The document provides an overview of important developments in Northern Renaissance art and literature from the 15th to 16th centuries. It discusses influential artists like Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, and Hans Holbein the Younger who helped establish oil painting as a major artistic medium. It also mentions key literary works such as William Shakespeare's plays, Miguel de Cervantes' Don Quixote, and Dante's Divine Comedy. The document covers major historical events of the Protestant Reformation as well as the growth of printmaking technology.
The document provides an overview of important artists and works from the Northern Renaissance period, including Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, and Pieter Bruegel the Elder. It discusses their contributions to painting, printmaking, and other genres, as well as the religious and political context of the time. Major works mentioned include Van Eyck's Ghent Altarpiece and Arnolfini Portrait, Bosch's Garden of Earthly Delights triptych, Durer's print series and self-portraits, and Bruegel's paintings of peasant life and biblical scenes.
The document provides an overview of developments in Northern Renaissance art and literature from the 15th to early 17th centuries. It discusses how the Northern Renaissance differed from the Italian Renaissance by focusing more on religious reform. Key artistic figures mentioned include Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, and their influential works in oil painting and printmaking. The text also outlines the Protestant Reformation led by Martin Luther and references works by Erasmus, Shakespeare, and others.
This document provides an overview of key figures and developments in the Northern Renaissance. It discusses influential humanists like Erasmus who produced critical editions of the New Testament and criticized the Catholic Church. The Protestant Reformation led by Martin Luther is also covered. Important Northern Renaissance artists discussed include Jan van Eyck, known for pioneering oil painting techniques, Hieronymus Bosch whose works addressed human folly, and Albrecht Durer, a renowned printmaker. William Shakespeare, Miguel de Cervantes, and developments in Northern art and theater are also summarized.
The document provides an overview of the Italian Renaissance artist Titian, known for his versatility in genres including portraits, landscapes, mythological and religious paintings. It discusses how his style changed throughout his long career but his consistent emphasis on color remained. Key works mentioned include Assumption of the Virgin and Venus of Urbino. Context is provided on stylistic developments like Mannerism and the Baroque period that followed the Renaissance.
The document provides an overview of the Baroque period from 1650-1750. It describes the Baroque style as extravagant, emotional, and theatrical. The Baroque period is divided into the Italian, Northern, and Aristocratic styles. Key artistic developments included the Counter-Reformation in the Catholic church, the development of opera and oratorio genres in music, and influential artists like Bernini, Caravaggio, Rembrandt, and Velázquez.
Romanticism was an aesthetic and intellectual movement that emphasized nature, emotion, and individualism. It revolted against order and rationalism and occurred in the late 18th and early 19th centuries. Some key figures that heralded Romanticism included Napoleon, William Blake, and Friedrich. Romantic art and literature featured more emotional expressions and themes of nature, the sublime, and the exotic.
Mauritshuis, The Hague_ Picture Gallery, The Masterpieces (1)guimera
The document describes several masterworks from the Mauritshuis museum in The Hague. It discusses Johannes Vermeer's Girl with a Pearl Earring, highlighting the exotic aspects of her turban and the symbolic pearl, and praising Vermeer's technique. It also summarizes Rembrandt's 1669 self-portrait, noting the expressive brushwork. Additionally, it analyzes Hans Holbein the Younger's 1533 portrait of Robert Cheseman, an English falconer, explaining the background details and use of lettering, and emphasizing Holbein's skill in observing nature.
Mauritshuis, The Hague_ Picture Gallery, The Masterpieces (2)guimera
This document provides details on three Rembrandt paintings housed at the Mauritshuis museum in The Hague: "The Anatomy Lecture of Dr. Nicolaes Tulp" from 1632, "Saul and David" from around 1655, and "Simeon's Song of Praise" from 1631. For each painting, the document includes a description of the scene depicted and analysis of Rembrandt's artistic style and techniques evident in the work.
The document provides an overview of important artists and works from the Northern Renaissance period, including Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, and Pieter Bruegel the Elder. It discusses their contributions to painting, printmaking, and other genres, as well as the religious and political context of the time. Major works mentioned include Van Eyck's Ghent Altarpiece and Arnolfini Portrait, Bosch's Garden of Earthly Delights triptych, Durer's print series and self-portraits, and Bruegel's paintings of peasant life and biblical scenes.
The document provides an overview of developments in Northern Renaissance art and literature from the 15th to early 17th centuries. It discusses how the Northern Renaissance differed from the Italian Renaissance by focusing more on religious reform. Key artistic figures mentioned include Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, and their influential works in oil painting and printmaking. The text also outlines the Protestant Reformation led by Martin Luther and references works by Erasmus, Shakespeare, and others.
This document provides an overview of key figures and developments in the Northern Renaissance. It discusses influential humanists like Erasmus who produced critical editions of the New Testament and criticized the Catholic Church. The Protestant Reformation led by Martin Luther is also covered. Important Northern Renaissance artists discussed include Jan van Eyck, known for pioneering oil painting techniques, Hieronymus Bosch whose works addressed human folly, and Albrecht Durer, a renowned printmaker. William Shakespeare, Miguel de Cervantes, and developments in Northern art and theater are also summarized.
The document provides an overview of the Italian Renaissance artist Titian, known for his versatility in genres including portraits, landscapes, mythological and religious paintings. It discusses how his style changed throughout his long career but his consistent emphasis on color remained. Key works mentioned include Assumption of the Virgin and Venus of Urbino. Context is provided on stylistic developments like Mannerism and the Baroque period that followed the Renaissance.
The document provides an overview of the Baroque period from 1650-1750. It describes the Baroque style as extravagant, emotional, and theatrical. The Baroque period is divided into the Italian, Northern, and Aristocratic styles. Key artistic developments included the Counter-Reformation in the Catholic church, the development of opera and oratorio genres in music, and influential artists like Bernini, Caravaggio, Rembrandt, and Velázquez.
Romanticism was an aesthetic and intellectual movement that emphasized nature, emotion, and individualism. It revolted against order and rationalism and occurred in the late 18th and early 19th centuries. Some key figures that heralded Romanticism included Napoleon, William Blake, and Friedrich. Romantic art and literature featured more emotional expressions and themes of nature, the sublime, and the exotic.
Mauritshuis, The Hague_ Picture Gallery, The Masterpieces (1)guimera
The document describes several masterworks from the Mauritshuis museum in The Hague. It discusses Johannes Vermeer's Girl with a Pearl Earring, highlighting the exotic aspects of her turban and the symbolic pearl, and praising Vermeer's technique. It also summarizes Rembrandt's 1669 self-portrait, noting the expressive brushwork. Additionally, it analyzes Hans Holbein the Younger's 1533 portrait of Robert Cheseman, an English falconer, explaining the background details and use of lettering, and emphasizing Holbein's skill in observing nature.
Mauritshuis, The Hague_ Picture Gallery, The Masterpieces (2)guimera
This document provides details on three Rembrandt paintings housed at the Mauritshuis museum in The Hague: "The Anatomy Lecture of Dr. Nicolaes Tulp" from 1632, "Saul and David" from around 1655, and "Simeon's Song of Praise" from 1631. For each painting, the document includes a description of the scene depicted and analysis of Rembrandt's artistic style and techniques evident in the work.
