The document discusses several Baroque artworks and characteristics of Baroque art in different regions and time periods. It describes Bernini's sculpture "Saint Teresa in Ecstasy" and how it embodied the demands of the Council of Trent for clarity, simplicity and emotional stimulus to piety. It also outlines hallmarks of Baroque art like exaggerated emotionalism and manipulation of light/dark. Specific characteristics are given for French Baroque art under Louis XIV, Spanish mysticism, and generally secular Dutch Baroque art.
Mannerism was an artistic movement between 1520-1600 that emphasized compositional tension and instability rather than the balance and harmony of the Renaissance. The document lists influential Mannerist artists such as Michelangelo, Parmigianino, Bronzino, Tintoretto, El Greco, Cellini, and architects Michelangelo, Ammanati, and Palladio. It also references important Mannerist works like Michelangelo's Last Judgment, Parmigianino's Madonna with the Long Neck, and Palladio's Villa Rotunda.
The document lists notable artists and artworks from the Mannerism period between 1525-1600, including paintings by El Greco, Rosso Fiorentino, Tintoretto, Veronese, and Sofonisba Anguissola. It also mentions sculptures by Cellini and Giambologna, and architectural works by Palladio, including Villa Capra in Vicenza, Italy. Additional references are made to Thomas Jefferson's Monticello home and the Rotunda at the University of Virginia, inspired by Palladio's designs.
Venetian Renaissance art in the 16th century was characterized by wealth and secure patronage which encouraged various artistic disciplines. Key artists included Giovanni Bellini, Giorgione and Titian who were some of the first to use oil on canvas. Under the Counter Reformation, the Catholic Church sought to use art as propaganda and limit subjects following councils like Trent. Mannerism developed as an anti-classical style using elongated proportions, complex compositions and artificial poses. Major Mannerist artists were Bronzino, Parmigianino, and Tintoretto.
Mannerist painting emphasized complexity, virtuosity, and intellectual sophistication over naturalism. Key characteristics included distorted human figures, flattened pictorial space, and compositional tension. Works often featured figures extending toward the frame and intertwining bodies in an unbalanced, unstable manner.
This document summarizes Venetian art of the High Renaissance and Mannerism periods. It describes key artists such as Bellini, Giorgione, Titian, and Tintoretto and their major works. It also discusses Mannerist characteristics like elongated proportions, complex compositions, and sophisticated symbolism. Palladian architecture is introduced as a neoclassical style influenced by Roman design principles that emphasized harmony and symmetry.
The document provides an overview of classical, medieval, and Renaissance art, comparing their key characteristics and examples. It discusses disproportionate figures and lack of perspective in medieval art compared to ancient Greek and Roman works. It then outlines the transition to Renaissance art starting with Giotto in the late 13th century, who was one of the first since the Greeks to understand 3D space on a 2D surface. The document concludes with examples of major Renaissance artworks by artists such as Botticelli, Mantegna, Raphael, Leonardo da Vinci, and Michelangelo.
The Baroque style originated in the late 16th century and was prevalent through the early 18th century across Europe. It was characterized by dramatic movement, overt emotion, and self-confident rhetoric achieved through exaggerated motion and clearly interpreted details. The style aimed for drama, tension, exuberance, and grandeur in various art forms. It featured exaggerated lighting, intense emotions, and theatrical elements to reaffirm the power and influence of the Catholic church and monarchy through direct and obvious iconography.
Mannerism emerged between 1520-1600 as a bridge between Renaissance art and Baroque style. It replaced Renaissance ideals of harmony and reality with instability, emotion, and imagination. Mannerist paintings and sculptures are characterized by elongated figures in unusual poses and perspectives, as well as dramatic use of light, color, and space. Notable Mannerist artists include Parmigianino, known for works like Madonna with the Long Neck featuring elongated proportions, and Giambologna, whose marble sculpture The Rape of the Sabine Women depicted figures in dramatic motion. Mannerist architecture also took liberties with classical styles seen in complexes like Villa Capra and the Villa Farnese entrance.
Mannerism was an artistic movement between 1520-1600 that emphasized compositional tension and instability rather than the balance and harmony of the Renaissance. The document lists influential Mannerist artists such as Michelangelo, Parmigianino, Bronzino, Tintoretto, El Greco, Cellini, and architects Michelangelo, Ammanati, and Palladio. It also references important Mannerist works like Michelangelo's Last Judgment, Parmigianino's Madonna with the Long Neck, and Palladio's Villa Rotunda.
The document lists notable artists and artworks from the Mannerism period between 1525-1600, including paintings by El Greco, Rosso Fiorentino, Tintoretto, Veronese, and Sofonisba Anguissola. It also mentions sculptures by Cellini and Giambologna, and architectural works by Palladio, including Villa Capra in Vicenza, Italy. Additional references are made to Thomas Jefferson's Monticello home and the Rotunda at the University of Virginia, inspired by Palladio's designs.
Venetian Renaissance art in the 16th century was characterized by wealth and secure patronage which encouraged various artistic disciplines. Key artists included Giovanni Bellini, Giorgione and Titian who were some of the first to use oil on canvas. Under the Counter Reformation, the Catholic Church sought to use art as propaganda and limit subjects following councils like Trent. Mannerism developed as an anti-classical style using elongated proportions, complex compositions and artificial poses. Major Mannerist artists were Bronzino, Parmigianino, and Tintoretto.
Mannerist painting emphasized complexity, virtuosity, and intellectual sophistication over naturalism. Key characteristics included distorted human figures, flattened pictorial space, and compositional tension. Works often featured figures extending toward the frame and intertwining bodies in an unbalanced, unstable manner.
This document summarizes Venetian art of the High Renaissance and Mannerism periods. It describes key artists such as Bellini, Giorgione, Titian, and Tintoretto and their major works. It also discusses Mannerist characteristics like elongated proportions, complex compositions, and sophisticated symbolism. Palladian architecture is introduced as a neoclassical style influenced by Roman design principles that emphasized harmony and symmetry.
The document provides an overview of classical, medieval, and Renaissance art, comparing their key characteristics and examples. It discusses disproportionate figures and lack of perspective in medieval art compared to ancient Greek and Roman works. It then outlines the transition to Renaissance art starting with Giotto in the late 13th century, who was one of the first since the Greeks to understand 3D space on a 2D surface. The document concludes with examples of major Renaissance artworks by artists such as Botticelli, Mantegna, Raphael, Leonardo da Vinci, and Michelangelo.
