Primavera Boticelli, (Spring), 1478
Boticelli worked for the court of Medici family This is more like a tapestry no 1-point perspective Not Christian it's an allegory Greek/Roman myths for source but no stories just references Subject and mimesis were both different & new
Da Vinci, Last Supper, ca. 1495-1498
He began his career in Florence This is at the end of a monastery's dining hall Most significant meal in Christianity Ruined condition because this was an experiment not just subject matter, but also the technique fresco & dry layer One point perspective attention/focus on Christ's head spiritual focus too Judas's head the only one in shadow, or face unseen
Albrecht Durer, Self Portrait, 1500
Representative looks out as us confrontationally - assertive Establishes some sort of relationship between him and viewer Inscription in Latin but he doesn't know Latin Careful attention to mimesis Suggest 3 dimensionality Suggests presence of something that is absent Presence of the artist what message? how much it resembles "holy face of Christ" Has to do with new age of art It's as much about the making, the procedures, as it is about the end result He is placing himself in role of Christ? Sacrilegious? Unusual creativity Analogous to god's creations
Michelangelo, David, ca. 1501-04
Renaissance masterpiece Located piazza civic part of city Florence is like David (underdog) Now in a museum (replaced by copy of statue in piazza) Many celebrations; seat of Florentine government; David guards piazza Can't understand David or piazza without the other Erudite Michelangelo knew about point of view and distance Must make hair much bigger; show hair Precious marble heavy and fragile Marvelous no replication can show the luminosity Crystals underneath surface of marble reflect light seems alive Inventive his skills amazed people Facial expression determination Hand casual, but full of power
Da Vinci. Mona Lisa. 1503-7
Not particularly located, erudite, or precious So why is it a masterpiece? Not considered one when it was made Detail of face no lines on face forehead to hairline Other da Vinci pieces perfect geometry in faces Fell into hands of French king nearly unseen for centuries Became famous after book by Vasari came out Someone sketched it, others saw Became famous Was stolen from museum lots of publicity Then became more famous for being famous
Michelangelo, Sistine Chapel, interior, 1508-12
Different panels on the ceiling, show hundreds of figures Ribs cover the wall and ceiling cross-ribs jointed architecture But Michelangelo added illusionistic details to the architecture, to make it look like stone molding Subjects include Genesis stories, prophets, sibyls, and naked youths It is seen as the culmination of perfection of painting Michelangelo used techniques that other painters didn't use for a long time after
Raphael, School of Athens, 1509-1510
Plato, Aristotle in the center of the composition at the top of the steps 1 point perspective Figures are believable Light and shade There is a glow towards the center, and the lower sides begin to be in shadow In the center left, there is a block "cornerstone" the rock of Christ builders have rejected it, and it is a stumbling block now
Hieronymus Bosch, Garden of Earthly Delights, ca 1510
In a palace, in room with other paintings, but no indication it was ever used as altarpiece Exterior is a globe - monochrome (ish) - two inscriptions (references to old testament creation) Very educated Ability to turn world upside down Right hand side image of hell - people are suffering punishments of humanity, with many interesting methods Is this what humanity was destined for? Or will it be turned upside down? Bosch is not interested in light & shade he's quite happy to paint in 2 dimensions Many different stories seem to be told - many interesting things, e.g. backpack looking strawberries? Can probably tell the species of birds - but many, many times bigger than they should be Background curious fountain - 4 rivers flowing from it
Albrecht Durer, Melencolia I, 1514
Enigmatic print What does it represent? "melencolia" "melancholy"? Melancholy in middle ages was one of the humors 4 temperaments had to be in balance if human anatomy was to be in order New melancholy revival in antiquity melancholy is something that strikes the artist as a personification She has her hand on her chin Like she's in some daydream Not paying attention to what she's doing Tools and such all over the place
Grunewald, Isenheim Altar interior, 1516, Oil paint on panel
INSIDE (OPEN) Altarpiece image placed on altar of church meant to be used in celebration of church ritual, e.g. mass, etc Christ's suffering - placed above where eucharist would've been celebrated More than one reference to blood Lamb of god (john the baptist shown), lamb of passover, etc. Covered with layer of plaster, enameled over, covered with oil paint allowed artists to produce deeply saturated color Curious crucifixion only christ, virgin, john the baptist (behold the lamb of god), etc. it's not narrative it's more allegory of salvation *OUTSIDE (CLOSED) Left gabriel telling virgin she will have a son Middle different variations of the virgin Right end of story rise from dead Different story made for hospital run by religious order