During the Reign of Terror following the French Revolution, thousands were executed by guillotine, including the king and queen. Jean-Paul Marat was a radical leader who used his newspaper to incite violence against enemies of the revolution. He was assassinated in his bathtub by Charlotte Corday. Jacques Louis David's painting "Death of Marat" commemorated Marat as a martyr for the revolution, depicting his serene face bathed in light after his murder. This work marked a shift where modern political figures, rather than religious or classical subjects, became the focus of major artistic works.
ERNST, Max, Featured Paintings in Detail (1)guimera
The document describes four paintings by surrealist artist Max Ernst:
1) Temptation of St. Anthony (1945) housed at the Wilhelm-Lehmbruck-Museum in Duisburg, Germany.
2) The Virgin Spanking the Christ Child (1926) housed at the Museum Ludwig in Cologne, Germany.
3) Napoleon in the Wilderness (1941) housed at the Museum of Modern Art in New York.
4) The Antipope (1942) housed at the Peggy Guggenheim Foundation in Venice, Italy. For each painting, details and background information are provided.
The Romantic period saw an increase in the popularity and prestige of landscape painting. Romantic landscapes often depicted nature in a subjective, moody way that emphasized the feelings of the artist. They commonly featured themes of storms, shipwrecks, dusk or dawn to convey nature's power. Landscapes were categorized as pastoral, picturesque, or sublime, with sublime landscapes evoking feelings of terror and wonder through depictions of nature's grandeur. Major Romantic landscape artists included Friedrich, Turner, Constable, and the Hudson River School painters who found inspiration in the untamed American wilderness.
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
Venus and Tannhäuser Part II : from 1886 to 1910K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
TIZIANO's 'Allegory of marriage' (1533) and its many repetitions till the 19t...K. Bender
This painting of TIZIANO, also known as 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' has a complicated provenance and was seemingly very popular, given the many known repetitions (drawings, copies, engravings). It was in the beginning of the 17th century in the collection of Charles I, where it was copied several times. It was finally sold to Louis XIV and entered the Musée du Louvre in 1785.
Peter Paul Rubens was commissioned in 1622 by Marie de' Medici, the widow of King Henri IV of France, to paint two cycles depicting events from her life and his for her new residence, the Palais de Luxembourg. Rubens faced challenges representing Marie's difficult life given the political situation. Through abundant use of classical allegory and mythology, he was able to present her quarrelsome history as an apotheosis, disguising true facts. The 24 enormous paintings, including The Destiny of Marie and The Triumph of Truth, took 3 years to complete and delighted Marie with their imaginary graces, though Rubens found the work unprofitable.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
The document summarizes the key characteristics and themes of Romanticism between 1790-1850. Some of the main ideas include: (1) Romanticism emerged as a reaction against Enlightenment rationalism and classicism, emphasizing emotion, individualism, and nature; (2) Artists were seen as romantic heroes and geniuses who stood apart from society as critics; (3) Nature was glorified for its beauty but also its terrifying power over humanity; (4) The supernatural, dreams, and the subconscious mind were explored through art and literature.
STUCK, Franz von, Featured Paintings in Detailguimera
The document provides details on 15 paintings by Franz von Stuck, including title, date, medium, dimensions and location. For each painting there are 3-5 images labelled as details. Brief descriptions are provided for some of the paintings, discussing themes of mythology, biblical stories, and symbolism in von Stuck's works. The paintings include Lucifer, The Kiss of the Sphinx, The Sin, Wounded Amazon, Salome, Golgotha, Pietà, Wild Chase, Inferno, The Murderer, and Sphinx.
Turner was a British painter born in 1775 who became famous for his landscape paintings and seascapes depicting the effects of light and weather. He was influenced by Romanticism and sought to portray nature's power through dramatic depictions of storms, fires, shipwrecks, and other disasters. Turner's style evolved over his career to use bolder colors and looser brushwork focused more on light than physical forms. He is now seen as a precursor to Impressionism and one of the greatest artists of the 19th century.
The document provides information on numerous artists and works from the Renaissance period in Europe, including Leonardo da Vinci, Michelangelo, Raphael, Botticelli, and Titian. It discusses their influential paintings, sculptures, and other works that advanced techniques like sfumato, linear perspective, and use of light and shadow. Key artistic developments during this period included greater realism and naturalism in depictions of the human body and nature.
Museo Thyssen-Bornemisza, Madrid_Picture Gallery, The Masterpieces (2)guimera
This document provides details on artworks from the Museo Thyssen-Bornemisza in Madrid, including paintings by Hans Baldung Grien, Peter Paul Rubens, Caravaggio, Vittore Carpaccio, Hans Cranach, and others. Each entry includes the title, artist, date, medium, dimensions and collection of the work, as well as a brief description providing historical and artistic context.
The document provides information on several Impressionist artists including Degas, Mary Cassatt, Artemisia Gentileschi, and Cézanne. It notes that while Degas participated in most Impressionist exhibitions, he denied being an Impressionist and preferred classical painting techniques. Mary Cassatt is introduced as the first American artist featured, known for her paintings of mothers and daughters. Cézanne is described as pioneering techniques that became the foundation for Cubism by treating nature as combinations of basic shapes.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
Romanticism emerged in the late 18th and early 19th centuries as a reaction against Enlightenment ideals that emphasized reason and science. It valued emotion, imagination, individualism, and nature. Key aspects included:
1) A desire for freedom in politics, expression, thought, and other areas, with the belief that freedom came through imagination rather than reason.
2) An interest in the medieval, fantastic, and sublime - including dark emotions like horror. This was seen in works depicting nightmares and terrifying scenes.
3) Landscape painting that used nature allegorically to comment on spiritual, moral, and philosophical issues of the time. Artists expressed a unity of the soul with nature.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
The document discusses the Danse Macabre, a late medieval artistic genre depicting death summoning representatives from all walks of life to dance along to the grave. It originated in 14th century Europe in the aftermath of widespread death from plagues, wars, and famines. Visual examples include paintings in churches and woodcuts, the earliest dating to 1424-25 in a Paris cemetery. The genre aimed to remind people of the universality and inevitability of death. It combined religious and secular desires around preparing for death but also finding amusement while still alive.
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Chapter 9 euroean outreach and expansionKaren Owens
- Marco Polo traveled to China in the late 13th century and his account of his travels, published as a book, became very popular in Europe.
- Christopher Columbus sailed for Spain in 1492 and his discovery of the Americas led to major European colonization of the region.
- Native peoples across North and South America developed rich cultural traditions including architecture, art, religion, and oral histories despite lacking written languages. Many advanced civilizations arose, such as the Olmecs, Maya, Aztec, and Inca empires.
- Beginning in the 15th and 16th centuries, European powers like Spain conquered and colonized the Americas, destroying many indigenous cultures and disrupting long established societies
Greek and romans chapter 7 earlychinesejapaneseart 101012153900-phpapp01Karen Owens
This document provides a summary of Chinese history and culture from ancient dynasties through the Ming Dynasty. It discusses early dynasties like the Shang and Zhou that established bureaucracy and bronze working. Confucian classics were developed during this period that emphasized balance and conduct. The Qin Dynasty unified China and began projects like the Great Wall. Subsequent dynasties like the Han spread Chinese influence through technology, art, and religion while the Tang and Song eras saw advancements in landscape painting, calligraphy, and porcelain. Buddhism also grew influential and spread to Japan where Zen Buddhism became popular.