The Baroque style originated in the late 16th century and was prevalent through the early 18th century across Europe. It was characterized by dramatic movement, overt emotion, and self-confident rhetoric achieved through exaggerated motion and clearly interpreted details. The style aimed for drama, tension, exuberance, and grandeur in various art forms. It featured exaggerated lighting, intense emotions, and theatrical elements to reaffirm the power and influence of the Catholic church and monarchy through direct and obvious iconography.
Mannerism emerged between 1520-1600 as a bridge between Renaissance art and Baroque style. It replaced Renaissance ideals of harmony and reality with instability, emotion, and imagination. Mannerist paintings and sculptures are characterized by elongated figures in unusual poses and perspectives, as well as dramatic use of light, color, and space. Notable Mannerist artists include Parmigianino, known for works like Madonna with the Long Neck featuring elongated proportions, and Giambologna, whose marble sculpture The Rape of the Sabine Women depicted figures in dramatic motion. Mannerist architecture also took liberties with classical styles seen in complexes like Villa Capra and the Villa Farnese entrance.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The document discusses art before and during the Renaissance period. It notes that during the Middle Ages, the church was very powerful in Europe and art was abstract and served to communicate religious ideas to illiterate populations. It contrasts this with Renaissance art which embraced more naturalistic styles and individualism as humanist thought grew. The document uses Giotto as an example of an early Renaissance artist who moved away from medieval abstraction and began directly observing nature.
The Catholic Counter Reformation saw the emergence of Baroque art and architecture, characterized by dramatic lighting, compositions, and realism. Key artists included Caravaggio, who used tenebrism and painted biblical scenes with intense realism, influencing the Caravaggisti movement. One follower was Artemisia Gentileschi, one of the first female painters, who imitated Caravaggio's style but added her own perspective, as seen in her emotionally charged painting "Judith and Holofernes." Baroque art aimed to elicit strong emotional reactions from viewers through drama, action, and special effects.
The document summarizes key developments in Renaissance art in Venice and the emergence of Mannerism. It describes the Venetian school's preference for a softer approach to oil painting compared to Florence, as well as their willingness to depict erotic themes. Major Venetian artists discussed include Giovanni Bellini, Giorgione, Titian, and Veronese. The summary also characterizes Mannerism as a reaction against Renaissance ideals of balance, with elongated figures and unusual colors and compositions. Key Mannerist artists mentioned are Pontormo, Bronzino, and Tintoretto.
Mannerism was a period of European art from 1520-1580 that emerged after the High Renaissance. It placed value on intricate and unnatural poses with elongated figures and stylized features. Notable Mannerist artists included Parmigianino, Tintoretto, Pontormo, Rosso Fiorentino, and Jacopo Pontormo. Their works emphasized artificial qualities over naturalism and sophisticated intellectualism over restraint.
This document summarizes key elements of Gothic architecture such as pointed pinnacles, gargoyles, stained glass windows, Gothic arches, and flying buttresses. It then discusses the Baroque art period from 1600-1750 which was an age of scientific discovery. Some characteristics of Baroque art included naturalism, expression of feeling, movement, and strong use of light and shadow. The document also summarizes Romanticism from 1800-1840 which emphasized emotion, imagination, and dreams in response to scientific discoveries of the Baroque period. It compares works by Rubens and William Blake and also discusses Rembrandt, Titian, Michelangelo, Caravaggio, Rubens, Blake, and Artemisia Gent
Masaccio's Trinity Altarpiece from 1425 was revolutionary in its use of linear perspective to create a rational, three-dimensional space. It was one of the first works of art to use this technique, which had been discovered by Brunelleschi and codified by Alberti. Masaccio also used shading, modeling, and accurate human anatomy to make the figures appear lifelike and volumetric. In the Brancacci Chapel, his fresco The Tribute Money from 1427 further developed these innovations by arranging figures in a semicircle, using gestures to guide the narrative, and establishing a single light source to cast consistent shadows. Both works had humanist themes but also reflected contemporary civic and political issues
The document discusses Renaissance art and design. It began in 14th century Italy as a revival of classical Greco-Roman artistic traditions and values. Early Renaissance artists like Giotto and Masaccio advanced techniques like realistic human representation. By the 15th century, Florence and then Rome became centers of Renaissance art. The High Renaissance period saw masters like Leonardo da Vinci, Michelangelo, and Raphael dominate. They employed techniques like perspective, foreshortening, and chiaroscuro to create more naturalistic works. Renaissance architecture also drew from classical orders and symmetry.
The document discusses The Merode Altarpiece painted by the workshop of Robert Campin in the 15th century. It was commissioned by Peter Engelbrecht and his wife, who are depicted kneeling in the left panel. The central panel shows the Annunciation taking place in a Flemish interior similar to what the Engelbrechts would have seen. Joseph is shown working in his workshop in the right panel. By placing biblical figures in realistic, everyday settings, Campin humanized the religious scenes to make them more relatable. The new medium of oil painting also allowed for greater realistic details and textures.
Week 4.16th century italian renaissance.overviewasilkentent
The document summarizes 16th century Italian art during the High Renaissance and Mannerism periods from 1500-1599. Key events included the Sack of Rome in 1527 which ended the High Renaissance and led to the development of Mannerism. Artists during Mannerism rejected some of the principles of the Renaissance by creating works with asymmetrical compositions, disproportionate figures, and irrational backgrounds without spatial illusions. The Council of Trent and Counter Reformation also influenced art as the Catholic Church attempted reforms. Major figures like Michelangelo and Parmigiano exemplified styles that shifted from the harmonious Renaissance toward the unusual qualities of Mannerism.
The document discusses three artworks from different periods - Tintoretto's Last Supper from the Mannerism period, Raphael's School of Athens from the High Renaissance period, and Bernini's Ecstasy of Saint Teresa from the Baroque period. It provides background information on the artists, details on the artworks such as dimensions and locations, and analyses of stylistic elements in each piece. The sections also compare Tintoretto to da Vinci and interpret the biblical and scholarly themes in the works.
CARAVAGGIO, Featured Paintings in Detail (1)guimera
The document provides details on several paintings by the Italian artist Caravaggio, including "The Calling of Saint Matthew", "The Sacrifice of Isaac", and "Bacchus". It includes information on the title, date created, materials, and location of each painting. It also provides short analyses and descriptions of key elements in some of the paintings. Additionally, it provides a biographical overview of Caravaggio, describing his artistic training, move to Rome, rise to fame and commissions, conflicts that led to his fleeing Italy, and mysterious death seeking a papal pardon while traveling.
