Giorgio Maggiore, Venice Patron: by the Prior. Extremely spiritual, angels in the sky, institution of Eucharist, Judas identified, light used to reveal emotions and wisp of angels |
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Artist: El Greco Title: The Burial of Count Orgaz Date: 1586 Medium: canvas Original Location: S. Tome, Toledo Patron: Knight gave money to Augustinian church and St. Augustine and St. Stephen appear at his funeral. Soul is shown being carried up to Christ and the Virgin, charity to church reward you with heaven, devotion to saint only path to salvation, required to get to heaven Venetian colors, Spanish mysticism and Byzantine tradition |
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Artist: Bramante Title: Tempietto Date: 1502-1511 Medium: Original Location: S. Pietro in Montorio, Rome Patron: King and Queen of Spain (paid for Columbus) --important for Renaissance Perfect central plan, built on site when St. Peter was martyred (crucified upside down), plans aren’t what actually happened, the cylindrical cella is surrounded by a circular peristyle, the cella rises one story above the peristyle and culminates in a slightly more than hemispheric dome, ribbed on the outside, proportions are simple, harmonious and unified |
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Artist: Bramante Title: Plan for St. Peter’s Rome Date: 1506 Medium: Original Location: Patron: Pope Julius II Biggest church in Christian goodness, Greek Cross (4 equal arms, perfect form but no attention to ecclesiastic aspects – separate clergy |
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Artist: Vignola (plan) and Della Porta (façade) Title: Gesu - Rome Date: plan – 1568, façade 1575-84 Medium: church Original Location: Rome Patron: the Jesuits, financed by Card. Alessandro Farnese Ground plan resembles St. Andrea – counter reformation (circle is pagan so no central plan), single nave (no side aisles) – allows for a large assembly of people, frequent mass, preaching – effective reform of populous – nave wider and shorter, somber interior |
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Artist: Sofonisba Anguissola Title: Portrait of the Artist’s 3 Sisters with a Servant Date: 1555 Medium: Original Location: hung in artist’s house Patron: none Difficult for women to learn to be artists (typically they weren’t educated) but her dad sent her to live with an artist – learned drawing techniques. Mainly did self portraits. Father advertised her to various European courts, painting was a manual labor (not suitable for nobles) Self portrait: chaste, dark colors, hair tied, chess – intellectual, governess lifting hand – conceding victory Portraiture was suitable for women (easier, any artist could master) Narrative imposed (forced to find subject matter inside home – where women were, shows the girls personalities, mountains, modeling of the faces and the gold |
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Artist: Caravaggio Title: Calling of St. Matthew Date: 1599-1600 Medium: Oil on canvas Original Location: Contarelli Chapel, S. Luigi dei Francesi, Rome Patron: Levi sitting at the table with followers had money – Christ calls him, wall illuminated but the figures are dark, symbolic qualities of light The costume (gaudily dressed youth) Levi addicted to money, Matthew addicted to Christ 2 altar pieces, 1st rejected Council of Trent: descent, clear, no lack of decorum, no inducing lust Window: age-old symbol of revelation, panes are the oiled paper customary before the universal use of glass |
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Artist: Caravaggio Title: Conversion of St. Paul Date: 1601 Medium: Oil on Canvas Original Location: Cerasi chapel, S. Maria del Popolo, Rome Patron: Name Saul à Paul, zealous propagator of Christian faith (previously an opponent), struck blind Reducing to main elements (all that’s necessary) Drastic breakthrough, Christ descending from heaven surrounded by clouds and angels |
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Artist: Caravaggio Title: Conversion of St. Peter Date: 1601 Medium: Oil on Canvas Original Location: Cerasi chapel, S. Maria del Popolo, Rome Patron: Kneeling and saying spiritual exercises, St. Peter elected to be crucified upside down (for Christ) Reduced to essence (St. Peter), style: sober observation – to St. Ignatius search for factual/intangible |
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Artist: Artemisia Gentileschi Title: Judith slaying Holofernes Date: 1620 Medium: canvas Original Location: Patron: 2nd female painted, lots of Biblical stories with female heroin Judith: Israelite goes to camp (threatening), get them to drink wine – he’s drunk, she chops off his head, defeat by a woman (he’s LAME), beheading like castration – so men not a fan of Judith, holding his face as she kills him with his own sword, to behead she had to get on top of him |
