This preview shows pages 1–3. Sign up to view the full content.
This preview has intentionally blurred sections. Sign up to view the full version.View Full Document
Unformatted text preview: 20:33 Extra credit!!!! Annual graduate symposium on Sunday, keynote lecture, relationship between neuroscience and art history... Come to lecture write up a 1-2 page summary in response to it = 3 points for midterm Tutor campus center, 3 Sunday :( Art, market, and court: Rembrandt and Velasquez Ideals within American evangelic community: distrust of ostentation, distrust of materialism (Scriptural basis) The Netherlands in 17 th century were probably the most tolerant accepting society that had yet existed While ostensibly it was a Protestant nation, there was actually a wide acceptance of a fairly broad range of beliefs No one was burned at the stake No one was interrogated by the Inquisition While art for churches largely disappeared, religious art of other sorts continued in the Netherlands As long as theres no risk that theyre considered sacred, there was no objection to art in an educational context Dutch people were expected and encouraged to have an individual relationship to the Bible In Italy, translating it into the vernacular was a crime The emphasis was on the Church interpretation of scripture Personal engagement/investment in Scripture, Biblical stories Rembrandt van Rijn Bathsheba at her bath 1654 Oil on canvas Substantially greater concern for naturalism outside of the kind of idealistic naturalism we saw in Italian Counter-Reformation Far less concerned with the Italian tradition of the heroic, classicized ideal body Relied on the personal observation of the human figure She departs from the ideas weve come to expect from the classic nude ideals Focuses on a much greater degree on the surface of skin, her body fat, the actual elements of human flesh rather than a clear basis and continued modeling on sculpture, hard stone, perfectly chiseled muscles from Michelangelo, Caravaggio, etc. Came from the Dutch tradition of painting everyday life Much closer to a world the people were familiar with Rembrandt was trained by a painter who worked in a largely Italian, classicizing painting Use of light in both Bathsheba and the conversion of Paul spotlighting, everything else recedes into darkness, deep contrast between extraordinary light and extraordinary darkness Like Counter-reformation religious painting, his works tend to give us exactly the number of figures we need to understand the story. No extraneous information, very focused painting, like those of Caravaggio Contrast in subject matter and how Rembrandt chooses to tell the story Conversion of Paul: stripped down, clear, Christian conversion...
View Full Document
- Spring '06