The document provides an overview of Baroque art in the Spanish Netherlands and Dutch Republic during the 17th century. It discusses key Flemish artists like Peter Paul Rubens and Anthony van Dyck who worked under Spanish rule in the Southern Netherlands. Rubens is noted for his energetic style and vast output, combining northern and southern European influences. The document also covers the Dutch Golden Age in the Protestant north, with genre painters like Frans Hals and Rembrandt capturing middle-class life. Rembrandt's psychological portraits and mastery of light are emphasized.
Baroque period ( history & style) duskyrose 29Malou Alipio
The Baroque period saw flourishing of the arts like painting, music, architecture and literature between 1600-1750. Gian Lorenzo Bernini transformed an open space near St. Peter's Basilica into an impressive approach to the church using structures like a gilded bronze chair believed to be used by St. Peter. Michelangelo Merisi da Caravaggio was a leading painter who used realistic figures and dramatic lighting. The Romantic period emphasized emotion and nature, seen in the works of Theodore Gericault who used social themes and Caspar David Friedrich who showed humanity's insignificance compared to nature.
This document provides information on several Baroque artworks including paintings, frescoes, and architectural details. It lists the titles, artists, and dates of works such as Artemisia Gentileschi's Judith Slaying Holofernes, Pietro da Cortona's Glorification of the Reign of Urban VIII, Peter Paul Rubens' Arrival of Marie de' Medici at Marseilles, and Rembrandt's Self Portrait at Age 63 among others. The document also mentions architectural techniques like foreshortening and frescoes that appear to remove ceilings.
The document summarizes important artworks from the Early Renaissance period in Italy and Flanders. It describes several seminal paintings such as Masaccio's Trinity and Brancacci Chapel frescoes which used innovative linear perspective and shading techniques. It also discusses influential sculptures like Donatello's David and Verrocchio's David which showed a new interest in the human form. The document notes how works by Piero della Francesca and Jan van Eyck combined classical influences with religious iconography and advanced oil painting methods.
The document discusses the intellectual and philosophical movement known as the Enlightenment. Key ideas of the Enlightenment included replacing religion with reason and science, questioning traditional values and authority, and prioritizing individual liberty and equality. These ideas influenced the American and French Revolutions in challenging absolute monarchy and divine rights of kings. Enlightenment philosophers advocated for separation of church and state, freedom of religion and speech, and that government derives power from the people rather than a divine ruler. The document traces how the Enlightenment marked a transition from the old world order to a new era of democracy, reason, and humanism.
The document summarizes the main characteristics of Baroque art in 3 paragraphs. Baroque art emerged after the Council of Trent to promote Catholic faith through clear, naturalistic representations that inspire piety. It strives for grandiosity and dramatic effects to evoke emotion. Baroque architecture uses classical columns, central plans, dramatic lighting, and ornate decorations. Sculpture and painting of the time had strong emotions, dynamism, and mastery of light and shadow. Key artists mentioned include Bernini, Borromini, Caravaggio, Velazquez, Rembrandt, Vermeer and others.
Mannerism developed in the 16th century in Italy as a reaction against the principles of the High Renaissance. It focused on elongated and exaggerated human forms depicted in unnatural poses and settings. Mannerist artworks often contained distorted figures, artificial colors, and unrealistic proportions that created a feeling of tension and instability. This style reflected the turmoil in Europe during its rise and provided a transition between the Renaissance and Baroque periods.
ART HISTORY 132Baroque ItalianBaroque Italianc.docxdavezstarr61655
ART HISTORY 132
Baroque: Italian
Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c. 1565)part of the larger [Catholic] Counter Reformationdefined role assigned to arts in Catholic Churchheadings:1) clarity, simplicity & intelligibility2) realistic interpretationin contrast to Renaissance idealizationappropriateness of age, gender, type, expression, gesture & dress3) emotional stimulus to piety
Bernini
(1598-1680)significance: successor to Michelangelounique ability to capture essence of narrative momentaim: to synthesize/unify sculpture, painting and architecture into coherent conceptual and visual wholepatrons: many associated w/ papacyearly age, came to attention of papal nephew, Scipione Borgheseknighted at age 23, by Gregory XVUrban VII, Alexander VII, Clement IXquality of naturalism: realismlight: used as metaphorical device in religious settings often, hidden light source intensifies focus of religious worship
Bernini
Bust of Scipione Borghese (1632)subject: portraiturepatron: Cardinal Scipione Borghese maternal uncle elected to papacy as Pope Paul V (1605)placed SB in charge of internal and external political affairs entrusted w/ finances of papacy and Borghese familyB’s first patron (c. 1618-24); also patron of Caravaggiocomposition: dynamicnarrative moment: mid-speechquality of naturalism: realistic
BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione Borghesesubject matter: early 17C Italian poetrysee Ovid’s Metamorphoses intellectual context: frustrated desire and enduring despair and pain, provoked by lovemeaning: personal, special resonance for SB, who was widely ridiculed for his attraction to other mennarrative moment: transformativeA reaching out toward river nymph D, just as she is transformed into laurel tree by her father prevent D from being burned by touch of god of sunfigural type: androgynous male (see Hellenistic Greek)
Bernini
David (c. 1625)patron: Cardinal Scipione Borghesescommissioned to decorate Galleria Borghese at private villastyle: “dynamic” tendenciesinfluences: Hellenistic GreekBaroque qualities:spatial order: active vs. self-containedrealism of detail & differentiation of texturedrapery: abstract play of folds & crevasses attempting pictorial effects traditionally outside sculpture’s domain
Classical Greek Discus Thrower (c. 450 BCE)
vs.
BERNINI’s Italian Baroque David (c. 1625 CE)
*
(Left) DONATELLO’s Italian Early Ren. David (c. 1450)
vs.
(right) BERNINI’s Italian Baroque David (c. 1625)
(Left) BERNINI’s Italian Baroque David (c. 1625)
vs.
(right) MICHELANGELO’s Italian High Ren David (c. 1500)
Bernini
Cornaro Chapel (c. 1650)function: funerary dedicated: Saint Teresa mystic of Spanish Counter-Reformation 1st Carmelite nun to be canonizedaesthetic influence: Humanism materials: multimediamarble panelspainted ceilinggilded bronzesculpture portraitslighting: windows, both hidden & apparent
Detail (“transver.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The document discusses art before and during the Renaissance period. It notes that during the Middle Ages, the church was very powerful in Europe and art was abstract and served to communicate religious ideas to illiterate populations. It contrasts this with Renaissance art which embraced more naturalistic styles and individualism as humanist thought grew. The document uses Giotto as an example of an early Renaissance artist who moved away from medieval abstraction and began directly observing nature.
