NorthernRenaissanceArt

NorthernRenaissanceArt - By: Susan M. Pojer By: Horace...

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Unformatted text preview: By: Susan M. Pojer By: Horace Greeley HS Chappaqua, NY Renaissance Art in Northern R enaissance Art in Northern Europe Should not be considered an appendage to Italian art. , But, Italian influence was strong. , Painting in OIL, developed in Flanders, was widely adopted in Italy. , The differences between the two cultures: Italy change was inspired by humanism with its emphasis on the revival of the values of classical antiquity. No. Europe change was driven by religious reform, the return to Christian values, and the revolt against the authority of the Church. , More princes & kings were patrons of artists. Characteristics of Northern C haracteristics of Northern Renaissance Art , , , , , , The continuation of late medieval attention to details. Tendency toward realism & naturalism [less emphasis on the “classical ideal”]. Interest in landscapes. More emphasis on middle-class and peasant life. Details of domestic interiors. Great skill in portraiture. Jan van Eyck (1395 – 1441) J an van Eyck (1395 – 1441) , More courtly and aristocratic work. Court painter to the Duke of Burgundy, Philip the Good. , The Virgin and Chancellor Rolin, 1435. Van Eyck ­ Adoration of the Lamb , V an Eyck ­ Ghent Altarpiece, 1432 Van Eyck: V an Eyck: The Crucifixion & The Last Judgment 1420­1425 Giovanni G iovanni Arnolfini and His Wife (Wedding Portrait) Jan Van Eyck 1434 Jan van Eyck ­ Giovanni Arnolfini J an van Eyck & His Wife (details) Rogier van der Weyden (1399­1464) R ogier van der Weyden (1399­1464) The The Deposition Deposition 1435 1435 van der Weyden’s Deposition v an der Weyden’s (details) Quentin Massys (1465­1530) Q uentin Massys (1465­1530) , , , , Belonged to the humanist circle in Antwerp that included Erasmus. Influenced by da Vinci. Thomas More called him “the renovator of the old art.” The Ugly Dutchess, 15251530 Massys’ The Moneylender & His Wife , M assys’ 1514 Renaissance Art in France R enaissance Art in France , , A new phase of Italian influence in France began with the French invasions of the Italian peninsula that began in 1494. The most important royal patron was Francis I. Actively encouraged humanistic learning. Invited da Vinci and Andrea del Sarto to France. He collected paintings by the great Italian masters like Titian, Raphael, and Michelangelo. Jean Clouet – Portrait of Francis I , J ean Clouet – 1525 The School of Fontainebleau T he School of Fontainebleau It revolved around the artists at Francis I’s Palace at Fontainebleau. , A group of artists that decorated the Royal Palace between the 1530s and the 1560s. , It was an offshoot of the Mannerist School of Art begun in Italy at the end of the High Renaissance. , characterized by a refined elegance, with crowded figural compositions in which painting and elaborate stucco work were closely integrated. Their work incorporated allegory in accordance with the courtly liking for symbolism. The School of Fontainebleau T he School of Fontainebleau , Gallery [right] by Rosso Fiorentino & Francesco Primaticcio , 1528-1537 Germain Pilon (1525­1590) G ermain Pilon (1525­1590) , , The Deposition of Christ Bronze, 1580-1585. Jean Goujon J ean Goujon (1510­1565) “Nymph & Putto,” 1547-1549 “Nymph,” 1548-1549 Lucas Cranach the Elder (1472­ L ucas Cranach the Elder (1472­ 1553) , Court painter at Wittenberg from 1505-1553. , His best portraits were of Martin Luther (to the left). Lucas Cranach the Elder L ucas Cranach the Elder Old Man with a Young Old Woman Woman Amorous Old Woman with a Amorous Young Man Young Matthias Gr ü newald (1470­1528) M atthias Gr , , , , Converted to Lutheranism. Possibly involved in the Peasants’ Revolt on the peasants side. Depictions of intense emotion, especially painful emotion. The Mocking of Christ, 1503 Matthias Gr ü newald’s The M atthias Gr Crucifixion , 1502 Albrecht D ü rer (1471­1528) A lbrecht D , , , , The greatest of German artists. A scholar as well as an artist. His patron was the Emperor Maximilian I. Also a scientist Wrote books on geometry, fortifications, and human proportions. , , Self-conscious