CASE STUDY 2 CASE STUDY 2 Case Study NUTR 429 1. What is Mr. Howard doing that is desirable and that you can encourage him to continue doing? a. Mr. Howard should consume foods and drinks such as toast, peanut butter, and orange juice because they have low saturated fats and will significantly reduce the cholesterol level. According to Di Ciaula et al. (2019), cholesterol level must be reduced by living an active lifestyle with good diet and as a result, when triglyceride levels are lowered, the person has a reduced risk of getting heart disease. b. What I would encourage Mr. Howard to continue doing though not every day is to eat steak for dinner. The concept is to eat a balanced diet because it will give him good nutrition. Eating only one type of food every day can cause health problems (Di Ciaula et al., 2019). 2. What stage of change is he in? What processes are appropriate for his stage? a. Mr. Howard is in the contemplation stage. At this stage, Di Ciaula et al. (2019) says, a person is aware of the prevailing problem and the goal is to look for different measures of how to manage the issue, though an actual management plan for action is not set. Mr. Howard is simply reflecting about the whole issue. b. Mr. Howard is in the process of understanding his conscious, counterconditioning, and maybe helping relationships. 3. Using the goal setting process described in the chapter, what are some possible short-term goals of change for him to consider with you? a. He should substitute steak with fish for dinner three times weekly. b. Instead of taking fries and bacon cheese burger, Mr. Howard should consume subway low-cholesterol sandwich with baked chips or a salad with fat-free dressing. c. Maybe substituting his cookie with fruit a few times, a week d. These would be a good start and a small transition to a complete low- cholesterol diet. 4. How would you ask him to assess the importance of the choice of his goals? a. “Do you think you could make some of these changes in your diet?” b. “Is it important to you to make these changes?” c. “Is there someone that can help you, like a family or friend, and hold you accountable?” 5. After he selects 2 goals, how would you discuss any obstacles he sees in reaching his goals? a. “Do you see any problems with completing these goals?” b. “How do you feel about this change?” c. Make sure the client is aware that problems can occur when changing your diet. Remind him that it is not an easy task, but it is a beneficial one. 6. Postulate some potential steps he could take to reach his goals. What key discussion points would you identify? a. Give the client resources to use when trying to accomplish the goals such as recipes, websites, etc. b. Educate the client on how to read nutrition labels, what vitamins or nutritional supplements he could take, what to look for when going out to eat, etc. c. We may also discuss possible exercises he could do to improve his health overall, such a ...

1. CASE STUDY 2
CASE STUDY 2
Case Study
NUTR 429
1. What is Mr. Howard doing that is desirable and that you can
encourage him to continue doing?
a. Mr. Howard should consume foods and drinks such as toast,
peanut butter, and orange juice because they have low saturated
fats and will significantly reduce the cholesterol level.
According to Di Ciaula et al. (2019), cholesterol level must be
reduced by living an active lifestyle with good diet and as a
result, when triglyceride levels are lowered, the person has a
reduced risk of getting heart disease.
b. What I would encourage Mr. Howard to continue doing

2. though not every day is to eat steak for dinner. The concept is
to eat a balanced diet because it will give him good nutrition.
Eating only one type of food every day can cause health
problems (Di Ciaula et al., 2019).
2. What stage of change is he in? What processes are
appropriate for his stage?
a. Mr. Howard is in the contemplation stage. At this stage, Di
Ciaula et al. (2019) says, a person is aware of the prevailing
problem and the goal is to look for different measures of how to
manage the issue, though an actual management plan for action
is not set. Mr. Howard is simply reflecting about the whole
issue.
b. Mr. Howard is in the process of understanding his conscious,
counterconditioning, and maybe helping relationships.
3. Using the goal setting process described in the chapter, what
are some possible short-term goals of change for him to
consider with you?
a. He should substitute steak with fish for dinner three times
weekly.
b. Instead of taking fries and bacon cheese burger, Mr. Howard
should consume subway low-cholesterol sandwich with baked
chips or a salad with fat-free dressing.
c. Maybe substituting his cookie with fruit a few times, a week
d. These would be a good start and a small transition to a
complete low- cholesterol diet.
4. How would you ask him to assess the importance of the
choice of his goals?
a. “Do you think you could make some of these changes in your
diet?”
b. “Is it important to you to make these changes?”
c. “Is there someone that can help you, like a family or friend,
and hold you accountable?”
5. After he selects 2 goals, how would you discuss any obstacles
he sees in reaching his goals?
a. “Do you see any problems with completing these goals?”
b. “How do you feel about this change?”

