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Unformatted text preview: By: Susan M. Pojer
Horace Greeley HS Chappaqua, NY Renaissance Art in Northern R enaissance Art in Northern Europe Should not be considered an appendage to
, 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
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
the Good. , The Virgin and
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
1435 van der Weyden’s Deposition v an der Weyden’s (details) Quentin Massys (14651530)
Q uentin Massys (14651530)
, , Belonged to the
in Antwerp that
called him “the
renovator of the
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
, 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,”
1548-1549 Lucas Cranach the Elder (1472
L ucas Cranach the Elder (1472
, Court painter at
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
Woman Amorous Old Woman with a
Young Matthias Gr ü newald (14701528)
M atthias Gr
, , , Converted to
in the Peasants’
Revolt on the
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
A scholar as well as an
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
woodcut, 1498 , , Hans Holbein, the Younger (1497
H ans Holbein, the Younger (1497
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
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
the future Edward VI
(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
the Duchess of Shrewsbury [more medieval in style].
the Burghley House for William Cecil
B urghley House for William Cecil The largest & grandest house
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
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
The Garden of Earthy Delights
The Garden of Earthy Delights
The Temptation of St. Anthony
15061507 Pieter Bruegel the Elder (1525
P ieter Bruegel the Elder (1525
, 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
He uses an agitated, flickering light.
He ignores the rules of perspective, and
heightens the effect by areas of brilliant
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
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
, 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.
- Fall '08