This document summarizes chapters 18 and 19 from Gardner's Art Through the Ages, covering the High Renaissance and Mannerism in Northern Europe and Spain, as well as the Baroque in Italy and Spain. It discusses key artists of the time like Albrecht Dürer, Hans Holbein the Younger, Hieronymus Bosch, Pieter Bruegel the Elder, El Greco, and Bernini. It also covers the Protestant Reformation's impact on art and the development of the Baroque style with its emphasis on dynamism, theatricality, and elaborate ornamentation.

1. Gardner’s Art Through the Ages,
14e
Chapter 18
High Renaissance and Mannerism in Northern
Europe and Spain
and
Chapter 19
The Baroque in Italy and Spain
1

2. Europe in the 16th Century
Duchy of Burgundy
2

3. Protestant Reformation
Martin Luther
3

4. Figure 18-3 HANS BALDUNG GRIEN, Witches’
Sabbath, 1510. Chiaroscuro woodcut, 1’ 2 7/8” X 10
¼”. British Museum, London.
4

5. 18-3A HANS BALDUNG GRIEN, Death and the
Maiden, 1509–1511. Oil on wood, 1’ 3 3/4" X 1’
3/4”. Kunsthistorisches Museum, Vienna.
5

6. Albrecht Durer: “Leonardo of the
North”
• Travelled widely through Europe and became an international
celebrity
• Took trips to Italy to study Renaissance art
• First artist to synthesize Northern European stylistic features
(intricate detail, realistic rendering of objects, symbols hidden as
everyday objects) and blend them with Italian features (classical
body types, linear perspective) --- admired the work of Leonardo
• First artist to keep a thorough record of his life (self-portraits,
treatises on his thoughts, and a diary)
• Important graphic artist --- best known for his engravings
• Influenced significantly by Martin Luther and Protestant
Reformation
6

7. Figure 18-4A ALBRECHT DÜRER, Great
Piece of Turf, 1503. Watercolor, 1’ 3/4” x 1’
3/8”. Albertina, Vienna.
7

8. 18-4 ALBRECHT DÜRER, Self-Portrait, 1500. Oil on wood, 2’ 2 1/4” X 1’ 7 1/4”. Alte Pinakothek, Munich.
8

9. Figure 18-5 ALBRECHT DÜRER, The Fall
of Man (Adam and Eve), 1504. Engraving, 9
7/8” x 7 5/8”. Museum of Fine Arts, Boston
(centennial gift of Landon T. Clay).
9

10. 18-6 ALBRECHT DÜRER, Melencolia I, 1514. Engraving, 9 3/8” X 7 1/2". Victoria & Albert Museum, London.
10

11. Figure 18-7 ALBRECHT DÜRER, Four
Apostles, 1526. Oil on wood, each panel 7’ 1” x
2’ 6”. Alte Pinakothek, Munich.
11

12. 18.2 Protestant Reformation
• Understand the consequences of the Protestant Reformation
and the Catholic Counter-Reformation
• Observe how Protestantism affected the role and imagery of
art
12

13. 18-11A HANS HOLBEIN THE YOUNGER, Henry VIII, 1540. Oil on wood, 2’ 8 1/2” X 2’ 5 1/2". Galleria Nazionale d’Arte
Antica, Rome.
13

14. Figure 18-11 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on wood, approx. 6’
8” x 6’ 9 1/2”. National Gallery, London.
14

15. 15

16. 16

17. 17

18. 18.4 Art in the Netherlands during the 16th
Century
• Understand Dutch culture and artistic styles
• Identify representative Dutch artists from the 16th century
• Recognize and cite artistic terminology from this period
18

19. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
19

20. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
20

21. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
21

22. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
22

23. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
23

24. Figure 18-16 QUINTEN MASSYS, Money-Changer and His Wife, 1514. Oil on wood, 2’ 3 3/4” x 2’ 2 3/8”. Louvre, Paris.
24

25. Figure 18-17 PIETER AERTSEN, Butcher’s Stall, 1551. Oil on wood, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art
Collection, Uppsala.
25

26. Figure 18-21 PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on wood, 3’ 10” x 5’ 4 1/8”.
Gemäldegalerie, Staatliche Museen, Berlin.
26

27. The Blind Leading the Blind
27

28. Figure 18-22 PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”.
Kunsthistorisches Museum, Vienna.
28

29. Studied under Titian
Figure 18-25 EL GRECO, The Burial of
Count Orgaz, 1586. Oil on canvas, 16’ x 12’.
Santo Tomé, Toledo.
29