3. c. Make sure the client is aware that problems can occur when
changing your diet. Remind him that it is not an easy task, but it
is a beneficial one.
6. Postulate some potential steps he could take to reach his
goals. What key discussion points would you identify?
a. Give the client resources to use when trying to accomplish
the goals such as recipes, websites, etc.
b. Educate the client on how to read nutrition labels, what
vitamins or nutritional supplements he could take, what to look
for when going out to eat, etc.
c. We may also discuss possible exercises he could do to
improve his health overall, such as walking for 20 minutes a
day to begin with.
7. What type of follow-up would you recommend?
a. Since Len is an executive for a fortune 500 company, I would
talk with him over
b. Skype or through email before it is time for a check- up due
to his busy lifestyle.
8. What type of follow-up would you recommend with Mr.
Howard?
9. What would be a potential nutrition assessment for Mr.
Howard? How would you express the potential nutrition
assessment using the eNCPT?
10. What would be a potential nutrition diagnosis for Mr.
Howard? How would you express the potential nutrition
assessment using the eNCPT? Write a PES statement for Mr.
Howard.

4. 11. What would be a potential nutrition intervention for Mr.
Howard? How would you express the potential nutrition
assessment using the eNCPT?
12. What would be a potential nutrition monitoring and
evaluation plan for Mr. Howard? How would you express this
using the eNCPT?
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Working Memory and Attention
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K-2, 3-5, 6-8, 9-12, College/Adult Working Memory and
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Mathematics educator, Bob Speiser, demonstrates a 15c
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Mathematics educator, Bob Speiser, demonstrates a 15c
algorithm for multiplication, showing how it is less taxing on
working memory than traditional multiplication.Series
DirectoryNeuroscience & the Classroom: Making Connections0
Introduction: The Art and Science of Teaching1 It Has to Make
Sense2 Mind, Brain and Education4 Collaboration5 Course
Overview6 Thinking Big, Starting Small1 Different Brains1 A
Brief History of Neuroscience2 Tools of Neuroscience: EEG3
Tools of Neuroscience: MRI/fMRI4 Reading a Word5 Tools of
Neuroscience: MEG6 Brooke’s story7 Nico’s story8 A Tale of
Two Cases: Brooke and Nico2 The Unity of Emotion, Thinking,
and Learning1 Measuring Emotional Response to Physics2 Good
Idea?3 Depth of Field4 Emotion in Math5 Emotion and
Cognition: A Neuroscientist’s Perspective3 Seeing Others from
the Self1 Music and Emotion2 Using Emotional Content in the
History Classroom3 Empathy4 Peer Mentoring4 Different
Learners, Different Minds1 Warm Jackets Generate Heat?2
Turning Tables at Gallaudet University: What is “Normal?”3
Success Story: Dr. Stephen Shore4 Attention and Magic5
Working Memory and Attention6 Implicit Learning7 Success
Story: Kent Sinclair8 Success Story: Dr. Alexander Goldowsky9
Success Story: Dr. Todd Rose10 Success Story: Dr. Temple
Grandin11 Reading with Half a Brain5 Building New Neural
Networks1 Dynamic Skill Development2 DiscoTests: A New

