Chapter 25 Northern Europe 1600-1700

The combination of dynamic diagonals strong modeling

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The combination of dynamic diagonals, strong modeling in dark and light, and anatomically powerful figures involved in violent action creates a scene of intense physical and emotional drama. oil on wood-in this triptych, Rubens explored foreshortened anatomy and violent action. The compostion seethes with a power that comes from heroic exertion. The tension is emotional as well as physica
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Rubens, Arrival of Marie d’ Medici at Marseilles, 1622 The rich, decorative splendor of Rubens's painting of the Arrival of Marie de' Medici at Marseilles is enlivened by the inclusion of allegorical personifications and mythological figures. PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2” -> one of 21 paintings celebrating the wife of King Henry IV -> hung in the queen’s new Paris Palace Marie arrives in France after a sea voyage guarded by Neptune and sea nymphs; France falls to her feet to greet her; angel with two trumpets heralds her arrival; Marie in silver is almost lost in the welcoming crowd Heroic gestures, demonstrative spiraling figures Mellow intensity inspired by Titian and Caraggio Sumptuous full fleshed women Splendid costumes suggest opulent theatrical production The rich, decorative splendor of Rubens's painting of the Arrival of Marie de' Medici at Marseilles is enlivened by the inclusion of allegorical personifications and mythological figures
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Rubens, Consequences of War, 1638 PETER PAUL RUBENS, Allegory of the Outbreak of War, 1638. Oil on canvas, 6’ 9” x 11’ 3 7/8” Mars with his shield & bloodstained sword, threatening all peoples with disaster pays little attention to Venus, who tries in vain to hold him back with caresses and embraces
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Van Dyck, Charles I Dismounted, 1635 Very short
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Peeters, Still Life with Flowers, Goblet, Dried Fruit, Pretzels, 1611 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 ¼” A pioneer of still-life painting was the Flemish artist Clara Peeters STILL-LIFE = inanimate objects artfully arranged Peeters won renown for her depictions of food and flowers together
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Brugghen, Calling of St Matthew, 1621 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6” Returned from a trip to Italy, where he fell under the influence of Caravaggio, the Catholic painter Hendrick ter Brugghen painted the Calling of Saint Matthew in a manner that echoes the naturalistic presentation of the figures of Caravaggio's painting of the same subject However, ter Brugghen employs a more colorful palette of soft tints and reduces the contrasts of dark and light
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Honthorst, Supper Party, 1620 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, approx. 7’ x 4’ 8” Genre scene Gerrit van Honthorst's Supper Party is a moralizing genre scene showing an informal gathering of unidealized human figures Influence of Caravaggio is evident in the mundane setting and the dramatic lighting. A new development is the placement of the light source within the painting
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  • Fall '14
  • Amsterdam, Peter Paul Rubens, Rembrandt, Rembrandt van Rijn

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