Albrecht Altdorfer, The Battle of Issus (1529)

Reformation

Minute detail, apocalyptic doom which shows the turmoil of the upheaval of the traditional Church system

 Albrecht Dürer, The Four Horsemen of the Apocalypse (ca. 1497–98)

Reformation

Shows the apocalypse, print distribtured across Germany and Europe, Turks pressing on Vienna = God showing the Apocalypse is at hand

Albrecht Dürer, Melancholia I (1514)

Reformation, Renaissance

humanist image representing failed inspiration and genius

     Albrecht Dürer, Last Supper (1523)

Reformation

Made a simple image that displayed Luther's beliefs of consubstantiation

Albrecht Dürer, Four Apostles (1526)

Reformation

Shows Luther's influence on religious art in the North. John in the front because he said the word of God better than papacy which shows how Protestants put more authority on the word of God rather than the Pope

Albrecht Altdorfer, Danube Landscape (c.1528)

Reformation

This painting marks shift in western consciousness, no pastoral garden scene, or landscape that insinuates peace of harmony, but more ominous as gathering clouds approach storm.

Pieter Bruegel the Elder, Harvesters (1565)

Reformation

Part of a cycle (series of painting with secular theme), enjoying good life, people unencumbered by authority, patron = middle class and it shows the middle-class nostalgia for the simplicities of a rural life

Pieter Bruegel the Elder, The Triumph of Death (c. 1562)

Reformation

Natural world is related to political climate of division between aristocracy and the common people, argues for equality of everyone in face of death.

Gianlorenzo Bernini, Baldacchino (1623–1634)

Counter-Reformation

Grand expanse of catholic interior, both Protestant and Catholic church would vie for souls of Christians in Europe, trying to appeal to the emotion of the audiences to arouse piety and religious fervor compared to the simplicity of the Calvinist church

Robert Campin, Mérode Altarpiece (ca. 1426)

Northern Renaissance

very detailed, not good perspective, weird people, white flowers = virgin, patrons painted in

• Jan and Hubert van Eyck, Ghent Altarpiece (ca. 1425-32)

Jan van Eyck, Giovanni Arnolfini and His Wife Giovanna Cenami (ca. 1434)

Northern Renaissance

Extreme detail, patrons painted in it, weird people proportions

Shoes = standing on holy ground

Dog = marital fidelity

mirror = all seeing eye of God

prayer beads = piety

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• Hieronymus Bosch, Carrying of the Cross (ca. 1490)

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• Hieronymus Bosch, Garden of Earthly Delights, (ca. 1505-10)

Matthias Grünewald, Isenheim Altarpiece, (ca. 1510-15)

Northern Renaissance

Grim, darkness, hospital paintings saw the horrifying realism but on the inside has, preoccupation with death common in the Northern European

• Albrecht Dürer, The Large Turf, (1503)

Albrecht Dürer, Self-Portrait, (1500)

Northern Renaissance

extreme detail, humanistic view that Durer commonlly has, shows that art is a sacred act

• Albrecht Dürer, Draftsman Drawing a Reclining Nude (ca. 1525)

• Northern Renaissance

• has the detail of Northen Renaissance and the scientific humanism of the South, mathematical

• Hans Holbein the Younger, Henry VIII in Wedding Dress (1540)

Hans Holbein the Younger, Thomas More (1527)

Northern Renaissance

Thomas More published Utopia to show flaws in English society

Hans Holbein the Younger, The Ambassadors (1533)

Northern Renaissance

very detailed, shows scientific mind, objects suggest learning/education and humanistic view, skull = reminder of death which goes with the pessimisstic attitude of the North

Fig 19.9 Reconstruction and cross-section of the Globe Theater (1599-1613)

Elizabethan England

Held many theatergoers and allowed different classes to watch plays

Michelangelo, Last Judgment (1534-41)