7. Approach to Assessment3 Johanna and Her Mother4
Scaffolding: Johanna and Her Mother with Commentary6
Implications For Schools1 Emotional Connections in Math and
Science2 Engaging Native Alaskan Students3 Technology for
Every Student?4 The Montessori Approach5 Montessori and
Dynamic Skill Theory6 Perspective Shifting in Math7 Students
Think for Themselves7 Conclusion: A Community of
EducatorsCredits
Produced by Science Media Group at the Harvard-
Smithsonian Center for Astrophysics in association with the
Mind, Brain, and Education program at the Harvard GSE; and
the Brain and Creativity Institute and Rossier SOE at the
University of Southern California. 2012.
Closed CaptioningISBN: 1-57680-894-7
Sections
4.1
Warm Jackets Generate Heat?
Students put a thermometer inside a jacket to test their
prediction that it will get warmer, the longer it stays inside.
4.2
Turning Tables at Gallaudet University: What is
“Normal?”
See how Gallaudet University, by creating an environme nt that
is fully adapted to the needs of the deaf and hard-of-hearing,
turns tables on hearing people.
4.3
Success Story: Dr. Stephen Shore
Professor of education at Adelphi University, Stephen Shore
was diagnosed with autism at 18 months . He describes the role

8. his parents and teachers played to help him develop into who he
is today.
4.4
Attention and Magic
Neuroscientists Susana Martinez-Conde and Stephen Macknik
have studied professional magicians, pointing to some ways that
teachers can better hold students' attention.
4.5
Working Memory and Attention
Mathematics educator, Bob Speiser, demonstrates a 15c
algorithm for multiplication, showing how it is less taxing on
working memory than traditional multiplication.
4.6
Implicit Learning
A study by Dr. Matthew H. Schneps shows that while dyslexics
have difficulty with reading, which involves central vision, they
have an advantage with peripheral vision.
4.7
Success Story: Kent Sinclair
Success Story: Kent Sinclair
4.8
Success Story: Dr. Alexander Goldowsky
Success Story: Dr. Alexander Goldowsky
4.9
Success Story: Dr. Todd Rose
Success Story: Dr. Todd Rose
4.10
Success Story: Dr. Temple Grandin
Dr. Temple Grandin is associate professor of animal science at

9. Colorado State University, Fort Collins. Diagnosed with autism
at the age of two, Dr. Grandin is considered one of the top
advocates of both autism-spectrum understanding and animal
welfare. She credits her success as a scientist to her autism,
advocating an emphasis on the talents of those with autism
rather than describing it as a disability. [Audio interview]
4.11
Reading with Half a Brain
Neuroscientist Tami Katzir (University of Haifa) is working
with Brooke Smith, who has only his right hemisphere, to find
out how he reads at all.
Course Guide: Unit 4: Different Learners, Different
Minds
Course GuidePreviousNext
UnitsUnit 0 Introduction: The Art and Science of Teaching
The introduction lays out the goals of the course, defines a
partnership between teachers and scientists, and suggests a
method that teachers can use to apply research to classroom
challenges.unit 1 Different Brains
We all have different brains, different profiles of cognitive
strengths and weaknesses that affect how we perceive and solve
problems. Two dramatic success stories of boys missing half
their brain provide insight into how all of us learn and suggest
new ways to think about teaching.unit 2 The Unity of Emotion,
Thinking, and Learning
Emotion, thinking and learning are inseparable. Emotion is the
rudder for thought and the key to memory. This unit explores
the purposes of emotions by answering the questions, what is
emotion, and why do we have it? The unit provides insight into
motivation and the role of intuition in problem-solving.unit 3
Seeing Others from the Self
We understand the goals of others by simulating their actions on

