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Hell and Paradise in European painting.ppsx

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Hell and Paradise
in European painting
Hell in European painting.
The iconography of hell, the devil and demons plays an important role in the history of art
and has fuelled much of our imagination …
The fresco is divided into two distinct sections to showcase the contrast between two
worlds – judgment on the side of Christ and judgment into hell.
The lower part shows the chosen, who will be escorted to Heaven,
and
the doomed, who will be cast into Hell ...
a flow of lava cascades downwards towards a blue-black cave,
bringing with it the bodies of the condemned,
demonic entities, dragon-like creatures,
bodies hanging off branches
and
as if out of a nightmare, a horned beast with clawed feet, feasting on a damned soul
Giotto di Bondone
The Last Judgment
Jugement dernier
1306
Cappella degli Scrovegni, Padua
Hell and Paradise in European painting.ppsx
Hell and Paradise in European painting.ppsx
Hell and Paradise in European painting.ppsx

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Hell and Paradise in European painting.ppsx

  • 1. Hell and Paradise in European painting
  • 2. Hell in European painting. The iconography of hell, the devil and demons plays an important role in the history of art and has fuelled much of our imagination …
  • 3. The fresco is divided into two distinct sections to showcase the contrast between two worlds – judgment on the side of Christ and judgment into hell. The lower part shows the chosen, who will be escorted to Heaven, and the doomed, who will be cast into Hell ... a flow of lava cascades downwards towards a blue-black cave, bringing with it the bodies of the condemned, demonic entities, dragon-like creatures, bodies hanging off branches and as if out of a nightmare, a horned beast with clawed feet, feasting on a damned soul Giotto di Bondone The Last Judgment Jugement dernier 1306 Cappella degli Scrovegni, Padua
  • 7. The searing flames of Hell … A lone angel at the top watches as the sinners drop onto a cascade of rocks, and demons torment them during their descent The bodies of the damned are hurled into the flames of hell by by black, hybrid, zoomorphic demons, who carry a variety of weapons and red-hot instruments of torture. Hell takes the form of a volcanic, mountainous region. Hans Memling The Last Judgment. Hell, right panel Le Jugement dernier. L'Enfer, volet de droite 1467-1471 Muzeum Narodowe w Gdańsku, Gdańsk
  • 11. In a cave, the damned burn in the flames of hell. They are thrown in by bright-eyed demons with horns, claws and sharp teeth, who seem to have fun among this crowd. Dirk Bouts La Chute des damnés The Fall of the Damned 1450 Palais des Beaux-Arts, Lille
  • 16. In Catherine's prayer book, there is no more inventive—or scary—miniature than this depiction of hell. The Hellmouth, a popular image in Medieval art, was a portal between Earth and Hell surrounded by supernatural energy. Here, demonic creatures lead humans into the fiery pits of Hell, serving as a reminder to viewers of the brutal fate that awaited the sinful. Anonymous Dutch artist known as the Master of Catherine of Cleves Artiste néerlandais anonyme connu sous le nom de Maître de Catherine de Clèves Livre d'heures de Catherine de Clèves. Bouche de l'enfer Hours of Catherine of Cleves. Mouth of Hell 1440 The Morgan Library and Museum, New York
  • 19. A personification of Death spreads its skeletal wings over the fallen and damned (a number of whom can be identified by their headdress as members of the clergy) a man screams in pain as he’s disemboweled by a serpent. a demon—part skull, part sharp-toothed jaguar—gnaws on a fleshy rump. Describing the hell passage, art historian Bryson Burroughs writes that “the diabolical inventions of Bosch and Brueghel are children's boggy lands compared to the horrors of the hell (van Eyck) has imagined”. Jan van Eyck The Last Judgment Jugement dernier 1440-1441 The Metropolitan Museum of Art
  • 22. Hell of Signorelli the 'illustrator' and the 'inventor' ... a flying devil carrying off a young girl and turning around, with a broad, satisfied grin on his face, a demon attacking a young woman from behind, biting her ear, (and she does not appear to mind all that much), and Luca Signorelli as a devil: with just one horn in the middle of his forehead, he is embracing a beautiful blonde who is trying to break away from his fiery assault; this rather unusual self-portrait must be a reference to some episode in Signorelli's private life ... The infernal, chaotic spectacle is contrasted by the serene tranquility of the archangels in armour on the right, guarding the scene with the calm of victors. Luca Signorelli Damned Cast into Hell Les Damnés en Enfer 1499-1502 Cappella di San Brizio, Orvieto
  • 27. Six naked humans are in torment in or near a river … a green winged demon is making a man who has got out of the river get back into it, a rat-like creature has inserted a long knife through the throat of a human, red patches indicative of fire, the bare remains of a tree on which a single bird is perched, a towering rock pinnacle the silhouette of another bird. the ghostly figure of an owl, the fire at the top of the pinnacle shooting sparks upwards Hieronymus Bosch Jheronimus Bosch Jérôme Bosch Visions of the Hereafter, The River to Hell or Hell Visions de l'au-delà, La Rivière vers l'Enfer 1490-1500 Museo di Palazzo Grimani, Venice