Titian, Assumption of the Virgin, 1516-1518, Oil on Panel
Virgin raised up to heaven after her death Location behind altarpiece in Santa Maria Gloriosa dei Frari Completely embedded in church interior 3 zones Below Rectangle human beings one block emotional gestures Middle Mary still connected to earth below with gesture not static wind Upper heaven radically foreshortened apparition of power Position of painting reflects location 3 zones Humans kept in line, framed by ornaments Mary lined with middle, light behind her as a halo Heaven upward lead eyes to upper windows
Cellini, The Salt-Cellar of Francis I, 1539-43; gold and enamel
Very technically clever Pepper side pepper comes from earth Use of most fashionable modern architecture Salt side salt comes from sea Boat 2 figures gods of earth and sea All along bottom, clever references to rhythm of seasons, days Day meals salt & pepper Salt raw material edible material This thing raw material into sculpture
Titian, The Rape of Europa, 1559-62
Some very powerful people in Europe loved Titian's work of mythological scenes and collected them such as Philip II of Spain Europa carried off by Jupiter, who is in form of a bull "rape" violent abduction different connotations now These works spoke to Philip II about the kind of control that he felt he should have over his empire absolutism unquestionable authority Titian lavish brushwork, intense colors, drama - seductive Reubens came to Spanish court 1629 sent to Spain semi-diplomatic granted access to speak to king and see Titian's paintings Reubens loved Titian's work made full-scale copy of rape of Europa Velasquez also paid homage to Titian, but differently While paying homage, he's also altering the meaning of the painting In background, the story of Arachne
Bruegel, Hunters in the Snow (December-January), 1565
Only 5 survived Series seasons Hunters returning frozen lake where people are skating Countryside covered with snow Captures a moment in time
El Greco, The Burial of the Count of Orgaz, 1586-1588, Oil on canvas
Count of Orgaz was so important saints & even emperor came to funeral New attention to idea of here & now People in background actual portraits of people known back then One guy is El Greco? Little boy in foreground El Greco's son? Points to scene, holds earthly light El Greco signed his name on handkerchief coming out of boy's pockets Heaven proportions off other world A little surrealist
Wen-Shu, rhinoceros horn cup, 16th century Ming
An entire landscape has been carved into this cup Note the area between the handle and the cup Expensive from afar, good quality, long time to polish, aphrodisiac Like Cellini salt cellar Really expensive material to make ordinary object, but sculpted Superfluous thing As a reaction to, and a product of, consumer culture
Caravaggio, Death of the Virgin, c. 1601-1603, Oil on canvas
Foreground Mary Magdalene weeping "archetype of repentant sinner" Fabric up top "heaven" drapes very beautifully Dressed in humble clothing Foreground Mary Magdalene is so close to viewer Mary mother just lying there When first shown to nuns & priests who commissioned it, was not liked Too humble she looks like a whore, not a virgin Offensive to traditional Catholics Eventually ended up in Louvre because it was great in a new way Realm of heaven represented by natural light nothing supernatural
Breughel & Rubens, Allegory of Sight, c. 1617-18
Rubens made a career as a diplomat became known to and was very popular with rulers all over Europe familiar with all great power centers of Europe politically & artistically Connections to absolutism Portrait that is facing us straight on to draw attention to ruling couple of Netherlands Hapsburg archduke Albert; another Hapsburg girl Collaborative work Rubens (higher status), Breughel (lower status) Rubens did paintings and figures; Breughel did the knick-knacks Argument why things should change; people should collect different things Although there is room for things, more area devoted to paintings/sculptures Allegory she stands for a quality sight not merely a figure She acts as a bridge between sensual and intellectual
Rubens, Henri IV Receiving the Portrait of Marie de Medici, 1621-25
Putting painting in painting Have it fulfill propaganda Image of ideal masculinity projected on ruler justification for absolute rule Note the painting, Henri, the landscape, and the two people up top
Poussin, Landscape with Saint John on Patmos, 1640; oil on canvas
Muted, abstract shapes Clearly defined foreground, middle ground, background Renunciation of sexual/sensual? experiences Favors light of mind Since landscapes were not as favorable in art during this time, the addition of a subject in the foreground adds to the intellect level
Rembrandt, The Nightwatch (The Company of Captain Cocq), 1642
Over many years, it became very dirty people thought it represented a night scene "the nightwatch" But after it was cleaned, it was discovered that it wasn't a night scene after all Gesture outward, striating forward In painting there is a weapon pointing toward us Street figure? random girl?