10. our own neural systems. This unit looks at mirror neurons,
empathy, and the social nature of learning. It also discusses the
need to align teacher and student goals in the classroom and the
importance of reflection, or inner-directed attention, in
developing meaning and motivation.unit 4 Different Learners,
Different Minds
This unit challenges us to reconsider labels like "normal" and
"disabled" by looking at the important connection between
individual strengths and weaknesses and the context in which
we must solve problems. Weakness in one context can be
strength in another.unit 5 Building New Neural Networks
Building new understandings or skills means building and
rebuilding new neural networks. How that process occurs is the
focus of this unit, which emphasizes the crucial link between
performance and context and suggests that the traditional notion
of learning as a linear development of isolated skills is
misleading.unit 6 Implications For Schools
This unit examines what some teachers have done to transform
research principles into specific lessons and practices to
improve student learning. Rather than suggesting that these
illustrations are universally applicable to any school, the unit
challenges educators to experiment by creating answers to their
own questions.unit 7 Conclusion: A Community of Educators
This unit discusses the Mind, Brain, and Education (MBE)
movement that brings researchers and educators together so that
research informs education and so that teachers' actual
experiences in classrooms inform research. It explores the
attitudes and conditions that create productive partnerships for
meaningful change to occur.
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12. Key Artists of the Baroque
© 2016 South University
Page 2 of 2
[Course Name (not number)]
©2016 South University
2
[Key Artists of the Baroque
The Baroque Style in Europe
Key Artists of the Baroque

13. Caravaggio—His love and study of still life, coupled with his
intensely realistic figures brought a heightened
sense of reality sought by both viewers and patrons.
Georges de La Tour (French)—He filled the foreground with
colossal figures which forced the viewer to
interact on an emotional level with the painting. The simplified
settings and a singular light source, that was
included in the painting, were often so dramatic that they
seemed to be primary subjects of the paintings
apart from the actual figures.
Diego Velazquez (Spain)—Like Caravaggio, Velazquez was
skilled in painting still lives and was able to
incorporate them into his compositions to create realistic
scenes. Complex compositions were indicative of
Velazquez paintings and it is apparent in his most famous piece
Las Meninas.
Peter Paul Rubens (Flanders)— With unique compositions
containing a sense of formality containing rich
colors attention to detail and multiple textures, Rubens work is
a perfect example of traditional Flemish
techniques. In his triptych The Raising of the Cross utilizes the
diagonal pull by having Christ’s body on the
cross stretch across the middle panel. It almost looks as though
the light source is coming from within the
figure of Jesus and illuminates the other characters.
Rembrandt van Rijn (Netherlands)—Now considered to be one
of the greatest painters of all time,
Rembrandt was also highly revered in the seventeenth century.
Rembrandt was a portrait painter and relied
on that for income but also painted landscapes and narratives.
His figures have a life to them that may be
due to the fact that he often painted portraits over portraits and

14. give the canvas a rich history of paint and
texture.
Download: Video Transcript (PDF 19KB)
(media/transcripts/SU_W2_L4.pdf?_&d2lSessionVal=pYHvJkic
8VnMWDaIA53QXBUfs&ou=77276)
The Baroque Style in Europe
The word Baroque, which derives from the French and means
“irregularly shaped,” refers to art, music, and literature
produced in Europe in the
seventeenth and eighteenth centuries. As a style, Baroque art is
typically dramatic, emotional, and dynamic. It is marked by
sharp diagonals and strong
contrasts in color and light.
The Catholic Church’s Counter-Reformation, a direct response
to the Protestant Reformation, de�ned much of the art and
architecture produced in
sixteenth-century Italy and Flanders. The Catholic Church
commissioned large scale buildings, sculptures, and paintings
meant to be a sort of
propaganda, and to encourage piety in viewers. Elaborate
sculptural installations such as Gianlorenzo Bernini’s
Baldacchino (1624-33) and St. Teresa of
Avila in Ecstasy (1645-52) are examples of Counter-
Reformation sculpture. Caravaggio’s The Calling of St.
Matthew (1599-1600) epitomizes Italian
Baroque painting in its subject, which shows Christ singling out
the Roman tax collector Matthew to join him in a spiritual life,
and its composition, in
which the artist employs tenebrism, or the dramatic contrast of