During the Reign of Terror following the French Revolution, thousands were executed by guillotine, including the king and queen. Jean-Paul Marat was a radical leader who used his newspaper to incite violence against enemies of the revolution. He was assassinated in his bathtub by Charlotte Corday. Jacques Louis David's painting "Death of Marat" commemorated Marat as a martyr for the revolution, depicting his serene face bathed in light after his murder. This work marked a shift where modern political figures, rather than religious or classical subjects, became the focus of major artistic works.
ERNST, Max, Featured Paintings in Detail (1)guimera
The document describes four paintings by surrealist artist Max Ernst:
1) Temptation of St. Anthony (1945) housed at the Wilhelm-Lehmbruck-Museum in Duisburg, Germany.
2) The Virgin Spanking the Christ Child (1926) housed at the Museum Ludwig in Cologne, Germany.
3) Napoleon in the Wilderness (1941) housed at the Museum of Modern Art in New York.
4) The Antipope (1942) housed at the Peggy Guggenheim Foundation in Venice, Italy. For each painting, details and background information are provided.
The Romantic period saw an increase in the popularity and prestige of landscape painting. Romantic landscapes often depicted nature in a subjective, moody way that emphasized the feelings of the artist. They commonly featured themes of storms, shipwrecks, dusk or dawn to convey nature's power. Landscapes were categorized as pastoral, picturesque, or sublime, with sublime landscapes evoking feelings of terror and wonder through depictions of nature's grandeur. Major Romantic landscape artists included Friedrich, Turner, Constable, and the Hudson River School painters who found inspiration in the untamed American wilderness.
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
Venus and Tannhäuser Part II : from 1886 to 1910K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
TIZIANO's 'Allegory of marriage' (1533) and its many repetitions till the 19t...K. Bender
This painting of TIZIANO, also known as 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' has a complicated provenance and was seemingly very popular, given the many known repetitions (drawings, copies, engravings). It was in the beginning of the 17th century in the collection of Charles I, where it was copied several times. It was finally sold to Louis XIV and entered the Musée du Louvre in 1785.
Peter Paul Rubens was commissioned in 1622 by Marie de' Medici, the widow of King Henri IV of France, to paint two cycles depicting events from her life and his for her new residence, the Palais de Luxembourg. Rubens faced challenges representing Marie's difficult life given the political situation. Through abundant use of classical allegory and mythology, he was able to present her quarrelsome history as an apotheosis, disguising true facts. The 24 enormous paintings, including The Destiny of Marie and The Triumph of Truth, took 3 years to complete and delighted Marie with their imaginary graces, though Rubens found the work unprofitable.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
The document summarizes the key characteristics and themes of Romanticism between 1790-1850. Some of the main ideas include: (1) Romanticism emerged as a reaction against Enlightenment rationalism and classicism, emphasizing emotion, individualism, and nature; (2) Artists were seen as romantic heroes and geniuses who stood apart from society as critics; (3) Nature was glorified for its beauty but also its terrifying power over humanity; (4) The supernatural, dreams, and the subconscious mind were explored through art and literature.
STUCK, Franz von, Featured Paintings in Detailguimera
The document provides details on 15 paintings by Franz von Stuck, including title, date, medium, dimensions and location. For each painting there are 3-5 images labelled as details. Brief descriptions are provided for some of the paintings, discussing themes of mythology, biblical stories, and symbolism in von Stuck's works. The paintings include Lucifer, The Kiss of the Sphinx, The Sin, Wounded Amazon, Salome, Golgotha, Pietà, Wild Chase, Inferno, The Murderer, and Sphinx.
Turner was a British painter born in 1775 who became famous for his landscape paintings and seascapes depicting the effects of light and weather. He was influenced by Romanticism and sought to portray nature's power through dramatic depictions of storms, fires, shipwrecks, and other disasters. Turner's style evolved over his career to use bolder colors and looser brushwork focused more on light than physical forms. He is now seen as a precursor to Impressionism and one of the greatest artists of the 19th century.
The document provides information on numerous artists and works from the Renaissance period in Europe, including Leonardo da Vinci, Michelangelo, Raphael, Botticelli, and Titian. It discusses their influential paintings, sculptures, and other works that advanced techniques like sfumato, linear perspective, and use of light and shadow. Key artistic developments during this period included greater realism and naturalism in depictions of the human body and nature.
Museo Thyssen-Bornemisza, Madrid_Picture Gallery, The Masterpieces (2)guimera
This document provides details on artworks from the Museo Thyssen-Bornemisza in Madrid, including paintings by Hans Baldung Grien, Peter Paul Rubens, Caravaggio, Vittore Carpaccio, Hans Cranach, and others. Each entry includes the title, artist, date, medium, dimensions and collection of the work, as well as a brief description providing historical and artistic context.
The document provides information on several Impressionist artists including Degas, Mary Cassatt, Artemisia Gentileschi, and Cézanne. It notes that while Degas participated in most Impressionist exhibitions, he denied being an Impressionist and preferred classical painting techniques. Mary Cassatt is introduced as the first American artist featured, known for her paintings of mothers and daughters. Cézanne is described as pioneering techniques that became the foundation for Cubism by treating nature as combinations of basic shapes.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
Romanticism emerged in the late 18th and early 19th centuries as a reaction against Enlightenment ideals that emphasized reason and science. It valued emotion, imagination, individualism, and nature. Key aspects included:
1) A desire for freedom in politics, expression, thought, and other areas, with the belief that freedom came through imagination rather than reason.
2) An interest in the medieval, fantastic, and sublime - including dark emotions like horror. This was seen in works depicting nightmares and terrifying scenes.
3) Landscape painting that used nature allegorically to comment on spiritual, moral, and philosophical issues of the time. Artists expressed a unity of the soul with nature.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
The document discusses the Danse Macabre, a late medieval artistic genre depicting death summoning representatives from all walks of life to dance along to the grave. It originated in 14th century Europe in the aftermath of widespread death from plagues, wars, and famines. Visual examples include paintings in churches and woodcuts, the earliest dating to 1424-25 in a Paris cemetery. The genre aimed to remind people of the universality and inevitability of death. It combined religious and secular desires around preparing for death but also finding amusement while still alive.
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Chapter 9 euroean outreach and expansionKaren Owens
- Marco Polo traveled to China in the late 13th century and his account of his travels, published as a book, became very popular in Europe.
- Christopher Columbus sailed for Spain in 1492 and his discovery of the Americas led to major European colonization of the region.
- Native peoples across North and South America developed rich cultural traditions including architecture, art, religion, and oral histories despite lacking written languages. Many advanced civilizations arose, such as the Olmecs, Maya, Aztec, and Inca empires.
- Beginning in the 15th and 16th centuries, European powers like Spain conquered and colonized the Americas, destroying many indigenous cultures and disrupting long established societies
Greek and romans chapter 7 earlychinesejapaneseart 101012153900-phpapp01Karen Owens
This document provides a summary of Chinese history and culture from ancient dynasties through the Ming Dynasty. It discusses early dynasties like the Shang and Zhou that established bureaucracy and bronze working. Confucian classics were developed during this period that emphasized balance and conduct. The Qin Dynasty unified China and began projects like the Great Wall. Subsequent dynasties like the Han spread Chinese influence through technology, art, and religion while the Tang and Song eras saw advancements in landscape painting, calligraphy, and porcelain. Buddhism also grew influential and spread to Japan where Zen Buddhism became popular.