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Artist: Bernini Title: Ecstasy of St. Theresa Date: 1645-1652 Medium: mixed media Original Location: Cornaro Chapel, S. Maria della Vittoria, Rome Patron: Cardinal Federico Cornaro Mixed media (mainly white marble), 1 position from which you see it, St. Theresa was leading figure of counter-reformation, transverberation (middle), opera boxes on side for cardinals, stucco, multicolored marble (colorful event), light – real light used, she fell in love with God (intense pain, never content with anyone less than God), dying on a white cloud (kneeling in ecstasy), her death is miraculous, young and beautiful at moment of death Bel Composto: lighting, painting above, lose independence of religious experience Window: yellow glass, yellow stucco shaped by 2 columns Eroticism: eyes closed, head thrown back (physical abandonment – physical love convey feelings for God) Patrons, witnesses to our life, visualize feelings of spiritual exercises Mixed media is theatric, dramatic, never moved, watching a performance, pediment bending/breaking for you, natural light reflects the gilded stucco rays movement, drapery crinkled like a rock |
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Artist: Bramante Title: Plan and Façade of St. Peter’s Date: 1506 Medium: Original Location: Vatican, Rome Patron: Pope Julius II 4 crossings, piers could not support cuppola |
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[image][image] On the Left |
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Artist: Michelangelo Title: Plan and Apse Elevation of St. Peter’s Date: 1546-64 Medium: Original Location: Vatican, Rome Patron: Pope Paul III 2 intersecting squares, plan rear elevation |
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Artist: Bernini Title: Baldachin (Baldacchino) Date: 1624-33 Medium: gilded bronze Original Location: Crossing of St. Peter’s Rome Patron: Pope Urban VIII Huge crossing (100 feet high), nave is the longest in Christian Europe, mediating between entrance and space, columns spiraling and segmented modeled after old ones from temple of Jerusalem memorialized to old Christian basilica marker over St. Peter’s tomb bronze Barbarini bees – stripped bronze off of Roman monuments Pope Urban VIII Reaffirms centrality of crossing – Old St. Peter and temple of Jerusalem |
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Artist: Bernini Title: Cathedra Petri (St. Peter’s Throne) Date: 1657-66 Medium: marble, gilded bronze, stucco, stained glass Original Location: Apse of St. Peter’s Rome Patron: Pope Alexander VII Seat: Bishop to Rome, east and west – 4 fathers of church, Michelangelesque clouds, shooting materialized light, expanding out of considered space Chair: St. Peter’s original chair (from 8th century), symbol of light, St. Peter to present, gilded bronze, stucco, stained glass – overflowing apse rays beaming down from holy heavens, only “legitimately founded church” enormous display come to life, Bel Composto “show’ can be seen through |
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Artist: Bernini Title: Colonnade of Piazza San Pietro Date: beginning 1656 Medium: Original Location: Patron: Alexander VII 300 columns long, 4 wide Closed off with a 3rd arm (original plan), comparative heights – the facade looks higher, extraordinary ultimate walk through sculpture, usually portico flush with façade – made it free standing (not adhering to element), grandest sculpture, most ambitious and most important achievement, giver impression of motherly embrace with the church – open to all catholics (strengthen faith), heratices (welcome to church) and infidels (see the light), sculpture as propaganda to tell a show about the church to get people to come Pope appears on Sunday |
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Artist: Rubens Title: Betrothal of St. Catherine Date: Medium: Original Location: Patron: Forming an oval around the Virgin Loud, colorful composition, full of energy Holds figures together, more figures/space in altarpiece Brought Italian Baroque to Northern Europe |
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Artist: Velasquez Title: Surrender of the town of Breda Date: 1634-35 Medium: oil on canvas Original Location: Hall of the Realms, Buen Retiro Palace Patron: Phillip IV Renaissance was pretty violent, people loved wars/battle scenes This celebrates after battle (usually before) – Spanish Netherlands – Spain imposed Catholicism to Dutch, here Spunolya starved city, Dutch giving keys to Victors (upright spears, energetic – Dutch tired and beat), droop/depressed Standard: humiliate vanquished – winning general on horseback (he’s above, clear who victors are), the general here isn’t on horseback – metaphor for Spanish moral high ground, superiority, victor and defeated on same level, being nice, glory back to Spanish King and Catholic faith |