15. dark and light. Also typical of the Italian Baroque approach,
this Biblical subject matter is
told through what seem to be ordinary �gures with bare, dirty
feet. Indeed, the only visible manifestation of Christ’s holiness
is a faint outline of a halo
above his head.
Flemish Baroque painter Peter Paul Rubens also produced
Counter-Reformation works, such as his Raising of the Cross
(1610-11). The dramatic
diagonal that de�nes the composition of this triptych is
typically Baroque, as are the muscular, emotional �gures,
strong color, and gestural application of
paint.
Dutch Baroque art showed the in�uence of Protestantism and
the middle-class merchants and traders who served as patrons.
Dutch Baroque artists
created portraits, still lifes, landscapes, and genre scenes of
domestic life. Generally, Dutch Baroque art tended to be
naturalistic in style, and captured
the transitory aspects of the everyday. Rembrandt van Rijn’s
large group portraits and Jan Vermeer’s quiet interior studies
are typical of this period style.
The European culture of the sixteenth century was completely
altered by the profound in�uence of the Protestant Reformation.
Beginning in the
sixteenth century, the Protestant Reformation split Europe along
religious and geographical lines. To halt the spread of this
reform movement
throughout all of Europe, the Roman Catholic Church began a
Counter-Reformation after 1540. This resulted in deep and long
lasting changes in church
organization and administration. The Catholic Counter-
Reformation was an effort for reform and renewal. In this

16. effort, art became a major tool of
popular persuasion.
During the seventeenth century, upheavals occurred not only in
the religious world, but also in the political, economic,
governmental, and scienti�c
worlds—having a profound impact on artistic effort and
production. Art became more and more something that was
within reach of members of a
growing middle class, and many types of art were speci �cally
produced for their consumption and enjoyment.
The characteristics that “baroque” designates are generally open
compositions that obtain strategically placed elements that
move diagonally across a
piece. The use of a dramatic light source and rich colors are key
ingredients of most Baroque paintings. The artists of the
seventeenth century were
attempting to mimic life naturally. This added more
responsibility onto the observer since the viewer was now
expected to be emotionally involved with
the work.
02:05
https://myclasses.southuniversity.edu/content/enforced/77276-
17088717/media/transcripts/SU_W2_L4.pdf?_&d2lSessionVal=
pYHvJkic8VnMWDaIA53QXBUfs&ou=77276
Architecture
Although churches remained the dominant form of architectural
achievements, public spaces were becoming a popular way to

17. attempt to unify the
citizens after the Reformation. Piazzas, open urban spaces,
housed �ne sculptures, fountains, and statues by famous artists
of the time. Rome’s famous
Piazza Navona is a large public outdoor space that includes
monumental fountains.
Sculpture
As in the High Renaissance, artists including sculptors were
concerned with the individuality of each piece. Bernini was one
of the most famous sculptors
of the Baroque era. His ability to create the illusion of different
textures in marble is what set him apart from the rest. In his
piece Saint Teresa of Avila in
Ecstasy, Bernini elicits such a feeling of movement and
emotion, as the facial expressions seem to be a glimpse into a
miracle. The work is overwhelmingly
beautiful, as gild bronze rays of light are descending down onto
the angel and a hidden window above illuminates Saint Teresa.
Another example of raw emotion caught within a solid piece of
marble is Bernini’s David. Although many acclaimed sculptors
tackled an image of David
�ghting Goliath, Bernini’s David is very different. The
determination on his face shows through as the image is
composed of David rearing back to hurl a
stone. His positioning of the �gure encroaches into the viewer’s
space, making the onlooker feel as though he/she is paying
witness to the act at hand. The
diagonal composition carries the viewer’s eye completely
around the piece and gives way to the sight of David’s
abandoned armor on the ground at his
feet.
Painting