The Catholic Counter Reformation saw the emergence of Baroque art and architecture, characterized by dramatic lighting, compositions, and realism. Key artists included Caravaggio, who used tenebrism and painted biblical scenes with intense realism, influencing the Caravaggisti movement. One follower was Artemisia Gentileschi, one of the first female painters, who imitated Caravaggio's style but added her own perspective, as seen in her emotionally charged painting "Judith and Holofernes." Baroque art aimed to elicit strong emotional reactions from viewers through drama, action, and special effects.
The document summarizes key developments in Renaissance art in Venice and the emergence of Mannerism. It describes the Venetian school's preference for a softer approach to oil painting compared to Florence, as well as their willingness to depict erotic themes. Major Venetian artists discussed include Giovanni Bellini, Giorgione, Titian, and Veronese. The summary also characterizes Mannerism as a reaction against Renaissance ideals of balance, with elongated figures and unusual colors and compositions. Key Mannerist artists mentioned are Pontormo, Bronzino, and Tintoretto.
Mannerism was a period of European art from 1520-1580 that emerged after the High Renaissance. It placed value on intricate and unnatural poses with elongated figures and stylized features. Notable Mannerist artists included Parmigianino, Tintoretto, Pontormo, Rosso Fiorentino, and Jacopo Pontormo. Their works emphasized artificial qualities over naturalism and sophisticated intellectualism over restraint.
This document summarizes key elements of Gothic architecture such as pointed pinnacles, gargoyles, stained glass windows, Gothic arches, and flying buttresses. It then discusses the Baroque art period from 1600-1750 which was an age of scientific discovery. Some characteristics of Baroque art included naturalism, expression of feeling, movement, and strong use of light and shadow. The document also summarizes Romanticism from 1800-1840 which emphasized emotion, imagination, and dreams in response to scientific discoveries of the Baroque period. It compares works by Rubens and William Blake and also discusses Rembrandt, Titian, Michelangelo, Caravaggio, Rubens, Blake, and Artemisia Gent
Masaccio's Trinity Altarpiece from 1425 was revolutionary in its use of linear perspective to create a rational, three-dimensional space. It was one of the first works of art to use this technique, which had been discovered by Brunelleschi and codified by Alberti. Masaccio also used shading, modeling, and accurate human anatomy to make the figures appear lifelike and volumetric. In the Brancacci Chapel, his fresco The Tribute Money from 1427 further developed these innovations by arranging figures in a semicircle, using gestures to guide the narrative, and establishing a single light source to cast consistent shadows. Both works had humanist themes but also reflected contemporary civic and political issues
The document discusses Renaissance art and design. It began in 14th century Italy as a revival of classical Greco-Roman artistic traditions and values. Early Renaissance artists like Giotto and Masaccio advanced techniques like realistic human representation. By the 15th century, Florence and then Rome became centers of Renaissance art. The High Renaissance period saw masters like Leonardo da Vinci, Michelangelo, and Raphael dominate. They employed techniques like perspective, foreshortening, and chiaroscuro to create more naturalistic works. Renaissance architecture also drew from classical orders and symmetry.
The document discusses The Merode Altarpiece painted by the workshop of Robert Campin in the 15th century. It was commissioned by Peter Engelbrecht and his wife, who are depicted kneeling in the left panel. The central panel shows the Annunciation taking place in a Flemish interior similar to what the Engelbrechts would have seen. Joseph is shown working in his workshop in the right panel. By placing biblical figures in realistic, everyday settings, Campin humanized the religious scenes to make them more relatable. The new medium of oil painting also allowed for greater realistic details and textures.
Week 4.16th century italian renaissance.overviewasilkentent
The document summarizes 16th century Italian art during the High Renaissance and Mannerism periods from 1500-1599. Key events included the Sack of Rome in 1527 which ended the High Renaissance and led to the development of Mannerism. Artists during Mannerism rejected some of the principles of the Renaissance by creating works with asymmetrical compositions, disproportionate figures, and irrational backgrounds without spatial illusions. The Council of Trent and Counter Reformation also influenced art as the Catholic Church attempted reforms. Major figures like Michelangelo and Parmigiano exemplified styles that shifted from the harmonious Renaissance toward the unusual qualities of Mannerism.
The document discusses three artworks from different periods - Tintoretto's Last Supper from the Mannerism period, Raphael's School of Athens from the High Renaissance period, and Bernini's Ecstasy of Saint Teresa from the Baroque period. It provides background information on the artists, details on the artworks such as dimensions and locations, and analyses of stylistic elements in each piece. The sections also compare Tintoretto to da Vinci and interpret the biblical and scholarly themes in the works.
CARAVAGGIO, Featured Paintings in Detail (1)guimera
The document provides details on several paintings by the Italian artist Caravaggio, including "The Calling of Saint Matthew", "The Sacrifice of Isaac", and "Bacchus". It includes information on the title, date created, materials, and location of each painting. It also provides short analyses and descriptions of key elements in some of the paintings. Additionally, it provides a biographical overview of Caravaggio, describing his artistic training, move to Rome, rise to fame and commissions, conflicts that led to his fleeing Italy, and mysterious death seeking a papal pardon while traveling.
The document provides an overview of Baroque art in the Spanish Netherlands and Dutch Republic during the 17th century. It discusses key Flemish artists like Peter Paul Rubens and Anthony van Dyck who worked under Spanish rule in the Southern Netherlands. Rubens is noted for his energetic style and vast output, combining northern and southern European influences. The document also covers the Dutch Golden Age in the Protestant north, with genre painters like Frans Hals and Rembrandt capturing middle-class life. Rembrandt's psychological portraits and mastery of light are emphasized.
Baroque period ( history & style) duskyrose 29Malou Alipio
The Baroque period saw flourishing of the arts like painting, music, architecture and literature between 1600-1750. Gian Lorenzo Bernini transformed an open space near St. Peter's Basilica into an impressive approach to the church using structures like a gilded bronze chair believed to be used by St. Peter. Michelangelo Merisi da Caravaggio was a leading painter who used realistic figures and dramatic lighting. The Romantic period emphasized emotion and nature, seen in the works of Theodore Gericault who used social themes and Caspar David Friedrich who showed humanity's insignificance compared to nature.