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Artist: Rubens Title: King Henry IV of France Receiving the Portrait of Marie de Medici Date: 1621-25 Medium: oil on canvas Original Location: Luxembourg Palace, Paris Patron: Marie de Medici (female) ***part of a cycle of 24 scenes of the life of Marie de Medici, Queen of France 1st female patron, cycle of portraits to glorify herself, pictorial biography, mother of Louis XII (next king, powerful), puto and cupids deliver portrait (plain but beautiful), he’s in ecstasy, armor ready to defend (power of lover stronger than power of war) at top Jupiter with eagle and thunder bolt, Juno with peacock (rich and abundant) – ideal Olympic couple (Marie and Juno put up with a lot) Bride had huge dowry (France got lucky), match made in heaven (J&J), mythical figures, energy, beauty, health, robustness, French fears and climate – imagery stressed legitimacy of her position/reign Very bold and unusual assertion of female political power, Ruebens transformed unimportant events to a beautiful cycle |
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Artist: Rigaud Title: Portrait of King XIV of France Date: 1701 Medium: oil on canvas Original Location: Palace of Versailles Patron: Louis XIV Latest painting 63 – he’s old but still posing like a hot mama Organization: light on gorgeous lining of robe, sword, face half in shadow, everything illustrates his control, authority, Divine right of kings (justifies supremacy) Contrapposto broken silhouette, profile, reminds rebels he has divine right (don’t rebel) The monarch is shown in ermine-lined coronation robes tossed jauntily over his shoulder to reveal his white-stockinged legs, the feet pirouetting in the high-heeled shoes the kind invented to compensate for his diminutive stature. The Baroque magnificence of his pose and the dramatic array of gorgeous fabrics and bits of architecture are deployed climactically in an effort to endow divine right absolutism. |
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Artist: Van Dyck Title: Portrait of King Charles I of England in Hunting Dress Date: 1635 Medium: oil on canvas Original Location: Patron: King Charles I of England Variation claims divine right – God’s power emanates from him, first king to be executed, normally put kinds/nobles on horse – more elevated, here king is dismounted from horse – more informal, less of Baroque show and spectacle (100 years earlier the whole country went to Protestantism – King Catholic), beautifies nobility (king short and ugly but here he’s put on a pedestal – horizon lowered, trees frame him, either dudes are shorter Informality gives an air of spontaneity |
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Artist: Velasquez Title: Las Meninas (Maids of Honor – The Household of Phillip IV of Spain) Date: 1656 Medium: Original Location: Philip IV’s private room in the Alcazar Palace in 1666 Patron: King Phillip IV of Spain Huge canvas, self portrait (paintbrush and palette) Margarita had two maids of honor – dwarfs common in Renaissance courts Vanishing point in door (man), orthogonals meet in mirror, in canvas or to slight side with you Royals in mirror, no portraits of king and queen together Casual event – drinking water in portrait, too unimportant to commemorate, little girl offered water (point of painting), outward glances of painting, something goes on outside painting, canvas has actual paining (hidden) Showing himself as a painter (manual worker) – great gentleman (gentlemen don’t use their hands), keys (holding in a pie – to doors of palace, high job status) |
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Artist: Hals Title: Laughing Cavalier Date: 1624 Medium: oil on canvas Original Location: middle-class homes Patron: the sitters Impression of a glimpse (but took months) di sotto in su, look below up, fancily dressed, hat perched to side, wonderful diagonal, many portraits – weren’t rejected, intimate moment, women didn’t matter (man on dexter), not posed, interacting like a loving couple |
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Artist: Hals Title: Regentesses of the Old Men’s Almshouse Date: 1664 Medium: oil on canvas Original Location: middle-class homes Patron: the sitters The equivalent of Junior League (upper class women), decorate board room of arm’s house, propaganda: works may look different but still same motivation |