The document provides an overview of the rise and fall of the Roman Empire from 1000 BCE to 500 CE. It summarizes the transition from Roman Republic to Empire under Julius Caesar and Augustus, the expansion of Roman rule across Europe and North Africa, and some of the key architectural and artistic achievements during the Empire's peak. It also briefly outlines some of the major Roman emperors and attributes the decline of the Empire to factors like the difficulties of governance over a vast territory, barbarian attacks, and economic challenges.
John Milton's epic poem Paradise Lost from 1667 tells the biblical story of the fall of Adam and Eve from grace in Eden and explores the problem of evil in a world created by an all-powerful and benevolent God from a Protestant perspective. The document also mentions the collection of poems and meditations "No Man is an Island" by John Donne from 1623-1624.
The Etruscans were an ancient civilization that inhabited central Italy from around 800 BC to 400 BC. They greatly influenced early Roman culture and civilization. The Etruscans originated in Asia Minor and were the first civilized people to settle in Italy. They introduced advanced technologies like arches, sewers and hydraulic engineering to the region. The Etruscans also contributed significantly to art, architecture, religion and trade in Italy. Though the Romans eventually conquered the Etruscans, they adopted many aspects of Etruscan culture and credited them with founding the city of Rome.
The document discusses the Realist and Impressionist art movements that emerged in the late 19th century. It provides background on Realist literature and visual artworks that depicted everyday life and social issues. It then covers the development of Impressionism and its focus on capturing fleeting effects of light and color, with artists like Monet, Renoir, Degas, Cassatt, and Morisot. It concludes with a brief overview of Post-Impressionism and some of its key figures like Seurat, Cezanne, Van Gogh, Gauguin, Toulouse-Lautrec, and Rodin.
The document provides an overview of ancient civilizations in India, China, and the Americas between 2700-700 BCE. It describes the Indus Valley civilization and Vedic era in India, including the development of the caste system. It outlines the major dynasties in ancient China, including the Shang and Zhou dynasties, and discusses the influence of Daoism and Yin and Yang philosophy. The passage also briefly mentions the Olmec, Nasca, and Caral civilizations in Mesoamerica and Peru during this time period.
The document provides an overview of important figures and works from the Renaissance period in Italy, including paintings, sculptures, architects and their major works. Key artists mentioned are Leonardo da Vinci, Michelangelo, Raphael, Botticelli, Titian, Giotto and others. Their most famous works are cited such as the Mona Lisa, The Last Supper, David, The School of Athens and more. The document also discusses some of the key developments and influences of the Renaissance.
Is Human Flourishing in the ICT World of the Future Likely?Randy Connolly
The role that information and computing technology (ICT) plays in improving human flourishing is not always clear. This presentation examines current research on one aspect of ICT, namely electronic reading, to demonstrate that in this case the ICT in question may actually diminish flourishing. It begins with an overview of the idea of flourishing in positive psychology, and then presents research on electronic reading comprehension, multitasking and distraction, and online scanning behaviors. The paper then makes an argument about the close connection between reading and flourishing, and then concludes by hypothesizing that mindful‐based reading practices may mitigate some of the worst features of electronic reading.
Ancient Egypt was dominated by the worship of gods like Amon, the sun god and creator. Pharaohs like Tutankhamun were believed to have a divine right to rule that was granted by the gods. Egyptians also had a strong cult of the dead and belief in the afterlife, as evidenced by practices like mummification and the construction of pyramids and the Book of the Dead to guide souls in the afterlife. Akhenaten later challenged traditional Egyptian polytheism by establishing a monotheistic cult that worshipped the sun god Aten as the sole deity.
The document provides an overview of ancient Greek civilization from approximately 3000-332 BCE. It discusses the Minoan and Mycenaean cultures, including art, architecture, and mythology. It also describes the rise of the Greek city-states and their unification against the Persians in the 5th century BCE. Key figures mentioned include Homer, whose epics defined Greek mythology, and landmarks such as the Parthenon and Temple of Zeus.
Art and Culture - Module 09 - Renaissance (Late)Randy Connolly
Ninth module for GNED 1201 (Aesthetic Experience and Ideas). This one mainly covers the late or high Renaissance. It begins with the political context of the early 16th Century in Italy. The presentation then focuses in depth on the three great Renaissance masters: Leonardo Da Vinci, Michelangelo, and Raphael. The presentation ends by trying to make an argument that Raphael is as an artist, the ideal artistic archetype for contemporary students.
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
A longitudinal examination of SIGITE conference submission dataRandy Connolly
Presents our examination of submission data for the SIGITE conference between the years 2007-2012. SIGITE is an ACM computing conference on IT education. The presentation describes which external factors and which internal characteristics of the submissions are related to eventual reviewer ratings. Ramifications of the findings for future authors and conference organizers are also discussed. If you want to read the full paper, visit http://dl.acm.org/citation.cfm?id=2656450.2656465
The document provides information on several aspects of ancient Greek civilization, including:
- The Mycenaeans were a powerful and militant people who absorbed the earlier Minoan civilization around 1600-1200 BCE.
- Greek mythology developed from ancient fertility cults and was later written down as epic poems like the Iliad and Odyssey.
- Mycenaean fortified citadels and city-states like Mycenae emerged in the Bronze Age. The Greeks later developed advanced architecture, art, drama, and philosophy.
The document provides an overview of the European Renaissance and Reformation between 1300-1600. It describes how two major movements, the Renaissance and the Reformation, brought dramatic social and cultural changes to Europe. The Renaissance was a rebirth of learning that produced great works of art and literature, beginning in northern Italy. The Reformation was a religious reform movement led by Martin Luther that established Protestant churches and challenged the authority of the Catholic Church.
Art and Culture - Module 05 - Hellenism and RomeRandy Connolly
Fifth module for GNED 1201 (Aesthetic Experience and Ideas). This one covers the art and culture of first the Hellenistic world, then that of Republican and Imperial Rome. Presentation focuses on the Second Century Crisis and cultural and aesthetic responses to it.
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
The document summarizes aspects of ancient Greek art and culture from 700 BCE to 30 BCE. It describes the Etruscans who lived in northern Italy from 950 to 300 BCE and influenced early Rome. It then covers the classical style in Greece which emphasized harmony, balance, humanism, and idealism. Finally, it discusses various genres of Greek art including pottery, sculpture, and architecture during the Archaic, Classical and Hellenistic periods.
Art and Culture - Module 11 - EnlightenmentRandy Connolly
Eleventh and final module for GNED 1201 (Aesthetic Experience and Ideas). This one ever so briefly covers the aesthetics of the Enlightenment. I only had a single lecture available to me so it only really covers the topic in a very cursory way.
This course is a required general education course for all first-year students at Mount Royal University in Calgary, Canada. My version of the course is structured as a kind of Art History and Culture course. Some of the content overlaps with my other Gen Ed course.
The document provides an overview of prehistoric cultures from the Paleolithic era to the Neolithic era. It discusses early cave paintings from 15,000-10,000 BCE found in France and their possible purposes. It also describes the transition to farming and domestication during the Neolithic, with rock paintings from Algeria depicting herding. Various artifacts are mentioned like figurines, pottery, and architecture from cultures across Europe, Africa, and Asia during this time period.
This document describes three artifacts from the Bronze Age: a 2500 BC marble Cycladic Idol of a nude female figure with folded arms found in tombs; the characteristic downward tapering columns of the Throne Room at Knossos Palace; and a 1600 BC Faience Snake Goddess figurine made of glazed earthenware.