18. The ceiling paintings of the Baroque era were utilizing the same
ideas of that of the High Renaissance, just on a new level.
Architectural elements were
included in the images through the technique known as trompe
l’oeil painting, a technique that made paintings appear to be
textured and three-
dimensional. Painting the elements as opposed to sculpting them
allowed the artist to have the subjects of an image interact with
the space itself.
Additional Materials
Key Artists of the Baroque
(media/week2/SUO_HUM1002%20W2%20L4%20Key%20Artist
s%20of%20the%20Baroque.pdf?
_&d2lSessionVal=pYHvJkic8VnMWDaIA53QXBUfs&ou=7727
6)
Rembrandt van Rijn
(http://www.metmuseum.org/toah/hd/rmbt/hd_rmbt.htm)
Johannes Vermeer
(http://www.metmuseum.org/toah/hd/verm/hd_verm.htm)
https://myclasses.southuniversity.edu/content/enforced/77276-
17088717/media/week2/SUO_HUM1002%20W2%20L4%20Key
%20Artists%20of%20the%20Baroque.pdf?_&d2lSessionVal=pY
HvJkic8VnMWDaIA53QXBUfs&ou=77276
http://www.metmuseum.org/toah/hd/rmbt/hd_rmbt.htm

19. http://www.metmuseum.org/toah/hd/verm/hd_verm.htm
Mannerism; The Sixteenth Century in Venice and Spain
Mannerism
Following Michelangelo’s completion of the Sistine Chapel
Ceiling, he began to paint the subject of the Last Judgment on
the altar wall of the Chapel. A
frequent subject for Medieval and Renaissance artists,
Michelangelo’s Last Judgmentserves as a bridge from the High
Renaissance style into a style
known as Mannerism. The Last Judgment fresco shows
Michelangelo’s characteristic muscular human forms, typical of
his High Renaissance style, but
more typical of a Mannerist approach, his �gures exist in a
vortex in which Heaven and Hell are not clearly delineated.
Figures show heightened emotions
and psychological states, and are posed in unnatural ways; the
composition is crowded, confusing, and elaborate and the color
is vibrant and striking. The
fresco is understood to be Michelangelo’s personal
interpretation of the New Testament account, in which the fate
of all humans is decided, and its style
re�ects changes in Italian art of the sixteenth century.
The term Mannerism comes from the Italian word maniera, and
it can refer to certain artistic tendencies that appeared in Europe
between the High
Renaissance in the early sixteenth century and the Baroque era
of the seventeenth century.
Mannerist art is marked by elongated �gural proportions,
overstated poses, strange gestures, and a representation of

20. subjects in an erotic or disturbing
way. Mannerist artists used unconventional color schemes and
unbalanced compositions. In Parmigianino’s Madonna with the
Long Neck, perhaps the
quintessential example of Mannerist painting, the �gures are
unnaturally elongated and pushed to the foreground, the
composition is unbalanced, and
the sleeping Christ Child, which many read in a pose similar to
the Piéta on Mary’s lap, seems likely to fall into the viewer’s
space.
The Sixteenth Century in Venice and Spain
The Renaissance in Venice, Italy, produced oil paintings
characterized by rich color and idyllic, sometimes sensuous
subjects. Titian’s Venus of Urbino (c.
1538), commissioned by the Duke of Urbino, is a portrait of a
Venetian courtesan portrayed as a reclining Venus, mixing
classical mythology with actual
life. Titian’s painting became the of�cial artistic formula for
representing a reclining nude and would be resurrected by
artists like nineteenth century
painter Edouard Manet.
Later in the sixteenth century, Venetian artist Tintoretto painted
his dramatic version of the Last Supper (1592-94). Marked by a
strong diagonal
composition and dramatic effects of dark and light, Tintoretto’s
treatment of the subject matter is in stark contrast to Leonardo’s
version a century
earlier. With its dynamic, unbalanced composition, Tintoretto’s
Last Supper foreshadows the Italian Baroque style.
Spanish artist El Greco similarly bridges the Renaissance and
Baroque period styles. El Greco’s Burial of Count Orgaz
contains the elongated �gures and

