Northern Renaissance Art

10,870 views
10,451 views

Published on

Published in: Education, Spiritual
0 Comments
3 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
10,870
On SlideShare
0
From Embeds
0
Number of Embeds
19
Actions
Shares
0
Downloads
0
Comments
0
Likes
3
Embeds 0
No embeds

No notes for slide

Northern Renaissance Art

  1. 1. Northern Renaissance Art N. Europe and Spain, 1500 to 1600Gardner’s Art Through the Ages, 13e, Chapter 23 1
  2. 2. Europe in the 16th Century 2
  3. 3. Goals• Identify artists from the 16th century Spain and Northern Europe• Understand the artistic styles in Spain and Northern Europe• Recognize and cite artistic terminology from this period• Understand the consequences of the Protestant Reformation and the Catholic Counter-Reformation 3
  4. 4. 23.1 Art in the Holy Roman Empire during the 16th Century• Understand German culture and artistic styles• Identify representative German artists from the 16th century• Recognize and cite artistic terminology from this period 4
  5. 5. MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed, top; open, bottom), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany,ca.1510–1515. Oil on wood, 9 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2” (each wing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar. The Isenheim Altarpiece includes an enormous graphic account of the Crucifixion. The lamb can be interpreted to symbolize the Son of God 5
  6. 6. MATTHIAS GRÜNEWALD, Isenheim Altarpiece (first opened), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510–1515.Oil on wood, 9 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2” (each wing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar. In Grünewalds Isenheim Altarpiece, the artist has used specific references, saints and symbols to depict pain, suffering, and salvation and redemption. The following were included in the Altarpiece: The Annunciation, Nativity, Lamentation, Entombment, Crucifixion, Resurrection, and portraits of its patrons. 6
  7. 7. The major stylistic changes in Northern Renaissance art first occurred in Germany.MATTHIAS GRÜNEWALD, The Risen Christ, Isenheim Altarpiece (open, top right-side), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510–1515. Oil on wood Musée d’Unterlinden, Colmar. This radiant image of the resurrection was meant to give hope to the suffering and dying patients at the hospital. 7
  8. 8. MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed, top; open, bottom), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510–1515. Oil on wood, 9 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2” (eachwing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar. 8
  9. 9. HANS BALDUNG GRIEN, Witches’ Sabbath, 1510.Chiaroscuro woodcut, 1’ 2 7/8” X 10 ¼”. BritishMuseum, London. 9
  10. 10. 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 10
  11. 11. A nonreligious still- life, The Great Piece of Turf is a precise and scientifically accurate rendering of a small botanical landscape. It heeded Leonardo’s notion that "observation yielded truth."ALBRECHT DÜRER, Great Piece of Turf,1503. Watercolor, 1’ 3/4” x 1’ 3/8”.Albertina, Vienna. 11
  12. 12. Albrecht Durer made the first series of self-portraits in western art.ALBRECHT DÜRER, Self-Portrait 12
  13. 13. Albrecht Durer is considered one of the greatest printmakers of all time. In this engraving, he demonstrated his blend of the influence of Italian art with Northern European traditions.ALBRECHT DÜRER, The Fall of Man(Adam and Eve), 1504. Engraving,9 7/8” x 7 5/8”. Museum of Fine Arts,Boston (centennial gift of Landon T. Clay). 13
  14. 14. Durers Knight, Death, and Devil is a metaphor for the knight as a soldier of God. The mounted Christian knight displays a monumental strength and character reminiscent of Verrocchio.ALBRECHT DÜRER,Knight, Death, and the Devil, 1513.Engraving, 9 5/8” x 7 3/8”.Metropolitan Museum of Art, New York. 14
  15. 15. Albrecht Durer was one of the first to considered “the artist” to be an educated and cultured gentleman.ALBRECHT DÜRER, Four Apostles, 1526.Oil on wood, each panel 7’ 1” x 2’ 6”. AltePinakothek, Munich. 15
  16. 16. 23.2 Protestant Reformation• Understand the consequences of the Protestant Reformation and the Catholic Counter-Reformation• Observe how Protestantism affected the role and imagery of art 16
  17. 17. LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British Museum, London.In Allegory of Law and Grace, Lucas Cranach the Elder has depicted the differences between the Roman Catholic Church andthe followers of Martin Luther. This woodcut was dubbed with the title, "painter of the Reformation." 17