This document provides an overview of key figures and developments in Northern Renaissance art and literature between the 15th and 17th centuries. It discusses influential humanists like Erasmus and Sir Thomas More. The Protestant Reformation led by Martin Luther is examined. Significant artists of the time such as Holbein, Bosch, Bruegel, Cranach, and Durer are described along with their major works. Developments in literature during this period include the works of Shakespeare and Cervantes.
The Renaissance was a period between the 14th and 16th centuries that saw a revival of art and intellectual thought rooted in classical antiquity. Notable early Renaissance artists included Giotto, Donatello and Brunelleschi in Florence. The High Renaissance of the 15th century was marked by artists like Leonardo da Vinci, Michelangelo, Raphael and Titian. Mannerism followed as a brief period characterized by elongated figures and flattened space. Key developments included increased naturalism, linear perspective techniques, and elevating the status of artists.
The document provides an overview of Northern Renaissance art from 1500-1600 in Northern Europe and Spain. It discusses major artists and styles that emerged in this period in countries like Germany, France, the Netherlands, and Spain. Key figures mentioned include Matthias Grünewald, Albrecht Dürer, Hans Holbein, Hieronymus Bosch, and El Greco. The document also examines how the Protestant Reformation and Catholic Counter-Reformation impacted religious art in different regions.
Chapter 10 11 baroque and enlightenmentKaren Owens
The Baroque period in art (1650-1750) was characterized by emotionalism, theatricality, and elaborate ornamentation. Mannerism (1500s-1600s) used complex compositions and artificial styles. El Greco's works vividly embodied mannerism. Bernini's David (1623) was hailed as the first Baroque sculpture for its dramatic depiction. Bernini also designed St. Peter's Basilica and square in Rome. Caravaggio brought realism to religious works, accentuating ordinary people. Artemisia Gentileschi was one of the few female painters of the time. The Enlightenment promoted reason and science over religion in the 1700s. Figures like Newton and philosophers
The Rebirth Moves North: The Art of the Northern RenaissanceProfWillAdams
The Renaissance in Northern Europe had key differences from Italy, being driven more by religious reform against the Catholic Church than humanism. Realism and detailed naturalism were more common, as were portraits of the middle class. Flemish masters like Van Eyck and Van der Weyden pioneered oil painting techniques and included hidden details. Matsys combined realism with symbolism. Northern Mannerism developed under Francis I in France. Dürer and Cranach documented the German Reformation, while Bosch and Bruegel critiqued society. El Greco reflected Spain's religious tensions through elongated figures.
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.
The document summarizes three famous British paintings:
1. Hans Holbein the Younger's "The Ambassadors" from 1533 depicts two wealthy men and includes objects representing contemporary religious divisions.
2. Joseph Mallord William Turner's "Rain, Steam and Speed" from 1844 features a speeding train emerging from a blur of color and light with little landscape detail.
3. Richard Hamilton's 1956 collage "Just what is it that makes today’s homes so different, so appealing?" was influential in launching the Pop Art movement by depicting elements of modern life like cinema and Marilyn Monroe.
The document provides a timeline overview of major developments in art from the Late Medieval period through the 18th century. It covers movements and styles including Humanism, Renaissance, Baroque, Rococo, Neoclassicism, Romanticism, Realism and developments in regions including Italy, Northern Europe, Spain, France, and the Netherlands. For each time period and region, it summarizes key characteristics and includes an example artwork to illustrate the trends discussed.
This document provides an overview of art in Northern Europe and Spain during the 16th century. It discusses the impact of the Protestant Reformation and Catholic Counter-Reformation on art. Key artists mentioned include Matthias Grünewald, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, Hieronymus Bosch, and El Greco. The document also provides learning objectives and includes images and descriptions of works by these artists to illustrate 16th century artistic styles in different regions.
This document provides an overview of art in Northern Europe and Spain during the 16th century. It discusses the impact of the Protestant Reformation and Catholic Counter-Reformation on art. Key artists mentioned include Matthias Grünewald, Albrecht Dürer, Lucas Cranach the Elder, Hans Holbein the Younger, Hieronymus Bosch, and El Greco. The document also provides learning objectives and includes images and descriptions of works by these artists to illustrate 16th century artistic styles in different regions.
The document summarizes Renaissance period paintings from the 16th-17th centuries in Italy and Northern Europe. It describes religious works by artists like Albrecht Dürer and Lucas Cranach the Younger from Germany. Spanish artists like Bartolomé Bermejo and Ayne Bru who worked in Catalonia are also mentioned. The document then discusses major Italian Renaissance artists like Michelangelo, Leonardo da Vinci, and Raphael. Finally, it provides an overview of Dutch Golden Age paintings in the 17th century by artists including Rembrandt, Meindert Hobbema, and Jan Steen.
17th Century Art in EuropeCounter-Reformation.docxRAJU852744
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez.
17th Century Art in EuropeCounter-Reformation.docxaulasnilda
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez ...
Ignatius Loyala (1491-1556) was a former soldier and crusader who founded the Jesuit order in 1548. The Council of Trent met from 1545-1563 and upheld pilgrimages, relics and the veneration of saints while seeking to abolish corruption in the church and educate the faithful. Giovanni Pierluigida Palestrina (1525-1594) was a composer known for his mass for Pope Marcellus.
This document provides an overview of art in Northern Europe and Spain during the 16th century. It discusses the effects of the Protestant Reformation on patronage of the arts. Key artists mentioned include Matthias Grunewald and his Isenheim Altarpiece, Albrecht Durer who blended Northern and Italian Renaissance styles in works like Knight, Death and the Devil, and Hans Holbein the Younger's realistic portraiture including The Ambassadors. Pieter Bruegel the Elder is noted for paintings depicting peasant life and proverbs. The styles and subjects of these major 16th century Northern European artists are compared to 15th century Northern art and Italian Renaissance art.
Romanticism emerged in the late 18th century as a reaction against the ideals of the Enlightenment and Industrial Revolution. It valued emotion, nature, and the individual. Key figures included the English poets William Wordsworth and Lord Byron, the painters J.M.W. Turner and Caspar David Friedrich who depicted nature romantically, and composers such as Beethoven, Berlioz, and Wagner who incorporated programmatic elements into their music. The movement also saw a rise in nationalism across Europe and expressions of political liberty.
The document discusses several artworks that illustrate human experiences of death, suffering, poverty, and violence. It provides context about the artists and the historical events or themes depicted in their works. Some of the artworks summarized include the Dying Gaul sculpture depicting an ancient warrior's death, Käthe Kollwitz's prints focusing on war and death, Gustave Courbet's painting of rural poverty, and Francisco Goya's depiction of the horrors of violence in The Third of May, 1808.
This document provides an overview of several artworks that illustrate human experiences like death, suffering, poverty, and violence. It discusses The Dying Gaul sculpture which depicts an ancient warrior's death. It also analyzes paintings like The Third Class Carriage that portray the hardships of the urban poor. Käthe Kollwitz's prints focusing on war and death are examined. The document also summarizes artworks depicting more grim topics such as Goya's The Third of May, 1808 which illustrates the horrors of violence, and Daumier's Rue Transnonain lithograph depicting a tragic event.
