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Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
Ch 18 and 19
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Ch 18 and 19

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  • 1. Gardner’s Art Through the Ages, 14e Chapter 18High Renaissance and Mannerism in Northern Europe and Spain and Chapter 19 The Baroque in Italy and Spain 1
  • 2. Europe in the 16th Century Duchy of Burgundy 2
  • 3. Protestant ReformationMartin Luther 3
  • 4. Figure 18-3 HANS BALDUNG GRIEN, Witches’Sabbath, 1510. Chiaroscuro woodcut, 1’ 2 7/8” X 10¼”. British Museum, London. 4
  • 5. 18-3A HANS BALDUNG GRIEN, Death and theMaiden, 1509–1511. Oil on wood, 1’ 3 3/4" X 1’3/4”. Kunsthistorisches Museum, Vienna. 5
  • 6. Albrecht Durer: “Leonardo of the North”• Travelled widely through Europe and became an international celebrity• Took trips to Italy to study Renaissance art• First artist to synthesize Northern European stylistic features (intricate detail, realistic rendering of objects, symbols hidden as everyday objects) and blend them with Italian features (classical body types, linear perspective) --- admired the work of Leonardo• First artist to keep a thorough record of his life (self-portraits, treatises on his thoughts, and a diary)• Important graphic artist --- best known for his engravings• Influenced significantly by Martin Luther and Protestant Reformation 6
  • 7. Figure 18-4A ALBRECHT DÜRER, GreatPiece of Turf, 1503. Watercolor, 1’ 3/4” x 1’3/8”. Albertina, Vienna. 7
  • 8. 18-4 ALBRECHT DÜRER, Self-Portrait, 1500. Oil on wood, 2’ 2 1/4” X 1’ 7 1/4”. Alte Pinakothek, Munich. 8
  • 9. Figure 18-5 ALBRECHT DÜRER, The Fallof Man (Adam and Eve), 1504. Engraving, 97/8” x 7 5/8”. Museum of Fine Arts, Boston(centennial gift of Landon T. Clay). 9
  • 10. 18-6 ALBRECHT DÜRER, Melencolia I, 1514. Engraving, 9 3/8” X 7 1/2". Victoria & Albert Museum, London. 10
  • 11. Figure 18-7 ALBRECHT DÜRER, FourApostles, 1526. Oil on wood, each panel 7’ 1” x2’ 6”. Alte Pinakothek, Munich. 11
  • 12. 18.2 Protestant Reformation• Understand the consequences of the Protestant Reformation and the Catholic Counter-Reformation• Observe how Protestantism affected the role and imagery of art 12
  • 13. 18-11A HANS HOLBEIN THE YOUNGER, Henry VIII, 1540. Oil on wood, 2’ 8 1/2” X 2’ 5 1/2". Galleria Nazionale d’ArteAntica, Rome. 13
  • 14. Figure 18-11 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on wood, approx. 6’8” x 6’ 9 1/2”. National Gallery, London. 14
  • 15. 15
  • 16. 16
  • 17. 17
  • 18. 18.4 Art in the Netherlands during the 16th Century • Understand Dutch culture and artistic styles • Identify representative Dutch artists from the 16th century • Recognize and cite artistic terminology from this period 18
  • 19. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 25/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 19
  • 20. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 25/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 20
  • 21. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 25/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 21
  • 22. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 25/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 22
  • 23. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 25/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 23
  • 24. Figure 18-16 QUINTEN MASSYS, Money-Changer and His Wife, 1514. Oil on wood, 2’ 3 3/4” x 2’ 2 3/8”. Louvre, Paris. 24
  • 25. Figure 18-17 PIETER AERTSEN, Butcher’s Stall, 1551. Oil on wood, 4’ 3/8” x 6’ 5 3/4”. Uppsala University ArtCollection, Uppsala. 25
  • 26. Figure 18-21 PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on wood, 3’ 10” x 5’ 4 1/8”.Gemäldegalerie, Staatliche Museen, Berlin. 26
  • 27. The Blind Leading the Blind 27