This document provides information on several Baroque artworks including paintings, frescoes, and architectural details. It lists the titles, artists, and dates of works such as Artemisia Gentileschi's Judith Slaying Holofernes, Pietro da Cortona's Glorification of the Reign of Urban VIII, Peter Paul Rubens' Arrival of Marie de' Medici at Marseilles, and Rembrandt's Self Portrait at Age 63 among others. The document also mentions architectural techniques like foreshortening and frescoes that appear to remove ceilings.
The document summarizes important artworks from the Early Renaissance period in Italy and Flanders. It describes several seminal paintings such as Masaccio's Trinity and Brancacci Chapel frescoes which used innovative linear perspective and shading techniques. It also discusses influential sculptures like Donatello's David and Verrocchio's David which showed a new interest in the human form. The document notes how works by Piero della Francesca and Jan van Eyck combined classical influences with religious iconography and advanced oil painting methods.
The document discusses the intellectual and philosophical movement known as the Enlightenment. Key ideas of the Enlightenment included replacing religion with reason and science, questioning traditional values and authority, and prioritizing individual liberty and equality. These ideas influenced the American and French Revolutions in challenging absolute monarchy and divine rights of kings. Enlightenment philosophers advocated for separation of church and state, freedom of religion and speech, and that government derives power from the people rather than a divine ruler. The document traces how the Enlightenment marked a transition from the old world order to a new era of democracy, reason, and humanism.
The document summarizes the main characteristics of Baroque art in 3 paragraphs. Baroque art emerged after the Council of Trent to promote Catholic faith through clear, naturalistic representations that inspire piety. It strives for grandiosity and dramatic effects to evoke emotion. Baroque architecture uses classical columns, central plans, dramatic lighting, and ornate decorations. Sculpture and painting of the time had strong emotions, dynamism, and mastery of light and shadow. Key artists mentioned include Bernini, Borromini, Caravaggio, Velazquez, Rembrandt, Vermeer and others.
Mannerism developed in the 16th century in Italy as a reaction against the principles of the High Renaissance. It focused on elongated and exaggerated human forms depicted in unnatural poses and settings. Mannerist artworks often contained distorted figures, artificial colors, and unrealistic proportions that created a feeling of tension and instability. This style reflected the turmoil in Europe during its rise and provided a transition between the Renaissance and Baroque periods.
ART HISTORY 132Baroque ItalianBaroque Italianc.docxdavezstarr61655
ART HISTORY 132
Baroque: Italian
Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c. 1565)part of the larger [Catholic] Counter Reformationdefined role assigned to arts in Catholic Churchheadings:1) clarity, simplicity & intelligibility2) realistic interpretationin contrast to Renaissance idealizationappropriateness of age, gender, type, expression, gesture & dress3) emotional stimulus to piety
Bernini
(1598-1680)significance: successor to Michelangelounique ability to capture essence of narrative momentaim: to synthesize/unify sculpture, painting and architecture into coherent conceptual and visual wholepatrons: many associated w/ papacyearly age, came to attention of papal nephew, Scipione Borgheseknighted at age 23, by Gregory XVUrban VII, Alexander VII, Clement IXquality of naturalism: realismlight: used as metaphorical device in religious settings often, hidden light source intensifies focus of religious worship
Bernini
Bust of Scipione Borghese (1632)subject: portraiturepatron: Cardinal Scipione Borghese maternal uncle elected to papacy as Pope Paul V (1605)placed SB in charge of internal and external political affairs entrusted w/ finances of papacy and Borghese familyB’s first patron (c. 1618-24); also patron of Caravaggiocomposition: dynamicnarrative moment: mid-speechquality of naturalism: realistic
BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione Borghesesubject matter: early 17C Italian poetrysee Ovid’s Metamorphoses intellectual context: frustrated desire and enduring despair and pain, provoked by lovemeaning: personal, special resonance for SB, who was widely ridiculed for his attraction to other mennarrative moment: transformativeA reaching out toward river nymph D, just as she is transformed into laurel tree by her father prevent D from being burned by touch of god of sunfigural type: androgynous male (see Hellenistic Greek)
Bernini
David (c. 1625)patron: Cardinal Scipione Borghesescommissioned to decorate Galleria Borghese at private villastyle: “dynamic” tendenciesinfluences: Hellenistic GreekBaroque qualities:spatial order: active vs. self-containedrealism of detail & differentiation of texturedrapery: abstract play of folds & crevasses attempting pictorial effects traditionally outside sculpture’s domain
Classical Greek Discus Thrower (c. 450 BCE)
vs.
BERNINI’s Italian Baroque David (c. 1625 CE)
*
(Left) DONATELLO’s Italian Early Ren. David (c. 1450)
vs.
(right) BERNINI’s Italian Baroque David (c. 1625)
(Left) BERNINI’s Italian Baroque David (c. 1625)
vs.
(right) MICHELANGELO’s Italian High Ren David (c. 1500)
Bernini
Cornaro Chapel (c. 1650)function: funerary dedicated: Saint Teresa mystic of Spanish Counter-Reformation 1st Carmelite nun to be canonizedaesthetic influence: Humanism materials: multimediamarble panelspainted ceilinggilded bronzesculpture portraitslighting: windows, both hidden & apparent
Detail (“transver.
François Girardon: equestrian statue of Louis XIV, bronze,
h. 5.5 m, 1699 (Paris, Place de la Concorde)
The Baroque in France
Bernini was invited to Paris by Louis XIV in 1665 to design a grandiose
equestrian statue for the king. However, Bernini's design was deemed too
extravagant and costly. The commission was eventually given to François
Girardon, who produced a more restrained version in 1699.
1. The document discusses the influence of various 17th century painters such as Caravaggio, Rembrandt, Rubens, Titian, and Raphael on the Spanish painter Velázquez. It explores styles such as chiaroscuro, Baroque, and Realism.
2. Juan de Pareja was Velázquez's assistant and later became a painter in his own right, influenced by Velázquez's techniques.
3. The document recommends exploring these artists' works in books, online images, and museums to better understand their styles and influence on Velázquez.
Baroque art developed in 17th century Europe in response to the Protestant Reformation and Counter-Reformation. It featured dramatic lighting, elaborate details, and emotional religious themes to impress viewers. The style spread across Europe, seen in works like Caravaggio's realistic religious scenes, Bernini's sculptural architecture, and Versailles' ornate interior. Baroque emphasized dramatic contrast and movement to astonish audiences.