30. Paul Cezanne
18-26 EL GRECO, View of Toledo, ca. 1610. Oil on canvas, 3’ 11 3/4" X 3’ 6 3/4". Metropolitan Museum of Art, New York
(H.O. Havemeyer Collection. Bequest of Mrs. H.O. Havemeyer, 1929).
30

31. Europe in the 17th Century
31

32. Baroque -
• Barroco – Portuguese word meaning an irregularly shaped pearl
• Roman Catholic Reformation vs. Protestant Reformation of the
17th century
32

33. Baroque Art
• Renaissance – artists reveled in the precise, orderly
rationality of classical models
• Baroque – artists embraced dynamism, theatricality, and
elaborate ornamentation, all used to spectacular effect, often
an a grandiose scale
33

34. Figure 19-2 CARLO MADERNO, facade of
Santa Susanna, Rome, Italy, 1597–1603.
34

35. Figure 19-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
35

37. Figure 19-4 Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO
BERNINI, 1656-1667.
37

38. The four rivers
Danube (Europe)
Nile (Africa)
Ganges (Asia)
Plata (Americas)
19-1 GIANLORENZO BERNINI, Fountain of the Four Rivers, Piazza Navona, Rome, Italy, 1648–1651. Travertine and
marble figures, granite obelisk.
38

39. 39

40. 40

41. 41

42. Figure 19-5 GIANLORENZO BERNINI,
baldacchino, Saint Peter’s, Vatican City,
Rome, Italy, 1624–1633. Gilded bronze,
100’ high.
42

43. Figure 19-6 GIANLORENZO BERNINI, David, 1623.
Marble, 5’ 7” high. Galleria Borghese, Rome.
43

44. Figure 19-8 GIANLORENZO
BERNINI, interior of the Cornaro
Chapel, Santa Maria della vittoria, Rome,
Italy, 1645-1652.
44

45. Figure 19-7 GIANLORENZO BERNINI, Ecstasy of
Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria,
Rome, Italy, 1645–1652. Marble, height of group 11’
6”.
45

46. Figure 19-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili,
Rome.
46

47. Quadro Riportato is the
Italian phrase for "carried
picture". It is used in art to
describe gold-framed easel
paintings or framed paintings
that are seen in a normal
perspective and painted into
a fresco.
Figure 19-16 ANNIBALE
CARRACCI, Loves of the Gods, ceiling
frescoes in the gallery, Palazzo
Farnese, Rome, Italy, 1597–1601.
47

48. Figure 19-18 CARAVAGGIO, Conversion of
Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”.
Cerasi Chapel, Santa Maria del Popolo, Rome.
48

49. Figure 19-17 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel,
San Luigi dei Francesi, Rome
49

50. Figure 19-18A CARAVAGGIO, Entombment, from the
chapel of Pietro Vittrice, Santa Maria in Vallicella,
Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7
15/16”. Musei Vaticani, Rome.
50

51. Figure 19-22 PIETRO DA CORTONA, Triumph of the
Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini,
Rome, Italy, 1633–1639.
51

52. HIS -
Greek capitals
ΙΗΣΟΥΣ, or
ΙΗϹΟΥ Ϲ
Figure 19-23 GIOVANNI BATTISTA GAULLI,
Triumph of the Name of Jesus, ceiling fresco with stucco
figures in the nave vault of Il Gesù, Rome, Italy, 52

53. Figure 19-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy,
1691–1694.
53

54. 54

55. Figure 19-27 FRANCISCO DE
ZURBARÁN, Saint Serapion, 1628. Oil
on canvas, 3’ 11 1/2” x 3’ 4 3/4”.
Wadsworth Atheneum, Hartford (The
Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund).
55

56. Figure 19-28 DIEGO VELÁZQUEZ, Water
Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5
1/2” x 2’ 7 1/2”. Victoria & Albert Museum,
London.
56

57. 19-28A DIEGO VELÁZQUEZ, Christ on the Cross, from the Convent of San Plácido, Madrid, Spain, ca. 1631–1632. Oil on
canvas, 8’ 1 5/8” X 5’ 6 1/2". Museo del Prado, Madrid.
57

58. Figure 19-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado,
Madrid.
58

59. Figure 19-30 DIEGO VELÁZQUEZ,
Las Meninas (The Maids of Honor), 1656. Oil
on canvas, approx. 10’ 5” x 9’. Museo del
Prado, Madrid.
59