Sgraffito is a ceramic decorating technique where colored slips or underglazes are applied to leather hard pottery and designs are incised through the layers, revealing different colors underneath. Originating in Italy during the Renaissance, it involves scratching designs on pottery after applying colored underglazes. The artist traces a design, applies underglazes, and carves away layers to reveal the pattern, firing the piece twice to set the glazes.
Chapter 15 globalism 20 and 21st centuryKaren Owens
Globalism evolved due to satellite television, the internet, and colonialism. Key figures that shaped globalism included Mohandas Gandhi, who led peaceful protests against colonial oppression in India, and Dr. Martin Luther King Jr., an American civil rights activist who was assassinated in 1968. Art movements also reflected global cultural changes, with Pop Art appropriating everyday commercial images and Abstract Expressionism exemplified by Jackson Pollock's dripped, splattered paintings.
Satellite television, the internet, and colonialism helped drive the evolution of globalism. Several key figures and events influenced changes in racial equality, gender equality, and other social movements in the latter half of the 20th century, including Martin Luther King Jr., the women's movement, and the gay rights movement. Abstract Expressionism emerged as the dominant art movement in the 1940s-1960s in New York, pioneered by artists like Jackson Pollock, Willem de Kooning, and Franz Kline who experimented with action painting and color field techniques.
This document provides an overview of major artistic movements and developments throughout the 20th century. It begins with early modernist movements like Expressionism, Cubism, and Fauvism that rejected realism and embraced abstraction. It then covers Futurism, Dada, Surrealism, De Stijl, the Bauhaus, and other avant-garde styles that emerged after World War I. The document concludes with a brief discussion of major postwar developments like Abstract Expressionism and highlights influential artists throughout the century.
The document discusses the rise of realism and impressionism in art after 1850, reflecting social and economic realities of the Industrial Era. It covers major artistic movements and artists like Courbet, Millet, Daumier, Manet, Monet, Degas, Van Gogh, Cezanne, and Gauguin who painted scenes of everyday life and embraced new techniques like pointillism. It also discusses advances in architecture, photography, and literature that documented social issues and modernization during this period.
The document discusses the major developments and ideas of the Enlightenment period in the 18th century. It began with revolutions in France and America as well as the Industrial Revolution in England. Thinkers began applying reason and science to critically examine traditions and religion. Figures like Voltaire and philosophers known as "Philosophes" promoted ideas of freedom of religion, free trade, and separation of church and state. Scientists like Newton and discoveries in astronomy shifted to a heliocentric model of the solar system. These changes challenged traditional authorities and had widespread impacts on politics, society, and culture.
Chapter 9 euroean outreach and expansionKaren Owens
This document summarizes European expansion and exploration as well as pre-Columbian civilizations in Africa and the Americas. It discusses notable explorers like Marco Polo, Christopher Columbus, and their voyages of discovery. It also provides an overview of some of the major indigenous cultures that existed prior to European contact, including the Olmecs, Maya, Inca, and Aztec empires as well as African kingdoms like Mali. The artistic and architectural achievements of these societies are highlighted.
This document provides information on numerous artists and artworks from the late 14th to early 16th centuries in Europe. It discusses Italian Renaissance painters like Leonardo da Vinci, Michelangelo, Raphael, and Titian. It also mentions architects like Brunelleschi and Donatello. Key artworks highlighted include da Vinci's Mona Lisa and Last Supper, Michelangelo's Sistine Chapel ceiling and David, and Raphael's School of Athens. The document additionally references writers such as Boccaccio and developments in music during this period.
Gothic art developed in Northern Europe between the 12th-15th centuries and was typically rooted in religious devotion. It is known for the arched design of churches, stained glass windows, and illuminated manuscripts. During this period, people moved from rural areas into towns and cities.
The document provides information on Germanic and early medieval literature and culture. It discusses how the Germanic tribes differed from Rome in being nomadic peoples where fighting was a way of life. It then summarizes some of the key literary works that emerged from the Anglo-Saxons, Burgundian tribes, Franks, and others. It also outlines the rise of feudalism and knighthood after Charlemagne's empire declined and the role of monasteries in preserving knowledge through illuminated manuscripts.
Chapter 4 5 world religions, germanic tribesKaren Owens
This document provides information on several world religions including Judaism, Christianity, Islam, Buddhism, and Hinduism. It discusses their origins, key figures, beliefs, and practices. For Judaism, it highlights Abraham, the Ten Commandments, and symbols like the menorah and Star of David. For Christianity, it mentions Jesus, the Bible, and founder Paul. For Islam, it outlines the teachings of Muhammad, the Quran, and Five Pillars. Buddhism is summarized as following the teachings of Buddha toward nirvana. Hinduism's concepts of reincarnation, gods like Shiva and Vishnu, and sacred texts are briefly outlined.
1) The document provides an overview of ancient Greek and Roman history from 3000 BCE to 500 CE. It covers major civilizations like Minoans, Mycenaeans, and describes Greek art, architecture, philosophy and the rise and fall of the Roman Empire.
2) Key aspects highlighted include the rise of Athenian democracy and Greek drama/theatre, the influence of philosophers like Socrates and Plato, and famous artworks from periods like Archaic, Classical and Hellenistic.
3) Roman contributions discussed include engineering feats, the rise of the Roman Republic and Empire under figures like Julius Caesar and Augustus, as well as architectural styles like Doric, Ionic and Corinthian orders
This document provides an overview of prehistoric and early civilizations from around the world. It describes Paleolithic and Neolithic cultures and some of the earliest examples of art, architecture, writing systems, legal codes, and religious beliefs. Key developments discussed include cave paintings from Lascaux, France dated 15,000-10,000 BCE; the earliest clay vessels from Japan dated 14,000 BCE; early civilizations in Mesopotamia, Egypt, India, China, and sub-Saharan Africa; and the epics of Gilgamesh from Mesopotamia and the Egyptian Book of the Dead.
The document summarizes the evolution of classical Greek art and architecture from 700 BCE to 30 BCE. It describes the key periods and styles including the Archaic, Classical and Hellenistic eras. Major works discussed include the Parthenon, sculptures like the Doryphorus, and artists such as Phidias who decorated Greek temples and captured ideal human forms.
The Vulnerabilities of Individuals Born Under Swati Nakshatra.pdfAstroAnuradha
Individuals born under Swati Nakshatra often exhibit a strong sense of independence and adaptability, yet they may also face vulnerabilities such as indecisiveness and a tendency to be easily swayed by external influences. Their quest for balance and harmony can sometimes lead to inner conflict and a lack of assertiveness. To know more visit: astroanuradha.com
A375 Example Taste the taste of the Lord, the taste of the Lord The taste of...franktsao4
It seems that current missionary work requires spending a lot of money, preparing a lot of materials, and traveling to far away places, so that it feels like missionary work. But what was the result they brought back? It's just a lot of photos of activities, fun eating, drinking and some playing games. And then we have to do the same thing next year, never ending. The church once mentioned that a certain missionary would go to the field where she used to work before the end of his life. It seemed that if she had not gone, no one would be willing to go. The reason why these missionary work is so difficult is that no one obeys God’s words, and the Bible is not the main content during missionary work, because in the eyes of those who do not obey God’s words, the Bible is just words and cannot be connected with life, so Reading out God's words is boring because it doesn't have any life experience, so it cannot be connected with human life. I will give a few examples in the hope that this situation can be changed. A375
Heartfulness Magazine - June 2024 (Volume 9, Issue 6)heartfulness
Dear readers,
This month we continue with more inspiring talks from the Global Spirituality Mahotsav that was held from March 14 to 17, 2024, at Kanha Shanti Vanam.