The document provides information on key Baroque artists in Italy such as Caravaggio, Bernini, and Gentileschi. It discusses their artistic styles and influential works. For example, it notes that Caravaggio used everyday people as models and employed tenebrism to create dramatic contrasts between light and dark. It also summarizes Bernini's David statue and its depiction of the biblical figure caught in motion. Finally, the document analyzes Baroque ceiling painting techniques like di sotto in sù that create the illusion of figures seen from below.
The Baroque period lasted from 1600-1750 originating in Counter-Reformation Italy. Baroque art and architecture was dramatic, emotional, and ornate meant to impress viewers and express power. Key features included exaggerated lighting, intense emotions, and high detail. Masters like Caravaggio, Rubens, Rembrandt, and Bernini created emotional, dynamic paintings and sculptures while architects like Bernini and Borromini designed grand churches and squares. Baroque styles then spread across Europe especially in painting, sculpture, architecture, music, and decorative arts.
The document provides information about various Baroque era artists such as Velázquez, Caravaggio, Rembrandt, Rubens, Titian, and Raphael that may have influenced Velázquez's painting style. It discusses artistic styles such as chiaroscuro, Baroque, realism, and idealism that are reflected in Velázquez's works. It also profiles female artists like Artemisia Gentileschi and Elisabetta Sirani who worked during the Baroque period, as well as Velázquez's painting of Juan de Pareja which depicts his style of realism and use of chiaroscuro.
This document provides information about various artists and styles that may have influenced Diego Velázquez, including Caravaggio, Rembrandt, Rubens, Titian, and Raphael. It discusses artistic styles such as chiaroscuro, Baroque, realism, and idealism. It also profiles female artists from the Baroque period like Artemisia Gentileschi and Elisabetta Sirani. Key works by these artists are described and sources to learn more about their art are provided.
The Galleria Borghese is the home of an extraordinary collections of large number of unique masterpieces, dating from antiquity. In 1807 nearly all the archaeological collection was sold by Camillo Borghese to his brother-in-law, Napoleon, becoming an essential part of the Louvre collection in Paris. Some of the pieces sold have been replaced by later acquisitions. The gallery is uniquely located in the middle of a park, serenely blending architecture and nature. Recent restoration, which took over a decade of work, of the build was completed in 1997. Among it collections are half a dozen of paintings by the young Caravaggio, Titan’s painting of ‘Sacred and Profane Love’. Several works by Raphael, some of the best sculpture by Bernini, include the David, Apollo and Daphine etc. It is one of the world most exclusive gallery.
The document provides an overview of several major artistic periods and styles between the 16th and 18th centuries in Europe, including Mannerism, Baroque, and Rococo. [1] Mannerism emphasized style over substance and featured twisted figures. [2] Baroque art was characterized by bright colors, dramatic emotions, and grand themes as seen in the works of Bernini and Rubens. [3] Rococo emerged in the 18th century as a lighter and more delicate offshoot of Baroque featuring pastoral scenes and pastel colors.
The document provides an overview of Baroque art in 17th century Europe, highlighting prominent artists and works from Italy, Spain, Flanders, Holland, and France. In Italy, artists like Bernini promoted the Catholic Counter-Reformation through works commissioned by the Roman Catholic Church. Caravaggio and Gentileschi developed a tenebrist style. In Spain, artists focused on religious scenes of martyrdom and death. Rubens was a leading painter in Flanders. Dutch artists like Rembrandt and Vermeer captured the Protestant middle class through portraits and genre scenes. In France, classical influences were seen in works by Poussin, while Versailles was constructed under Louis XIV. English Baroque architecture, led
The document provides an overview of the Baroque style across various art forms between 1600-1750. It discusses key characteristics of Baroque painting, sculpture, architecture, and music. For painting, it highlights the use of tenebrism technique with strong contrasts of light and shadow. Baroque sculpture emphasized figura serpentinata and works by Bernini. Architecture featured dramatic lighting effects and ornamentation. Music introduced new instruments and forms like opera.
The document provides an overview of the Renaissance period in Italy, beginning with the Early Renaissance in the 15th century. It describes how humanism fostered individual achievement and participation in civic life. Artistic leaders like Donatello, Masaccio, Fra Angelico, and Botticelli emerged in Florence and developed new techniques like linear perspective that made their works more naturalistic and three-dimensional. Architects like Brunelleschi and Alberti incorporated classical forms and proportions. The High Renaissance saw the work of masters like Leonardo da Vinci, Raphael, Michelangelo and Titian who combined technical skill with lofty subjects and patrons.
RequireOnce having The di Credis Madonna and Child (c. 1500),.docxronak56
Require
Once having The di Credi's "Madonna and Child" (c. 1500), pay close attention to stylistic features (i.e., composition, color, use of light/shadow, perspective, figures, pose, gestures, et al). Describe the object and compare/contrast it to pieces we have in the PowerPoint lectures or in the textbook. When selecting objects to compare the museum piece to, be discerning. That is, try to find objects that share more characteristics than not. The aim of this assignment is for students to develop an eye for style and to locate the subtle differences that distinguish one technique or tendency from another.
Organize the paper, which should be five to seven (5-7) pages in length, into an introductory paragraph, body, and conclusion. The introduction may include some general information (e.g., historical, economic, cultural) about the object's specific time period, the technique utilized to create the object, etc. More importantly, the introduction should include a thesis statement about the object's overall aesthetic. Then organize the body in a logical, analytic fashion, and conclude the paper with some remarks about the significance of the object -- that is, how it fits into a larger Renaissance to Rococo art historical framework.
Remember, this is NOT a research paper; however, if you quote a source (e.g., a placard or web site from the museum), be sure to cite it.