Bernini, Ecstasy of St. Theresa, 1645-52
She set up many reform convents a great leader of the period Entire installation Space is so complex no one photograph can show all Painted dome, sculptures on sides, etc. Figures are all different individual Angel uses arrow to pierce her heart Angel all about adversity Theresa is all about calm, tranquility mess of fabric folds Face tipped back in ecstasy Sublimation release spiritual from within physical Baroque art all about transcendence Spiritual within physical that's the purpose of excess
Li Zhaoheng, Exquisite Scene of Lakes and Mountains, c.1645-1660
Includes both landscape and calligraphy Calligraphy is a more intellectual art Landscapes way for artist to communicate with something much bigger Ink medium References to Yuan paintings thought that was golden age of Chinese art Moss dots, rounded mountains references to other artists Vs. Poussin's landscape; anonymous painting composition Difference between European and Chinese artists/consumers Chinese artists will allow others to take credit Europeans don't like landscapes, words; Chinese do
Diego Velazquez, Las Meninas, 1656
Ordinary people in foreground, high class people in background Gigantic painting Many of the figures are lifesize She is in the center, so painting must be about her? Dress & the people around her status symbols Presence of a dwarf intended to Dog symbol of fidelity Act of making the portrait No, he's not making a portrait of the princess Or is it about the silhouetted figure? On right side strip of light that bathes the scene Edge of canvas catches the light Notice on back wall double portrait queen & king of spain Maybe we have to hunt for the significance of the paintings in order to understand how difficult it is to gain access it is? But the angles are wrong the mirror image must be of the actual king & queen as they come by to check up on their daughter
Rembrandt Van Rijn, Self-Portrait with Beret and Upturned Collar, 1659
He is dressed in all dark brown, against a dark background His face stands out fully illumined Quiet, contemplative, somber Subtly expressive face objectivity Response to age, experiences, woes of world Looks noble He used light and dark to highlight emotion and drama
Vermeer, Woman Holding a Balance, c. 1664
One moment in real time in a real place About the world that we inhabit completely secular no blatant religious connotation Vermeer is the artist most in love with the real world Light is entering room - artists increasingly interested in light The woman is holding in balance the edge of the painting the corner painting the is of the last judgment so it is religious perfect balanced suspension Why did he concentrate on women, on interior scenes, on everyday life? 17th century Holland, space conceptualized either public outdoor space or private indoor space home vs. the bustle, risk, of outdoor public commercial world - men represent one entire side of life a whole set of values But painting doesn't look centered informal balance Perfectly diffused Extremely finely gradated brushwork even zooming in tiny part still can't see any lines or abrupt transitions Pearls rendered by applying thick white pigment over the colors
Watteau, Gersaint's Signboard, 1720-21
Shop whose faade has been removed (artist's imagination) To show what inside looked like By 1720, art taking space in world commerce no longer separate Woman stepping over threshold can't step over if the wall were there See the source of usual trinkets Gersaint sold mirrors, boxes, paintings What is the purpose of the painting? paintings themselves now also a luxury good - should be bought & sold like other trinkets Detail of close looking - 2 people scrutinize details of painting New physical relationship in viewing art Style itself is important that's all you can see from that little distance away Pleated loose back of dress major fashion statement Gentleman embroidery, etc. Paintings being bought by rich people Paintings are now mobile don't belong to one place, one person they are bought and sold now Painting belongs in this world of accelerating style Autonomous, independent of theological
Boucher, Madame de Pompadour, 1758
Private sector supported art more and more She was mistress of king Louis of France mistress good thing powerful should have mistresses she was Head Mistress for a long time she knew she had to keep his attention continuously so she can stay how? Patron for arts dressed herself, etc amuse him frivolity, distraction, etc. at highest levels This epitomizes 18th century art seems like quintessence of femininity putting on makeup you know that this is not a trivial scene in order to gain favors, grant favors, access the king at the makeup table where she decides whether or not to grant the favor on her wrist portrait of the king power symbol Great deal of deep resentment of power of women frivolity playful usage of power
Sevres manufactory, Potpourri in the shape of a ship, 1758
Superfluous thing Made for royalty In those days, every state or special occasion called for a new Sevres piece Many pieces (commissioned by monarchy) sold to members of court Probably showed up in someone's curiosity cabinet Sevres was only company allowed to gild or use colored glazes Extravagant shaping, colors Gilding Detail on patterns Small landscape painted on front