We hear from Daaji on lifestyle and yoga in honor of International Day of Yoga, June 21, 2024. We also hear from Professor Bhavani Rao, Dean at Amrita Vishwa Vidyapeetham University, on spirituality in action, the Venerable BhikkuSanghasena on how to be an ambassador for compassion, Dr. Tony Nader on the Maharishi Effect, Swami Mukundananda on the crossroads of modernization, Tejinder Kaur Basra on the purpose of work, the Venerable GesheDorjiDamdul on the psychology of peace, the Rt. Hon. Patricia Scotland, KC, Secretary-General of the Commonwealth, on how we are all related, and world-renowned violinist KumareshRajagopalan on the uplifting mysteries of music.
Dr. Prasad Veluthanar shares an Ayurvedic perspective on treating autism, Dr. IchakAdizes helps us navigate disagreements at work, Sravan Banda celebrates World Environment Day by sharing some tips on land restoration, and Sara Bubber tells our children another inspiring story and challenges them with some fun facts and riddles.
Happy reading,
The editors
The Hope of Salvation - Jude 1:24-25 - MessageCole Hartman
Jude gives us hope at the end of a dark letter. In a dark world like today, we need the light of Christ to shine brighter and brighter. Jude shows us where to fix our focus so we can be filled with God's goodness and glory. Join us to explore this incredible passage.
Protector & Destroyer: Agni Dev (The Hindu God of Fire)Exotic India
So let us turn the pages of ancient Indian literature and get to know more about Agni, the mighty purifier of all things, worshipped in Indian culture as a God since the Vedic time.
Trusting God's Providence | Verse: Romans 8: 28-31JL de Belen
Trusting God's Providence.
Providence - God’s active preservation and care over His creation. God is both the Creator and the Sustainer of all things Heb. 1:2-3; Col. 1:17
-God keep His promises.
-God’s general providence is toward all creation
- All things were made through Him
God’s special providence is toward His children.
We may suffer now, but joy can and will come
God can see what we cannot see
Sanatan Vastu | Experience Great Living | Vastu ExpertSanatan Vastu
Santan Vastu Provides Vedic astrology courses & Vastu remedies, If you are searching Vastu for home, Vastu for kitchen, Vastu for house, Vastu for Office & Factory. Best Vastu in Bahadurgarh. Best Vastu in Delhi NCR
The Enchantment and Shadows_ Unveiling the Mysteries of Magic and Black Magic...Phoenix O
This manual will guide you through basic skills and tasks to help you get started with various aspects of Magic. Each section is designed to be easy to follow, with step-by-step instructions.
A Free eBook ~ Valuable LIFE Lessons to Learn ( 5 Sets of Presentations)...OH TEIK BIN
A free eBook comprising 5 sets of PowerPoint presentations of meaningful stories /Inspirational pieces that teach important Dhamma/Life lessons. For reflection and practice to develop the mind to grow in love, compassion and wisdom. The texts are in English and Chinese.
My other free eBooks can be obtained from the following Links:
https://www.slideshare.net/ohteikbin/presentations
https://www.slideshare.net/ohteikbin/documents
Chandra Dev: Unveiling the Mystery of the Moon GodExotic India
Shining brightly in the sky, some days more than others, the Moon in popular culture is a symbol of love, romance, and beauty. The ancient Hindu texts, however, mention the Moon as an intriguing and powerful being, worshiped by sages as Chandra.
2nd issue of Volume 15. A magazine in urdu language mainly based on spiritual treatment and learning. Many topics on ISLAM, SUFISM, SOCIAL PROBLEMS, SELF HELP, PSYCHOLOGY, HEALTH, SPIRITUAL TREATMENT, Ruqya etc.A very useful magazine for everyone.
The Book of Samuel is a book in the Hebrew Bible, found as two books in the Old Testament. The book is part of the Deuteronomistic history, a series of books that constitute a theological history of the Israelites and that aim to explain God's law for Israel under the guidance of the prophets.
18. The Crucifixion; The Last Judgment , ca. 1430 Jan van Eyck and Workshop Assistant (Netherlandish, active by 1422, died 1441) Oil on canvas, transferred from wood
19. Jan van Eyck (c. 1395–1441), Man in a Red Turban (Self-portrait?) , 1433. Tempera and oil on wood, approx. 13 1/8" x 10 1/8"
32. Lucas Cranach the Elder, Martin Luther, 1533. Panel, 8" x 5 3/4".
33.
34. Salome," 1530, Lucas Cranach Salome with the head of John the Baptist has always been a favorite subject for artists. The German Lucas Cranach the Elder painted the Biblical tease several times, always in contemporary 16th century dress
35.
36. Lucas Cranach the Elder ( 1472-1553), Portrait of a Young Woman Oil on wood, 1530, 49 x 42 cm (
43. Portrait of Henry VIII - portrait after Hans Holbein the Younger (1497/8-1543) Edward VI as a Child , probably 1538 oil on panel, 56.8 x 44 cm (22 3/8 x 17 3/8 in.)
44.
45.
46. Not all of Brueghel’s paintings depicted the harsh realities of peasant living. The Land of Cockaigne features the peasants in a different light, this time wallowing in the mythical, land of excess. 1567
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58. Hieronymus Bosch Attributed to Hieronymus Bosch. Seven Deadly Sins and the Four Last Things , painted tabletop. Oil on wood, 3' 11 1/4" x 4' 11".
59. Hieronymus Bosch (c. 1450–1516), The Cure for Folly, c. 1490s-1516. Oil on panel, 18 9/10 x 13 3/4 in.
60. Hieronymus Bosch (c. 1450–1516), Death and the Miser , ca. 1485-1490. Oil on oak, 3 ft. 5/8 in. x 12 1/8 in.
Unlike the Italian Renaissance, which took its primary inspiration from classical Greek and Roman culture, the Renaissance in the North was marked by movements for moral and religious change.
The first humanist to make use of the printing press. Produced a critical edition of the New Testament. With the same intellectual fervor that the Italian humanists brought to their examination of Plato and Cicero. His New Testament became the source of most sixteenth-century German and English vernacular translations of the central text of Christian Humanism. Humanism is the term generally applied to the predominant social philosophy and intellectual and literary currents of the period from 1400 to 1650. The return to favor of the pagan classics stimulated the philosophy of secularism, the appreciation of worldly pleasures, and above all intensified the assertion of personal independence and individual expression. Zeal for the classics was a result as well as a cause of the growing secular view of life. Expansion of trade, growth of prosperity and luxury, and widening social contacts generated interest in worldly pleasures, in spite of formal allegiance to ascetic Christian doctrine. Men thus affected -- the humanists -- welcomed classical writers who revealed similar social values and secular attitudes. Studied the Bible and the writings of the church fathers.
Spoke out against the church. His inflammatory sermons and essays offered radical remedies to what he called “the misery and wretchedness of Christendom.” Son of a rural coal miner. He had an unwillingness to accept the pope as the ultimate source of religious authority. He did not wish to destroy the Catholic church but to reform it. In 1520, Pope Leo X issued an edict excommunicating the out spoken reformer. Charged with heresy, he stubbornly refused to recant, concluding, “I can not and will not recant anything, for to act against our conscience is neither safe for us, or open to us. On this I take my stand, I can do no other, God help me. Amen.” New Protestant sects, John Calvin (1509-1564) a French theologian. He placed great emphasis on God’s omnipotence. He believed in predestination.