  • 31. An immense palace and a disturbing tower, a great river of lava on the banks of which infernal forces parade and Satan, the lord of the underworld, raises his arms in as he calls unseen rebel angels to action. In 1667, John Milton wrote "Paradise Lost", an epic poem about the fall of Lucifer ... and John Martin in the 19th century painted Pandemonium, the capital of the underworld where Satan reigns over his demonic people. John Martin Le Pandemonium 1823-1827 Musée du Louvre, Paris
  • 35. heaven, earth and hell ...
  • 36. The eternal choice of mankind between virtue and vice. an angelic ensemble that sings, in an idealized landscape Minerva, goddess of wisdom, beneath the open heavens, accompanied by Faith, Hope and Charity. To her right sits a young shepherd, who appears to represent mankind at a moral crossroads. Reaching out to him from the right are mythological figures associated with carnal desires, like Venus and Bacchus, and Death and Chronos, the embodiment of earthly time, figures who dance and sing, a monkey‘s triumphal procession and the devil at centre, in front of the gates of hell … Frans Francken II Mankind’s Eternal Dilemma -The Choice Between Virtue and Vice L’Eternel dilemme de l’homme: le choix entre le Vice et la Vertu 1633 Museum of Fine Arts Boston, Boston
  • 43. Paradise in European painting. Paradise, the reward after life for those who follow the way of the righteous, is a concept rather specific to Christianity. Since the Renaissance, visions of paradise have been transformed, and while artistic conventions have moved away, the theme of paradise continues to fascinate artists and spectators alike.
  • 44. Dante’s heavenly vision through the Renaissance, the disciples gather around the tomb of Mary, looking with astonishment at the nine rows of angels who testify of Mary’s blessing through Jesus. Heaven and earth The apostles stand beside an open coffin on a hill overlooking Florence, Italy. The coffin contains not a body, but lilies, flowers associated with the purity of Mary. The Florentine apothecary, writer and politician Matteo Palmieri, who is shown kneeling to the left of the tomb, opposite his wife Niccolosa. Above the earthly stage, the skies open up, Christ blesses the Virgin Mary. she kneels before him, hands folded in prayer. They are surrounded by ranks of neatly ordered angelic beings, saints and Old Testament figures Francesco Botticini Assumption of the Virgin Assomption de la Vierge 1475-1476 The National Gallery, London
  • 49. The terrestrial garden that foreshadows the heavenly paradise that awaits the elect … An angel in a red robe guides them toward the "fountain of life" described in Revelation. Plants and animals are faithful reproductions of existing species: every detail manifests the beauty of divine creation. Dieric Bouts L’Ascension des élus, dit aussi Le Paradis The Ascension of the Elect or Paradise 1450 Palais des Beaux-Arts, Lille
  • 52. The heavenly assumption of the redeemed. Angelic guides lead them through a large tunnel toward a brilliant light, in which the silhouette of another angel is just discernible. Even with his remarkable imagination, though, Bosch avoids showing anything more of his vision of Paradise than a brilliant white light. Having spent much of his career showing explicit detail of different forms of Hell, he appears to have been constrained by dogma at the last, and just admits that Paradise is beyond human imagination. Hieronymus Bosch Jheronimus Bosch Jérôme Bosch Visions of the Hereafter. The Ascent of the Blessed Visions de l'au-delà. Montée des bienheureux vers l'empyrée 1490-1500 Museo di Palazzo Grimani, Venice
  • 55. The elect shepherded by angels into a rolling landscape from which rises the Fountain of Life ... this is the Terrestrial Paradise, a sort of intermediate stage where the saved were cleansed of the last stain of sin before being admitted into the presence of God. Hieronymus Bosch Jheronimus Bosch Jérôme Bosch Visions of the Hereafter. Terrestrial Paradise Visions de l'au-delà. Le Paradis 1490-1500 Museo di Palazzo Grimani, Venice
  • 59. A Totum Revolutum, a Horror Vacui, a dizzying jumble of moving figures. Under the optics of the Mannerist genius, this sky seems a little busy. Every inch represents his scene, his character. The center is for Jesus Christ crowning his mother (the main subject of the painting), and around him Tintoretto inserts biblical characters, cherubim and others saved from the Last Judgment, that float between the stars and those fluffy, undulating clouds. The paradise of Tintoretto is not the Eden of Genesis where God had placed them by offering them all the fruits of the earth, but the heavenly paradise promised by Jesus Christ to his disciples. Jacopo Tintoretto and Domenico Robusti, Le Tintoret Paradise Le Paradis 1588-1592 Sala del Maggior Consiglio, Palazzo Ducale, Venice
  • 63. An androgynous youth, the perfect embodiment of the angel raised above humanity. looking the viewer in the eye, his great aquiline wings outstretched beyond the realms of the canvas Behind him is the brilliant light of Paradise, illuminating walls of flowers and foliage. Franz von Stuck The Guardian of Paradise Le Gardien du Paradis 1889 Museum Villa Stuck, Munich
  • 65. A less-than-Edenic paradise … a brooding Adam a recumbent Eve a monkey, birds, rabbits, a serpent, here reduced to a garden snake Paradise had been rationalized to be no more than a superb landscape. Pierre Bonnard Le Paradis terrestre Earthly Paradise 1916-1920 Art Institute of Chicago, Chicago
  • 70. o.esqsegues@gmail.com Hell and Paradise in European painting L’Enfer et le Paradis dans la peinture européenne images and text credit www. Music The Piano Guys Mozart Lacrimosa created olga_oes thanks for watching Merci M.C., merci Michel