Fragonard, Progress of Love (The Meeting), 1773
Playful boundary real & artificial Man climbing over wall Barrier mitigated by all the vegetation growing over it Levels Statue above painted to look a little less realistic than the woman below it Commissioned by Madame de ... (the next mistress of the king after Madame de Pompadour died) Just after receiving them, she decided they were out of fashion asked for replacement paintings neoclassical style Frick Museum - Fragonard room Organic interior Private sector idea space of pleasure How closely does it harmonize with the paintings Paintings alternate between paintings & decorative art windows real vs. artificial Paintings meant to fit in with the moldings, the furniture, tapestries, etc. Maybe frivolous, but not stupid
David, Oath of the Horatii, 1784
When first publicized, first thing viewers saw was its uniqueness very unlike rococo style representation of space not gentle transgressing Tuscan order most primitive order primitive antiquity most uncompromisingly plain, old, style of architecture no spatial confusion the wall, the linearity of the stone ground figures basically on one plane light in rococo, about illuminating textures and details; in oath, about edges and boundaries color added almost as an afterthought Another main difference issue of gender in rococo it's feminine in david figures structured by men on left, women on right Women are frail, unseeing, passive Men's resolve summarized and reiterated 3 swords, sharp and deadly, held by the father in the center Revolution between private and public interest Only figure who looks out from realm of women is little boy will join men
Hubert Robert, Louvre Grande Gallerie , 1796
Canova, Perseus, 1801
Goya, The Third of May, 1808, 1814
Goya's response his vision of what revolution leads to his version of "Oath of Horatii" French troops mercilessly slaughtering Spanish Dark night almost crushes city of Madrid The only light comes from the lantern There is no hope from this light only a terrified sense of death someone's going to die Unity anonymous killing machine not serving some noble purpose Carnage from war One ray of hope Raises his hands before he dies "I exist" Light illuminates his white shirt Painter to court of Spain Goya already expressing pessimism about change, politics, Spanish culture, history Moved aside from painting to printmaking faster, more widely distributed
Constable, Stour Valley from Dedham Vale, 1814
Idea of picturesque Very different from Turner's Understanding what is suitable in nature to turn into art Constable first artist to proclaim personal relationship with nature to make art - painted outdoors Started painting with watercolors, then small oil paintings, then large oil paintings that were displayed in galleries Places he had been in as a child, places he had a personal connection to his own origins Commissioned by a future bridegroom for his bride where she grew up edge of father's land take a bit of her past with her to her new home It's going by topographical mapping every field has an edge River winding between trees, fields, etc, but also houses, church steeple remind people this land isn't untouched God still rules over England Foreground great pile of dung shoveled by workers comment on how workers are tearing up the land to make it beautiful, workable? fertility of land? fertility of bride? idealized image of countryside
Thorvaldsen, Night with her Children Sleep and Death, 1815
East Pediment Fig. D, Parthenon Marbles, 447-432 BC; acquired for the British Museum 1816
Cole, The Oxbow, 1836
Early years of America artists basically copied English art until landscape painting what does it mean to represent place? political revolutions, etc, greater sense of optimism idea of empire acquired a whole new meaning in the US colonies themselves wanted their own empire move west All of America was open land, waiting to be colonized these paintings are about taking over nature As much about art and artifice as they are about the actual place Strong foreground with tree on left Middle ground with yellow Blue sky, fields in distance Issue of wild vs. tamed is at stake Look past ordinarily topographical feature organization of land into fields (this is an actual oxbow in Massachusetts Connecticut river)
Ingres, Antiochus and Stratonice, 1840
Turner, Rain, Steam and Speed, 1844
Train over iron bridge as rain beats down on it Industrial revolution Trains major part of it The way in which new concepts speed, time, energy changed by industrial revolution Even the rain seems driven by a new force dissolves recognizable shapes abstracts them like industrialization abstracted old ideas, concepts old ways to new ways new kind of art paint used in a new way
Brunelleschi, Dome of the Cathedral, Florence, begun 1417
Renaissance masterpiece Located in heart of Florence dominates city Acts as spatial reference point in entire city Must occupy a particular space, serve a particular function Erudite architect must understand forms of past know to transform Essential to display knowledge Precious a lot of manpower was used Marvelous so big that for a long time it was believed there was no way to cover the dome in an aesthetically pleasing way Brunelleschi submitted idea 2 sets of ribs spread weight Inventive no one had done this before shows knowledge