individualism of the Renaissance is seen in his portraits. Self-Portrait at 26, 1498. D ü rer – Self­Portrait in Fur­Collared Robe , 1500 D ü rer The Last Supper woodcut, 1510 Durer – The Triumphal Arch , 1515­ D urer – 1517 The Triumphal Arch , details T he Triumphal Arch The Triumphal Arch , details T he Triumphal Arch D ü rer Four Horsemen of the Apocalypse woodcut, 1498 , , Hans Holbein, the Younger (1497­ H ans Holbein, the Younger (1497­ 1543) One of the great German artists who did most of his work in England. While in Basel, he befriended Erasmus. Erasmus Writing, 1523 , , Henry VIII was his patron from 1536. Great portraitist noted for: Objectivity & detachment. Doesn’t conceal the weaknesses of his subjects. Artist to the Tudors A rtist to the Tudors Henry VIII (left), 1540 and Henry the future Edward VI (above), 1543. (above), Holbein’s, The Ambassadors , 1533 H olbein’s, A Skull Multiple Perspectives M ultiple Perspectives The English Were More Interested in T he English Were More Interested in Architecture than Painting Hardwick Hall, designed by Robert Smythson in the 1590s, for Hardwick the Duchess of Shrewsbury [more medieval in style]. the Burghley House for William Cecil B urghley House for William Cecil The largest & grandest house The of the early Elizabethan era. of Hieronymus Bosch (1450­1516) H ieronymus Bosch (1450­1516) , , A pessimistic view of human nature. Had a wild and lurid imagination. Fanciful monsters & apparitions. , Untouched by the values of the Italian Quattrocento, like mathematical perspective. His figures are flat. Perspective is ignored. , , More a landscape painter than a portraitist. Philip II of Spain was an admirer of his work. Hieronymus H ieronymus Bosch The Garden of Earthy Delights 1500 Hieronymus H ieronymus Bosch The Garden of Earthy Delights (details) 1500 Hieronymus H ieronymus Bosch The Cure of Folly 1478­1480 Hieronymus H ieronymus Bosch The Temptation of St. Anthony 1506­1507 Pieter Bruegel the Elder (1525­ P ieter Bruegel the Elder (1525­ 1569) , , , , , One of the greatest artistic geniuses of his age. Worked in Antwerp and then moved to Brussels. In touch with a circle of Erasmian humanists. Was deeply concerned with human vice and follies. A master of landscapes; not a portraitist. People in his works often have round, blank, heavy faces. They are expressionless, mindless, and sometimes malicious. They are types, rather than individuals. Their purpose is to convey a message. Bruegel’s, Tower of Babel , 1563 B ruegel’s, Bruegel’s, Mad Meg , 1562 B ruegel’s, Bruegel’s, The Beggars , 1568 B ruegel’s, Bruegel’s, Parable of the Blind B ruegel’s, Leading the Blind , 1568 Bruegel’s, Niederlandisch Proverbs , B ruegel’s, 1559 Bruegel’s, The Triumph of Death , 1562 B ruegel’s, Bruegel’s, Hunters in the Snow , B ruegel’s, 1565 Bruegel’s, Winter Scene , 1565 B ruegel’s, Bruegel’s, The Harvesters , 1565 B ruegel’s, , , , , , , Domenikos Theotokopoulos (El D omenikos Theotokopoulos (El Greco) The most important Spanish artist of this period was Greek. 1541 – 1614. He deliberately distorts & elongates his figures, and seats them in a lurid, unearthly atmosphere. He uses an agitated, flickering light. He ignores the rules of perspective, and heightens the effect by areas of brilliant color. His works were a fitting expression of the Spanish Counter-Reformation. El Greco E l Greco Christ in Agony on the Cross 1600s El Greco E l Greco Portrait of a Cardinal 1600 El Greco’s, The Burial of Count E l Greco’s, Orgaz , 1586­1588 El Greco’s, The Burial of Count E l Greco’s, Orgaz , 1586­1588 (details) El Greco’s, The E l Greco’s, Burial of Count Orgaz , 1578­ 1580 El Greco E l Greco The View of Toledo 1597­1599 Conclusions C onclusions , The artistic production of Northern Europe in the 16c was vast, rich, and complex. , The Northern Renaissance ended with a Mannerist phase, which lasted a generation longer in the North than it did in Italy, where it was outmoded by 1600. ...
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This note was uploaded on 02/17/2012 for the course HISTORY 103 taught by Professor Livingston during the Fall '08 term at Rutgers.

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