21. jumbled composition typical of Mannerism. Compositional
details such as the diagonal clouds lean towards the Baroque
style, as does the implied
lowering of the Count’s body into the viewer’s physical space,
an interactive device that integrates the viewer in the subject in
a typically Baroque
manner.
Additional Materials
(https://www.khanacademy.org/humanities/renaissance-
reformation/high-ren-florence-
rome/michelangelo/a/michelangelo-last-judgment)
Mannerism (https://www.britannica.com/art/Mannerism)
(http://www.uf�zi.org/artworks/venus-of-urbino-by-titian/)
https://www.khanacademy.org/humanities/renaissance-
reformation/high-ren-florence-
rome/michelangelo/a/michelangelo-last-judgment
https://www.britannica.com/art/Mannerism
http://www.uffizi.org/artworks/venus-of-urbino-by-titian/
Page 1 of 1
History of Art from Middle Ages to Modern Times
©2017 South University

22. Baroque
The word Baroque which derives from French and means
irregularly shaped refers to art,
music and literature produced in Europe in the 17th and 18th
centuries. As a style, Baroque art
is typically dramatic, emotional and dynamic. It is marked by
sharp diagonals and strong
contrasts and color and light. The Catholic Church's Counter -
Reformation, a direct response to
the Protestant-Reformation, defined much of the art and
architecture produced in 16th
century Italy and Flanders. The Catholic Church commissioned
large scale buildings,
sculptures and paintings meant to be a sort of propaganda and to
encourage piety in viewers.
Elaborate sculptural installations such as Gian Lorenzo
Bernini's Baldacchino and Saint Teresa
of Avila and Ecstasy, 1645-52 are examples of Counter-
Reformation sculpture. Caravaggio's
the Calling of Saint Matthew, 1599-1600 epitomizes Italian
Baroque painting in its subject who
shows Christ singling out the Roman tax collector, Matthew to
join him in a spiritual life and its
composition in which the artist employs Tenebrism or the
dramatic contrast of dark and light.
Also, typical of the Italian Baroque approach, this biblical
subject matter is told through what
seemed to be ordinary figures with their dirty feet. Indeed, the
only visible manifestation of
Christ's holiness is a faint outline of a halo above his head.
Flemish Baroque painter, Peter Paul
Rubens also produced Counter-Reformation works such as his
Raising of the Cross, 1610-11.
The dramatic diagonal that defines the composition of this

23. triptic is typically Baroque as are
the muscular emotional figures, strong color and gestural
application of paint. Dutch Baroque
art showed the influence of Protestantism and the middle-class
merchants and traders who
served as patrons. Dutch Baroque artists create portraits, still
life, landscapes and genre scenes
of domestic life. Generally, Dutch Baroque art tended to be
naturalistic in style and captured
the transitory aspects of the every day. Rembrandt Van Rijn's
large group portraits and Jan
Vermeer's quiet interior studies are typical of this period's style.
The High Renaissance in Italy
The High Renaissance in Italy, dating from approximately 1500-
1527, witnessed the apex of artistic advances made in the
previous century. A unifying
theme of the High Renaissance in Italy was the personality of
its artists. Sixteenth century Italian society regarded artists as
geniuses, and artists enjoyed
a heightened social status.
Like their predecessors, High Renaissance artists continued to
focus on representing the human form with anatomical
precision, represented three-
dimensional space in a believable way, and captured human
emotion and psychological states. Art produced in the High
Renaissance also tended towards
symmetry, balance, and stability.
The High Renaissance starts with Leonardo da Vinci in
Florence. The epitome of the so-called “Renaissance Man,”