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Artist: Rembrandt Title: Anatomy Lesson of Dr. Tulp Date: 1632 Medium: canvas Original Location: their hall Patron: Surgeons’ Guild Dissecting a prisoner, original composition: 3 outside people looking at doctor, Versailles anatomy book print, order of dissecting wrong (sequence, pull out smelly bits first), dissections done in winter (preserve body), left hand flexed using left hand, functional with an interesting composition, portraits never represent actual event (artistic invention – didn’t ever actually take place) |
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Artist: Rembrant Title: Night Watch (Militia Company of Captain Cocq) Date: 1642 Medium: oil on canvas Original Location: their hall Patron: Members of the company 2 other paintings (central and to the right – drama, narrative), people pay different amounts (see ones who paid more better), Captain better rights, 30 years after war – fatter, only activity was to watch town at night (still about beating Spain), young and wealthy, cut: left and top – lose child and triumphal arch (it unifies), Captain Cocq isn’t famished – focused on him and his political aspirations, marching authority to arch, leadership, get sense of movement |
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Artist: Rembrant Title: Return of the Prodigal Son Date: 1669 Medium: oil on cavnas Original Location: middle-class homes Patron: the sitters, for Calvinists Prodigal son goes away, wastes inheritance, returns home to find love, Bible source of truth (subject matter), shows ordinary and humble, wasted son in arms of father, none of us fulfill our potential |
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Artist: Vermeer Title: Allegory of Painting Date: 1670-1675 Medium: Original Location: middle-class homes Patron: the sitters Retrospective of painting in the Netherlands, painting geography and history, maps in this time not always up, 20 views of cities, nostalgic look at when was 1 country, geography of history, Laurel of triumph and fame on her head, dark colors in foreground, window lets light in and shows painting, making a claim for painting |
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Artist: Cellini Title: Perseus and Medusa Date: 1545-54 Medium: bronze Original Location: Ioggia dei Lanzi, Florence Patron: Duke Cosimo I de’ Medici Just killed Medusa and carrying her head, blood turning into Coral Bronze – antique and classical, holds itself, the process – hollow (multi-step), dynamic |
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Artist: Giovanni da Bologna Title: Rape of the Sabine Women Date: 1583 Medium: marble Original Location: Loggia dei Lanzi, Florence Patron: Duke Francesco de’ Medici Marble: heavier and weaker and brittle, chisels and drills from a black, subtractive process, Romans needed women to procreate, stole women, actually wanted to defy standards (story added later), challenge sculpt multi figure from a single block (mastery of media, ancients cheated), viewed from multi-angles (equally good from 8 angles) |
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Artist: Bernini Title: David Date: 1623 Medium: marble Original Location: Villa Borghese, Rome Patron: Cardinal Scipione Borghese Ignored block shape, multiple pieces of marble, create movement, high drama, used a brace in the slingshot, viewable from multiple angles but frontally is the main angle, you are goliath and he is throwing the rock at you, actually in act (unlike Michelangelo’s), not as large as Michelangelos. |
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Ruisdael
View of Haarlem, Landscape oil on canvas c. 1670 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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Vermeer
View of Delft, Townscape oil on canvas c. 1662 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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Saenredam
Church of St. Bavo, Churchscape
oil on panel 1660 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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Hals
Malle Babbe, In the Tavern oil on canvas c. 1630-33 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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de Hooch
Linen Cupboard, In the Home oil on canvas 1663 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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Judith Leyster
The Proposition oil on canvas 1631 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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Vermeer
Kitchen Maid oil on canvas c. 1658 PATRON: Created by the artists for the open market
LOCATION: In the homes of the Dutch Upper Middle Class |
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