  18. 18. The Bavarian painter, Albrecht Altdorfer, is credited with creating the first true landscape painting. The Battle of Issus by Altdorfer includes his use of the birds-eye viewpoint.ALBRECHT ALTDORFER, The Battle of Issus,1529. Oil on wood, 5’ 2 1/4” x 3’ 11 1/4”.Alte Pinakothek, Munich. 18
  19. 19. Hans Holbein specialized in portraiture. An anamorphic symbol appears in Holbeins French Ambassadors. When viewed from below left and at an acute angle a skull appears.HANS HOLBEIN THEYOUNGER, The FrenchAmbassadors, 1533. Oil andtempera on wood, approx.6’ 8” x 6’ 9 1/2”. NationalGallery, London. 19
  20. 20. 23.3 Art in France during the 16th Century• Understand the French culture and artistic styles• Identify representative French artists from the 16th century• Recognize and cite artistic terminology from this period 20
  21. 21. JEAN CLOUET, Francis I, ca. 1525–1530.Tempera and oil on wood, approx. 3’ 2” x 2’ 5”.Louvre, Paris. 21
  22. 22. Château de Chambord, Chambord, France, begun 1519. 22
  23. 23. PIERRE LESCOT, west wing of the Cour Carre (Square Court) of the Louvre, Paris, France, begun 1546. 23
  24. 24. 23.4 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 24
  25. 25. HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood,center panel 7’ 2 5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid. 25
  26. 26. JAN GOSSAERT Neptune and Amphitrite, ca. 1516.Oil on wood, 6’ 2” x 4’ 3/4”.Gemäldegalerie, Staatliche Museen, Berlin. 26
  27. 27. Quinten Massys was willing to explore the various styles of the fifteenth and sixteenth centuries. This exploration can be seen in Money-Changer and His Wife. The artist has given us an image of a professional man transacting business. He has provided insight into the secular life of the Netherlands.QUINTEN MASSYS,Money-Changer and His Wife,1514. Oil on wood,2’ 3 3/4” x 2’ 2 3/8”.Louvre, Paris. 27
  28. 28. PIETER AERTSEN, Butcher’s Stall, 1551. Oil on wood, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art Collection, Uppsala. In Pieter Aertsens Meat Still-Life, the artist has created what appears to be a descriptive genre scene, a butchers shop displaying its products, as well as fish and pretzels. This work also has embedded religious references within it. 28
  29. 29. CATERINA VAN HEMESSEN, Self-Portrait, 1548. Oil on panel, 1’ x 9 7/8”.Kunstmuseum, ÖffentlicheKunstsammlung Basel. 29
  30. 30. Attributed to LEVINA TEERLINC.Elizabeth I as a Princess, ca. 1559.Oil on wood, 3’ 6 3/4” x 2’ 8 1/4”.The Royal Collection, Windsor Castle,Windsor, England. 30
  31. 31. JOACHIM PATINIR, Landscape with Saint Jerome, ca. 1520–1524. Oil on wood, 2’ 5 1/8” x 2’ 11 7/8”. Museo del Prado, Madrid. 31
  32. 32. PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on wood, 3’ 10” x 5’ 4 1/8”. Gemäldegalerie, Staatliche Museen, Berlin. 32
  33. 33. In Bruegels Netherlandish Proverbs, the artist has depicted the Netherlandish obsession with proverbs. The scene is busy with a topsy-turvy multiplicity of figures and activities. It is reminiscent of Bosch.In Hunters in the Snow, the artist has captured the atmosphere of a cold winters day. The landscape is snow-covered and stark with the returning hunters wearily trudging home. It is reminiscent of earlier renditions of seasons. Limbourg Brothers Les Très Riches Heures du Duc de Berry also described the seasons and might have been influential in the conception of this work.
  34. 34. PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”. Pieter Bruegel traveled to Italy yet chose not to incorporate classical elements into his work. He did a series of six paintings showing seasonal changes. 34
  35. 35. 23.5 Art in Spain during the 16th Century• Understand Spanish culture and artistic styles• Identify representative Spanish artists from the 16th century• Recognize and cite artistic terminology from this period 35
  36. 36. Portal, Colegio de San Gregorio,Valladolid, Spain, ca. 1498. 36
  37. 37. Portal, Casa de Montejo,Merida, Mexico, 1549. 37
  38. 38. Juan de Herrera and Juan Bautista de Toledo, El Escorial, near Madrid, Spain, ca. 1563–1584 (detail of an anonymous 18th-century painting). 38
  39. 39. In El Grecos Burial of Count Orgaz, the artist has successfully merged his early and late styles. He combined expressive, elongated figures with rich color and realism in this one work.EL GRECO, The Burial of Count Orgaz,1586. Oil on canvas, 16’ x 12’.Santo Tomé, Toledo. 39
  40. 40. Discussion Questions How does art influence or reflect religion? How does Protestant art differ from Catholic art during the Reformation and Counter Reformation? Does religion influence art today? If so, how? How prevalent is religious art today? Why? 40

×