Ghiberti. Gates of Paradise on Florence Baptistery 1425-52
Renaissance masterpiece Location built for specific part of city for religious purposes Doors should be very beautiful for a baptistery so people will know it's sacred Erudite both entries show knowledge, skill, anatomy, dynamic relationship But different kinds Ghiberti's more erudite in composition new kind Precious bronze (copper and tin) bronze is usually recycled but not this Uniform bronze must be new from northern mine Covered with gold dazzling effect Marvelous Panels, decorative borders 1st set so beautiful gave permission for next 2nd is Gates of Paradise Inventive
Michelozzo, Medici palace, Florence, from 1444
Rusticated faade 3 floors height of each floor getting smaller as go up horizontal lines across between each floor makes building seems lighter as it goes up, but the top cornice gives it a lot of weight Michelozzo was influenced by Romans and Brunelleschi Romans rustication, cornice, open colonnaded court Brunelleschi and other Renaissance architects used many Roman elements Palace is nice, but reserved it's not flashy, otherwise the Medici's would get in trouble again
Alberti, Tempio Malatestiano, Rimini, c. 1450
For Sigimondo Malatesta for use as a funerary chapel for him and his wife 1st church in Renaissance built with faade composed of classical elements Faade outside wrapped an existing church Interior not Alberti's work can see pointed arches Church meant to be provided with big dome never built Building material white marble typical of Roman architecture Alberti doesn't hide the old church wants a relationship between old and new Uses element shape, etc. from past specific past Coliseum in Rome the arched orders on the side Arch of Augustus the faade arches Modernity expressed through use of specific antiquity of Rome
Alberti, Palazzo Rucellai, Florence, c. 1455-58
3 levels in a typical Roman sequence Doric at bottom, Ionic, Corinthian on top Top is separated by heavy horizontal line Conversion of engaged columns from Coliseum flattened Arches became windows New, different from rest of city Opus reticulatum at bottom of faade Also inspired by Palazzo Medici, other places
Palladio, Villa Almerico Capra (La Rotonda), Vicenza, 1566-1620
Inspired by the Pantheon in Rome Will be influential later Meant to be more of an architectural manifesto no compromise between practicality and architectural idealism Intersection of cross, square, and circle Commissioned by Priest Almerico This villa is almost completely symmetrical In order for each room to have some sun, the building is rotated 45 degrees from the path of the sun Nothing inside to tell us the purpose of the rooms Anything added would spoil the perfection
Palladio, Church of Redentore, Venice, after 1570
Built to thank God for saving Venice from plague Faade looks across canal to Venice Frontal faade is most important Putting together two main prototypes Central pediment overlies a larger, lower one "hidden"; smaller pediment below
Plan of Versailles, 1668-85
triangular axis for roads (tridentine network) carved out of dense trees triangular roads from palace represent rays of sun 3 avenues radiate from chateau middle one goes to Paris each of the avenues led to some secondary attraction There are many fountains in the garden need a lot of water to work them, and it wasn't technically practical Many engineers, aqueducts, mills, but still not enough water
Versailles, The Grotto of Thetis, 1676
Outside decorated with shells seems like underwater cave when you enter gates Above is Apollo with his horses 3 niches that match the 3 doors Move through garden along main axis following Apollo along sky palace feels like it's emerging from ground imagine self in middle of field land is not tilting up. Roof is tank of water Apollo and the Nereids symbolizes Louis as the Sun King he is represented as the Sun King elsewhere too Light from sun reflecting off canal
Mansart (architect) & Lebrun (decorator), Galerie des Glaces [Hall of Mirrors], 1678-84
Room lined with mirrors was proclamation of unrequited wealth Paintings embedded by LeBrun embedded is operative word Can't quite tell when paintings end and carvings begin see gilded molding Made on canvas & then glued era of fresco painting has ended installed to look as if integral part of this hall Extremely clever solution to practical problem One side of room giant arced windows Other side bedrooms? Solid wall Other side of mirrors original exterior of original chateau Use mirrors to capture light from garden and magnify Rhetorical device Mirrors domestically made finest mirrors at this time were made in Italy So Louis fostered local industry, so they wouldn't have to import less dependent Decorated overhead with actual frames Victories in war martial hero Appears in company of gods mixed metaphor
Neuf Brisach
earthworks moving land for military Earthworks surround town star shaped Protection displacement of soil to achieve this effect