  • 28. Figure 18-22 PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”.Kunsthistorisches Museum, Vienna. 28
  • 29. Studied under TitianFigure 18-25 EL GRECO, The Burial ofCount Orgaz, 1586. Oil on canvas, 16’ x 12’.Santo Tomé, Toledo. 29
  • 30. Paul Cezanne18-26 EL GRECO, View of Toledo, ca. 1610. Oil on canvas, 3’ 11 3/4" X 3’ 6 3/4". Metropolitan Museum of Art, New York(H.O. Havemeyer Collection. Bequest of Mrs. H.O. Havemeyer, 1929). 30
  • 31. Europe in the 17th Century 31
  • 32. Baroque -• Barroco – Portuguese word meaning an irregularly shaped pearl• Roman Catholic Reformation vs. Protestant Reformation of the 17th century 32
  • 33. Baroque Art• Renaissance – artists reveled in the precise, orderly rationality of classical models• Baroque – artists embraced dynamism, theatricality, and elaborate ornamentation, all used to spectacular effect, often an a grandiose scale  33
  • 34. Figure 19-2 CARLO MADERNO, facade ofSanta Susanna, Rome, Italy, 1597–1603. 34
  • 35. Figure 19-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612. 35
  • 36. Figure 19-4 Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZOBERNINI, 1656-1667. 37
  • 37. The four rivers Danube (Europe) Nile (Africa) Ganges (Asia) Plata (Americas)19-1 GIANLORENZO BERNINI, Fountain of the Four Rivers, Piazza Navona, Rome, Italy, 1648–1651. Travertine andmarble figures, granite obelisk. 38
  • 38. 39
  • 39. 40
  • 40. 41
  • 41. Figure 19-5 GIANLORENZO BERNINI,baldacchino, Saint Peter’s, Vatican City,Rome, Italy, 1624–1633. Gilded bronze,100’ high. 42
  • 42. Figure 19-6 GIANLORENZO BERNINI, David, 1623.Marble, 5’ 7” high. Galleria Borghese, Rome. 43
  • 43. Figure 19-8 GIANLORENZOBERNINI, interior of the CornaroChapel, Santa Maria della vittoria, Rome,Italy, 1645-1652. 44
  • 44. Figure 19-7 GIANLORENZO BERNINI, Ecstasy ofSaint Teresa, Cornaro Chapel, Santa Maria della Vittoria,Rome, Italy, 1645–1652. Marble, height of group 11’6”. 45
  • 45. Figure 19-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili,Rome. 46
  • 46. Quadro Riportato is the Italian phrase for "carried picture". It is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco.Figure 19-16 ANNIBALECARRACCI, Loves of the Gods, ceilingfrescoes in the gallery, PalazzoFarnese, Rome, Italy, 1597–1601. 47
  • 47. Figure 19-18 CARAVAGGIO, Conversion ofSaint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”.Cerasi Chapel, Santa Maria del Popolo, Rome. 48
  • 48. Figure 19-17 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel,San Luigi dei Francesi, Rome 49
  • 49. Figure 19-18A CARAVAGGIO, Entombment, from thechapel of Pietro Vittrice, Santa Maria in Vallicella,Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 715/16”. Musei Vaticani, Rome. 50
  • 50. Figure 19-22 PIETRO DA CORTONA, Triumph of theBarberini, ceiling fresco in the Gran Salone, Palazzo Barberini,Rome, Italy, 1633–1639. 51
  • 51. HIS -Greek capitalsΙΗΣΟΥΣ, orΙΗϹΟΥ Ϲ Figure 19-23 GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the nave vault of Il Gesù, Rome, Italy, 52
  • 52. Figure 19-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy,1691–1694. 53
  • 53. 54
  • 54. Figure 19-27 FRANCISCO DEZURBARÁN, Saint Serapion, 1628. Oilon canvas, 3’ 11 1/2” x 3’ 4 3/4”.Wadsworth Atheneum, Hartford (TheElla Gallup Sumner and Mary CatlinSumner Collection Fund). 55
  • 55. Figure 19-28 DIEGO VELÁZQUEZ, WaterCarrier of Seville, ca. 1619. Oil on canvas, 3’ 51/2” x 2’ 7 1/2”. Victoria & Albert Museum,London. 56
  • 56. 19-28A DIEGO VELÁZQUEZ, Christ on the Cross, from the Convent of San Plácido, Madrid, Spain, ca. 1631–1632. Oil oncanvas, 8’ 1 5/8” X 5’ 6 1/2". Museo del Prado, Madrid. 57
  • 57. Figure 19-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado,Madrid. 58
  • 58. Figure 19-30 DIEGO VELÁZQUEZ,Las Meninas (The Maids of Honor), 1656. Oilon canvas, approx. 10’ 5” x 9’. Museo delPrado, Madrid. 59

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