Mannerism

Controversy because religious figures pictured nude, Michelangelo well-established so he could paint Mannerist style without getting in trouble from the Church

Michelangelo, Victory (1520s)

Mannerist = weird proportions and twisting of the body

Symbolizes man's struggle and suffering

Correggio, Jupiter and Io (1530s)

Mannerist

Sensual focus, juxtaposition of fully lit body with dark and amorphous form is fully mannerist

Titian, The Rape of Europa (1559-62)

Mannerist

Titian brings attention to his hand (unique manneristic style), serpentine posture, sensual

Parmigianino, The Madonna of the Long Neck (ca. 1535)

Mannerist

unorthodox, elongated proportions, spatial ambiquity, sensual, foot extends into viewer's plane, weird proportions

Sofonisba Anguissola, Bernardino Campi Painting Sofonisba Anguissola (late 1550s)

Mannerist

Draws direct attention to the Mannerist mano, sensuality

Agnolo Bronzino, Allegory with Venus and Cupid (1540s)

Mannerist

Eroticism, exaggerated forms, no clear focus in the picture

Lavinia Fontana, Consecration of the Virgin (1599)

Mannerist

Elongated figures, serpentine pose of angel, a lot going on

Mannerist

Serpentine position

Veronese, Feast in the House of Levi (1573)

Manneristic

Paints religious scene as if it happened in the place of nobility today which made the church mad

El Greco, Resurrection (1597-1604)

Mannerist

Roman solidiers in serpentine, aspirations of the Counterreformation and inventiveness of mannerist style are fully united to give lots of emotion to religious scene

• Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (1630)

• depicts moment of inspiration and shows the audacity and sense of self-worth that allowed her to depict herself; would later serve as inspiration for women struggling for recognition in the modern world

Gian Lorenzo Bernini, The Ecstasy of St. Theresa, Cornaro Chapel, Santa Maria della Vittoria, Rome (1645-52)

Baroque

senses, sensual, theatrical, dramatic, heightened moment

Gian Lorenzo Bernini, Baldachino at crossing of Saint Peter’s Basilica, Vatican, Rome (1624-33)

Baroque

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• Gian Lorenzo Bernini, David (1623)

Caravaggio, The Calling of Saint Matthew (ca. 1599-1600)

Baroque

use of light

Caravaggio, Conversion of Saint Paul (ca. 1601)

Baroque

dramatic, tenebrism

Caravaggio, Bacchus (ca. 1597)

Baroque

shows physical beauty, dramatic appeal, erotic, hand coming out into frame

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• Elisabetta Sirani, Virgin and Child (1663)

• Artemisia Gentileschi, Judith and Maidservant with Head of Holofernes (ca. 1625)

Jan Vermeer, The Geographer (1668-69)

Dutch period

shows the desire to learn, rigorous attention to detail, shows religion with light, shows middle class intent on living well but not trying to make a show of it

Pieter Saenredean, Interior of the Choir of Saint Bavo’s Church at Haarlem (1660)

Dutch Calvinist

Churches devoid of paintings and decorations, white space = purity of Reformed church, iconoclasts

• Flowers in a Wan-Li Vase with Blue Tint (ca. 1600)

Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen (ca. 1670)

Dutch phase

Shows pride in their land and sanctity of home, landscape painting

Jan Steen, The Dancing Couple (1663)

Reformation

genre scene painting, has things that remind people fleeting nature of human life, vanitas

Jan Vermeer, Woman with a Pearl Necklace (ca. 1664)

Dutch 17th centrury

white walls = tabula rasa = blank slate

Jan Vermeer, The Little Street (1657-58)

Dutch 17th century

celebration of domestic life

Frans Hals, Banquet of the Officers of the St. George Civic Guard (1616)

Dutch 17th century

Group portrait

Rembrandt (think light when you think Rembrandt) van Rijn, Captain Frans Banning Cocq Mustering His Company (The Night Watch) (1642)