24. Leonardo believed an artist should be
intellectually versatile, and he used art to help explore and
explain science and the natural world (Virtruvian man here –
istock). Leonardo’s Last Supper
(1495-98) shows the compositional and chromatic harmony
characteristic of High Renaissance painting. Typical of
Leonardo, the fresco was painted
using an experimental technique in which a mixture of tempera
and oil were applied directly to a thin layer of plaster. The paint
did not fully adhere to the
wall, and the fresco began to deteriorate almost immediately,
The center of artistic production in the High Renaissance
ultimately shifted from Florence to Rome. In an effort to
increase papal power, Pope Julius II,
elected in 1503, aimed to align sixteenth-century Rome with the
grandeur of ancient times. He therefore commissioned artists
such as Raphael to create
art for the papacy and the Catholic Church. Raphael’s School of
Athens (c. 1510-11), a fresco in the papal apartments in the
Vatican, depicts the greatest
thinkers of classical times in a trompe l’oeil (“fool the eye”)
architectural setting.
In 1508, Julius II asked Michelangelo to adorn the ceiling of the
Sistine Chapel at the Vatican. Painted over the span of four
years, the central length of the
Sistine Ceiling portrays Old Testament accounts of humanity’s
struggle for salvation. Michelangelo’s Sistine Chapel frescos
are typical of the High
Renaissance, and the artist’s own style, in their glori�cation of
Christianity, representation of emotion, and meticulous
attention to anatomy. The �gures
in Michelangelo’s Sistine Chapel frescos read as muscular as
those in sculptures such as his Pieta (1500) and David (1501-
04).

25. The Sixteenth Century in Northern Europe
Outside of Italy in the sixteenth century, religion continued to
be an important in�uence in the production of art. Some art,
such as German artist
Matthias Grünewald’s Isenheim Altarpiece (c. 1510-15),
af�rmed the tenets of the Catholic Church with its intensely
emotional representation of the
Cruci�xion. Netherlandish artist Hieronymus Bosch, a
practicing Catholic, created an unconventional triptych in his
Garden of Earthly Delights (c. 1505-
15). The oil on panel is a symbolically rich and imaginative
reminder that excesses of the �esh enjoyed during one’s natural
life can lead to eternal
damnation.
In other parts of Europe, a backlash against perceived excesses
of the Catholic Church and its papacy resulted in a widespread
call for Church reform.
German theologian Martin Luther issued his Ninety-Five Theses
in 1517, sparking the movement known as the Reformation.
Luther and other reformers
emphasized the authority of the Scriptures and individual faith.
The most fundamental outcome of the Reformation was the
spread of sects of
Protestantism across Europe during the century. German artist
Albrecht Durer’s Four Apostles (1526) expresses the artist’s
own Protestant (speci�cally
Lutheran) beliefs. In the diptych, the apostle Peter (the �rst
pope), has been relegated to the background left of the
composition, while Martin Luther’s
favorite apostle, John, is at front left, holding an open Gospel

26. with the inscription, “In the beginning was the Word,”
highlighting the primacy of Scriptures,
with no papal intercessor, espoused by the Protestants.
With a loss of a market for religious images in countries turning
largely to Protestantism, other subjects, such as portraiture,
landscapes, and moralizing
genre scenes rose in popularity for artists and patrons. Pieter
Bruegel the Elder’s landscapes and Han Holbein’s portraits
were produced in this context.
Additional Materials
Grunewald’s Isenheim Altarpiece
(http://www.learner.org/courses/globalart/work/234/)
Bosch’s Garden of Earthly Delights
(https://www.museodelprado.es/en/the-collection/art-work/the-
garden-of-earthly-delights-triptych/02388242-
6d6a-4e9e-a992-e1311eab3609)
The Protestant Reformation
(http://www.history.com/topics/reformation)
Albrecht Durer
(http://www.metmuseum.org/toah/hd/durr/hd_durr.htm)
Pieter Bruegel the Elder
(http://www.metmuseum.org/toah/hd/brue/hd_brue.htm)

27. http://www.learner.org/courses/globalart/work/234/
https://www.museodelprado.es/en/the-collection/art-work/the-
garden-of-earthly-delights-triptych/02388242-6d6a-4e9e-a992-
e1311eab3609
http://www.history.com/topics/reformation
http://www.metmuseum.org/toah/hd/durr/hd_durr.htm
http://www.metmuseum.org/toah/hd/brue/hd_brue.htm