ART HISTORY 132
Baroque: Italian
Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c. 1565)part of the larger [Catholic] Counter Reformationdefined role assigned to arts in Catholic Churchheadings:1) clarity, simplicity & intelligibility2) realistic interpretationin contrast to Renaissance idealizationappropriateness of age, gender, type, expression, gesture & dress3) emotional stimulus to piety
Bernini
(1598-1680)significance: successor to Michelangelounique ability to capture essence of narrative momentaim: to synthesize/unify sculpture, painting and architecture into coherent conceptual and visual wholepatrons: many associated w/ papacyearly age, came to attention of papal nephew, Scipione Borgheseknighted at age 23, by Gregory XVUrban VII, Alexander VII, Clement IXquality of naturalism: realismlight: used as metaphorical device in religious settings often, hidden light source intensifies focus of religious worship
Bernini
Bust of Scipione Borghese (1632)subject: portraiturepatron: Cardinal Scipione Borghese maternal uncle elected to papacy as Pope Paul V (1605)placed SB in charge of internal and external political affairs entrusted w/ finances of papacy and Borghese familyB’s first patron (c. 1618-24); also patron of Caravaggiocomposition: dynamicnarrative moment: mid-speechquality of naturalism: realistic
BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione Borghesesubject matter: early 17C Italian poetrysee Ovid’s Metamorphoses intellectual context: frustrated desire and enduring despair and pain, provoked by lovemeaning: ...
The document discusses the Rococo art style that flourished in France and Germany in the early 18th century. Rococo art focused on depicting the carefree lifestyle of the aristocracy rather than grand historical themes. It was characterized by free flowing movement, delicate colors, and playful use of line. Jean-Antoine Watteau and Jean Honoré Fragonard were two prominent Rococo artists known for their paintings of fêtes galantes and romantic scenes.
The document provides an overview of the Protestant Reformation and key events that led to divisions within Christianity in 16th century Europe. It discusses figures like Martin Luther who criticized the Catholic church and its sale of indulgences. Over time this grew into conflicts and wars between Protestant and Catholic states, most notably the Thirty Years War. The document also introduces the concept of the Counter Reformation by the Catholic church to stem the growth of Protestantism. It provides examples of influential Baroque artists like Bernini and Caravaggio who worked during this period.
Rembrandt van Rijn was one of the greatest Dutch masters of the Baroque period. He worked in a wide range of subjects including portraits, history paintings, and biblical scenes. Rembrandt had a deeply personal interpretation of religious subjects, seeking to portray biblical figures as real people. He was renowned for his use of chiaroscuro and his dramatic manipulation of light and shadow to convey emotion and psychology. Later in life, Rembrandt's style became looser and more expressive as he sought to capture fleeting moments. His self-portraits provide intimate insights into the artist and how his mood changed over his lifetime. Jan Vermeer was another great Dutch painter who specialized in tranquil domestic interior scenes lit by even
Companion slideshow for Gardner's Art Through the Ages (Global) textbooks. Prepared for Art 102 at Montgomery County Community College. Jean Thobaben-Adjunct Instructor.
This document summarizes Renaissance painting from the 14th to 16th centuries. It describes key characteristics like realistic representations and use of techniques like perspective. It outlines the Early Renaissance, focused on dramatic perspective and idealized religious subjects. The High Renaissance was led by Leonardo da Vinci, Michelangelo, and Raphael, who created famous works like the Mona Lisa, The Creation of Adam, and The School of Athens. The document provides details on materials and techniques and insights on the influence of Renaissance art.
Gianlorenzo Bernini “Saint Teresa in Ecstasy” 1647-1652 I am discussing the Baroque and its contextual relationship to several events of the time. By about 1600 the intellectual and artistic achievements of the renaissance had taken a new turn. The chief agent for change was the Roman Catholic Church who after the initial shock of the success of Protestantism and the reformation responded with a movement called the Counter Reformation. The goals of this movement are stated officially at the Council of Trent which met sporadically from 1545 to 1563. Among other things the Council of Trent called upon artists to remind Catholics of the power and splendor of their religion by commissioning a massive quantity of works of art dedicated to underlining the chief principals of Counter Reformation teachings. New emphasis was placed on clarity and directness and because of the churches resurgence there came also a new emphasis on material splendor and glory. It is for this reason that the Roman Catholic Church, the largest patron of the arts encouraged art’s ability to appeal to the emotions because they really begin to see this as one of the primary tools to influence public opinion with this is where you really start to see the theatricality the dramatic use of light, and the heightened emotionalism along with a new sense of realism begin to take a prominent role in the art of this period. This is where the Baroque period begins one of the things that occurs here is that there is an attempt to convey the intensity of extreme emotional states,
Andrea Sansovino “ Madonna and Child with St Anne” 1512 this is in sharp contrast to the calm balance and order that was emphasized during the Renaissance.
Gianlorenzo Bernini “Saint Teresa in Ecstasy” 1647-1652 In the ecstasy of saint Teresa Bernini depicts the Spanish mystic saint Teresa in the throes of ecstasy brought on by a vision that she describes in which she is visited by an angel. we can see that there are a number of devices that begin to appear in order to address this the extreme turbulence of Teresa’s garments reveal her emotional frenzy the folds are cut at an exaggerated depth to increase the contrast between light and dark, this is further increased by light brought in from a concealed source and filtered through yellow glass which also serves to reinforce the symbolic light represented by the metal rays. Standing in front of the piece the experience is theatrical and you become aware of viewing it almost as a performance rather than a static image.
Michelangelo Merisi or Caravaggio “The Martyrdom of Saint Matthew” 1599-1600 Caravaggio, in contrast to Bernini in his depiction of religious scenes refused to accept either the traditionally idealized versions of earlier artists or the Counter Reformation demands for magnificent display. Furthermore instead of placing figures in an elaborate setting in accordance with Counter Reformation principles, Caravaggio surrounded them with shadows, a device that emphasizes the drama of the scene and the poverty of the participants. Despite this you can see in this image many of the devices that would become hallmarks of Baroque art. In the “Martyrdom of Saint Matthew” Caravaggio uses his own experience of suffering to portray with painful realism the murder of one of the apostles. In this you can see the extreme manipulation of light for dramatic effect that he was so famous for, the emphasis on solidity of form that brings a level of believability to the scene, the extreme foreshortening that attempts to break the picture plane and involve the viewer, and the same kind of implied exaggerated energy and movement that we saw in Bernini’s sculpture. Caravaggio himself, despite leading a turbulent and often violent life that largely alienated him from both his patrons and contemporaries was a tremendous influence in his own lifetime and on further generations both for the physical qualities of his paintings and for the extreme emotional impact that he was able to achieve with them and you can see this even in the Baroque period in artist as far ranging as Velasquez in Spain and Rembrandt in Holland.
The reaction in France to this new art was a bit different they generally preferred elegance to display and restraint to emotion also rather than the religious art mandated by the counter reformation the power and influence of art in France tends to extol the glories of the monarchy. Louis XIV understood just as the Catholics did the influence that art had on public opinion for this reason he very carefully controlled how his image was perceived because of this he was surrounded by many court painters most of whom never achieved more than respectable mediocrity the exception to this is Rigaud, whose image here epitomizes Baroque grandeur and theatricality while eschewing the emotional honesty inspired by Caravaggio and his followers.