Dutch period

group portrait

• Rembrandt van Rijn, Christ Preaching (ca. 1648-50)

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Rembrandt van Rijn, The Anatomy Lesson of Dr. Tulp (1632)

Dutch period

light = learning

• Rembrandt van Rijn, Self-Portrait (1606-1669)

Peter Paul Rubens, The Arrival and Reception of Marie de Medici at Marseilles (1621-25)

Baroque

Fleshy nudes, dynamic

Peter Paul Rubens, The Kermis (ca. 1635)

Baroque

genre scene, sensuality

• Ego). 1638-39.[image]

• Nicolas Poussin, The Shepherds of Arcadia (Et in Arcadia Ego). 1638-39.

• Ego). 1638-39.[image]

• Nicolas Poussin, The Shepherds of Arcadia (Et in Arcadia Ego). 1638-39.

Anthony van Dyck. Portrait of Charles I Hunting (1635.)

Baroque

aristocratic in nature

Diego Velázquez, El Triumfo de Baco, or Los Borrachos (The Triumph of Bacchus, or The Drunkards) (1628-29)

Barowue

Diego Velázquez, Las Meninas (1628-29)

Baroque

dramatic lighting (tenebrism), focus on nobility

Henri Testelin, Jean-Baptiste Colbert Presenting the Members of the Royal Academy of Science to Louis XIV (ca. 1667)

showcases tension of Baroque age, between decorum and excess, reason and emotion

Christopher Wren. St. Paul’s Cathedral, 1675-1710.

Enlightenment

Classical structure with geometry mixed with Baroque elements with a Renaissance dome

• William Hogarth, Gin Lane (1751)

William Hogarth, The Countess Levée, or Morning Party, from Marriage à la Mode. (1743-1745)

Enlightenment

satire

Joseph Wright, An Experiment on a Bird in the Air-Pump (1768)

Enlightenment

shows the fascination with learning and experimenting

Charles-Joseph Natoire, Cupid and Psyche, Salon de Princesse, Hotel de Soubise, Paris (1738)

Rococo

Jean-Antoine Watteau, The Embarkation from Cythera (ca. 1718-1719)

Rococo

Jean-Antoine Watteau, The Signboard of Gersaint (ca. 1721)

Marks the end of the Rococo into the Neoclassicalism phase

Louis XIV being put away

François Boucher, Madame de Pompadour (1756)

Rococo

François Boucher, The Toilet of Venus (1751)

Rococo

erotic, sexual

Jean-Honoré Fragonard, The Swing (1767)

Rococo

erotic, sexual, little meaning

Elisabeth-Louise Vigée, Marie-Antoinette en Chemise (1783

Rococo

John Trumbull, The Declaration of Independence, 4 July 1776 (1786-97)

Neoclassicism

Jacques-Louis David, The Tennis Court Oath (1789-91)

NeoClassicism

o   Trio of figures = three estates in unity

Jacques-Louis David, The Death of Marat, (1793)

Neoclassicism

o   Used pose reminiscent of the dead Christ at the Lamentation

Jacques-Louis David, The Oath of the Horatii (1784-85

Neoclassicism

o   Women represented more Baroque while men more Classical showing that responsibility must eclipse the joys of domestic life

Angelica Kauffmann, Cornelia Pointing to Her Children as Her Treasures (ca. 1785

NeoClassicism

Jacques-Louis David, The Lictors Returning to Brutus the Bodies of His Sons (1789)

Neoclassical

o   Father’s sacrifice of his sons for the good of the state

Jacques-Louis David, Napoleon Crossing the Saint-Bernard (1800-01

Neoclassical

propaganda, shows himself as Charlemagne

Jean-Auguste-Dominque Ingres, Napoleon on His Imperial Throne (1806

Neoclassical

o   Showing him godlike in power and dominion

Antoine Jean Gros, Napoleon at Eylau (1808)

Neoclassical

propaganda