Lois XIV’s most lasting artistic endeavor was the palace of Versailles, built a few miles outside of Paris as a new center for the court. Louis XIV was a very astute politician and was well aware of the fact that the aristocratic courtiers that surrounded him were likely to turn on him at the smallest sign of weakness or hesitation on his part. By constructing at Versailles he gave himself a center from which he could consciously act out the role of Grand Monarch Louis conveyed the image of himself as supreme ruler and thereby retained his control over the aristocracy.
Strong religious emotion had always been a characteristic of Spanish Catholicism, and the new possibilities that the Baroque era brought were foreshadowed by El Greco. El Greco which means the Greek in Spanish was undoubtedly the greatest painter working in Spain at the end of the sixteenth century. While his work was unpopular in his own time he would become an enormous influence on the succeeding generation of Spanish artists. The almost hallucinatory brightness of his colors is likely derived from Italian Mannerist painting as are the elongated forms however his use of light is purely for dramatic effect and his asymmetrical composition is incomparably more fierce and disturbing than his Mannerist precursors.
Velazquez is very different in spirit he spent much of his career as the court painter to Philip IV where he spent most of his career painting the lives of the lives of the King and his court as well as ordinary people rather than religious subjects. Las Meninas is his masterpiece here he represents himself in his studio standing before a large canvas on which he may be painting this painting or perhaps the portrait of the king and queen whose reflections appear in the mirror on the far wall the young princess Margarita appears in the foreground with her two maids in waiting and her favorite dwarfs, and a large dog in the middle ground are a woman and man and in the background a man in the doorway, all of these people have been identified but for our purposes we don’t need to name them here, what is noteworthy is how Velazquez has extended the pictorial depth of his composition in both directions. The open doorway and its staircase lead your eye beyond the artists studio, and the mirror device and the outward glances of several of the viewers incorporate the viewers space into the picture as well. On the wall above the doorway two faint images of paintings are visible they are copies of two Rubens paintings. Velazquez pictorially summarizes the different kinds of images in their different levels of reality he portrays the reality of the canvas image, of mirror image, of optical image, and of the two imaged paintings. Also this image with its juxtaposition of mirrored spaces, real spaces, and pictures within pictures appears itself to have been taken from a large mirror reflecting the whole scene. How does he achieve this instead of putting lights abruptly beside darks as Caravaggio had done Velazquez allowed a great number of intermediate grays to come between the two extremes. His matching of tonal gradations approaches the effects that would later be discovered in the photography age.
The religious element in Spanish art, in many circles, grew in importance with the counter-reformation. The austere, ascetic, and severe work of Francisco de Zurbarán exemplified this thread in Spanish art, The mysticism of Zurbarán's work - influenced by Saint Theresa of Avila - became a hallmark of Spanish art in later generations. Influenced by Caravaggio and the Italian masters, Zurbarán devoted himself to an artistic expression of religion and faith. His paintings of St. Francis of Assisi, the immaculate conception, and the crucifixion of Christ reflected a third facet of Spanish culture in the seventeenth century, against the backdrop of religious war across Europe. Zurbarán broke from Velázquez's sharp realist interpretation of art and looked, to some extent, to the emotive content of El Greco and the earlier mannerist painters for inspiration and technique, though Zurbarán respected and maintained the lighting and physical nuance of Velázquez.
Rembrant Van Rijn “Self Portrait” 1629 One of the most moving achievements of the seventeenth century are Rembrandts self portraits. Utilizing Caravaggio’s theatrical light along with Velazquez’s much more subtle range of values Rembrandt comes up with something that almost seems fugitive in its depiction of light across a surface an effect that resembles much more closely the way we actually see. Rembrandt from an early age began to explore the nature of what it means to be human and nowhere is this more evident than in his self portraits every aspect of his life is unflinchingly depicted in these images from the awkwardness of adolescence.
Rembrant Van Rijn “Self Portrait” 1634 to the arrogance of youth
Rembrant Van Rijn “Self Portrait” 1640 here he is at the height of his fame exuding a cool confidence.
1660 his art falls out of favor and he slowly becomes disillusioned.
1661 and with this disillusionment gone are the precise details that he used to show off his skill with.
1669 and finally just prior to his death he depicts himself with a kind of resigned weariness.
Jacob Van Ruisdael “View of Haarlem with Bleaching Grounds” 1665 In Holland and for the most part in the northern countries which were largely protestant we see a different approach and although many of the physical characteristics typical of Baroque art still exist the intention behind the images is fundamentally different. In part this is because the protestants were iconoclasts and with the reformation the church was to a large extent stripped of it’s imagery with this the arts in the north lose their largest patron combine this with a growing merchant class and you begin to see an increasing secularization of art this is partially part of the protestant viewpoint rather than a reaction against it but also because the concerns of the major patrons are different the interests of the wealthy merchant class center not on the church, the outward symbols of faith and clerical pageantry but rather on the home and family, business and social organizations and the community. It is for this reason that in the Netherlands what you begin to see rather than the grand religious images of the south are still lives, portraits, and landscapes such as Van Ruisdael’s. and while these things aren’t unheard of in the southern countries they constitute a rather minor portion of the art created while in the Netherlands and much of England as well these genres represent the vast majority of artwork. This image while still adhering to the conventions of Baroque art, the manipulation of light for dramatic effect, the solidity of forms and the exaggerated realism and clarity, and the dynamic movement of the clouds and lines of the land itself, very much represents that middle and upper class viewpoint it is much more about a practical relationship to the landscape than it is about a spiritual analogy. This is because in Holland much of the rich farmland that created this wealthy merchant class was reclaimed from the water through a system of dykes much as it still is today so given this the Dutch perspective was one of dominion over the land and what Van Ruisdael shows us here is not only the expression of the grandeur of that accomplishment but also the dominion of heaven over the earth and by the extension of divine providence the dominion of man over the environment which is why you get the low horizon line that would become almost synonymous with Dutch landscape, and while this image does contain spiritual overtones it is important to note that it is essentially secular this gives us a glimpse of the direction of the art that would come after this despite the success of the art of the Counter-Reformation there is a fundamental change is patronage on the horizon religious subjects would never again dominate art as they did rather art becomes increasingly more secular and artists become increasingly more autonomous.