By the mid-sixteenth century the consequences of Luther’s protests were evident: The religious unity of Western Christendom was shattered forever. Social and political upheaval had become the order of the day. 200 years of fighting between Catholics and Protestants. Also, Protestants against protestants. He was determined to have a male heir, but after 18 years of marriage to his wife and produced one daughter he asked the church if he could annul the marriage and take a new wife. The pope refused, prompting the king to break with Rome. http://www.pbs.org/wnet/sixwives/meet/index.html
The witch-hunts that infested Europe during the 16 th century were fueled by the popular belief that the devil was actively involved in human affairs. Two theologians published the Malleus Maleficarum (Witches hammer) an encyclopedia that described the nature of witches, their collusion with the devil, and the ways by which they ere to be recognized and punished The witchcraft craze of this period dramatizes the prevailing a gap between Christian humanism and rationalism on the one hand and barbarism and superstition on the other. Since women were traditionally regarded as inherently susceptible to the devil’s temptations, they became the primary victims of this mass hysteria. Women – especially single, old , and eccentric women – constituted four-fith’s of the witches executed between the 15 th and early 17 th centuries.
More-Unwilling to compromise his position as a Roman Catholic, he opposed the actions of the king and was executed for treason in 1535. Don Quixote-(It was translated from Spanish into more languages than any work other than the Hebrew bible.) By means of satiric irony, Northern Renaissance writers held up prevailing abuses to ridicule, thus implying the need for reform. Erasmus – The Praise of Folly , a satire attacking a wide variety of human foibles, including greed, intellectual pomposity, and pride
William Shakespeare is the grand literary figure of the Western world. During England's Elizabethan period he wrote dozens of plays which continue to dominate world theater 400 years later. Shakespeare handled high drama, romance and slapstick comedy with equal ease, and so famous are his words that his quotes, from "To be or not to be" to "Parting is such sweet sorrow," take up more than 70 pages in recent editions of Bartlett's Familiar Quotations . His works rival the King James Bible (also produced in the 1600s) as a source of oft-quoted English phrases. Shakespeare is known as "the Bard of Avon," in a nod to his birthplace, and many of his plays were originally performed in the famous Globe Theater in London. Among his best-known plays are Romeo and Juliet , Hamlet , and MacBeth . He is also known for his poetry, especially his sonnets.
These works, generally considered to be the greatest examples of English literature, have exercised an enormous influence on the evolution of the English language and the development of the western literary tradition.
In 1434 Jan painted a landmark full-length double portrait, the first in western art to portray a secular couple in a domestic interior. Witness the joined hands and the raised right hand of the richly dressed man. Above the convex mirror on the wall behind the couple is the inscription “Jan van Eyck was here”, see the reflection in the mirror of the artist and a second observer. Many other objects in this domestic setting suggest a sacred union: The burning candle (traditionally carried to the marriage ceremony by the bride) symbolizes the divine presence of Christ, the dog represents fidelity, the ripening fruit that lies near and on the window sill alludes to the union of the first Couple in the garden of Eden, and the carved image of Saint Margaret (on the chair back near the bed) patron of women in child birth , signifies aspirations for a fruitful alliance.
The Ghent Altarpiece or Adoration of the Mystic Lamb ( Dutch : Het Lam Gods or The Lamb of God ; completed 1432) is a very large and complex Early Netherlandish polyptych panel painting which is considered to be one of Belgium 's masterpieces and one of the world's treasures. [1] [2] It was once in the Joost Vijdt chapel at Saint Bavo Cathedral , Ghent , Belgium, but was later moved for security reasons to the chapel of the cathedral. Commissioned by the wealthy merchant and financier Joost Vijdt for his and his wife's private chapel, [1] it was begun by Hubert van Eyck , who died in 1426 while work was underway, and completed by his younger brother Jan van Eyck . The altarpiece represented a "new conception of art", in which the idealization of the medieval tradition gave way to an exacting observation of nature. [3] The altarpiece consists of a total of 24 compartmented scenes, which make up two views, open and closed, which are changed by moving the hinged outer wings. The upper register (row) of the opened view shows Christ the King (but see below) between the Virgin Mary and John the Baptist . The insides of the wings represent angels singing and making music, and on the outside Adam and Eve . The lower register of the central panel shows the adoration of the Lamb of God , with several groups in attendance and streaming in to worship, overseen by the dove representing the Holy Spirit . On weekdays the wings were closed, showing the Annunciation of Mary and donor portraits of Joost Vijdt and his wife Lysbette Borluut. There used to be an inscription on the frame stating that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece , but that Jan van Eyck - calling himself arte secundus (second best in the art) - finished it in 1432. The original, very ornate carved outer frame and surround, presumably harmonizing with the painted tracery , was destroyed during the Reformation ; there has been speculation that it may have included clockwork mechanisms for moving the shutters and even playing music. [4] The original lower left panel known as The Just Judges was stolen in 1934. The original panel has never been found and has been replaced by a copy made in 1945 by Jef Vanderveken . The stolen panel figures prominently in Albert Camus ' novel La chute . When opened, the altarpiece measures 11 by 15 feet (3.5 by 4.6 metres).
His artistic prestige rests partly on his unrivaled skill in pictorial illusionism. The landscape of his Crucifixion ( 33.92ab ), with its rocky, cracked earth, fleeting cloud formations, and endless diminution of detail toward the blue horizon, reveals his systematic and discriminating study of the natural world. Van Eyck's ability to manipulate the properties of the oil medium played a crucial role in the realization of such effects. From the fifteenth century onward, commentators have expressed their awe and astonishment at his ability to mimic reality and, in particular, to re-create the effects of light on different surfaces, from dull reflections on opaque surfaces to luminous, shifting highlights on metal or glass. Such effects abound in the Virgin of Canon van der Paele (1434–36), as shown by the glinting gold thread of the brocaded cope of Saint Donatian, the glow of rounded pearls and dazzle of faceted jewels in the costumes of the holy figures, or the small, distorted reflections of the figures of the Virgin and Child repeated in each curve of the polished helmet of Saint George. The almost clinical detail in the face of the kneeling patron vividly illustrates van Eyck's acute objectivity as a portraitist. Through his understanding of the effects of light and rigorous scrutiny of detail, van Eyck is able to construct a convincingly unified and logical pictorial world, suffusing the absolute stillness of the scene with scintillating energy. Despite this legendary objectivity, van Eyck's paintings are perhaps most remarkable for their pure fictions. He frequently aimed to deceive the eye and amaze the viewer with his sheer artistry: inscriptions in his work simulate carved or applied lettering; grisaille statuettes imitate real sculpture; painted mirrors reflect unseen, imaginary events occurring outside the picture space. In The Arnolfini Portrait , the convex mirror on the rear wall reflects two tiny figures entering the room, one of them probably van Eyck himself, as suggested by his prominent signature above, which reads "Jan van Eyck has been here. 1434." By indicating that these figures occupy the viewer's space, the optical device of the mirror creates an ingenious fiction that implies continuity between the pictorial and the real worlds, involves the viewer directly in the picture's construction and meaning, and, significantly, places the artist himself in a central, if relatively discrete, role. Another reflected self-portrait, this time in the shield of Saint George in the Virgin of Canon van der Paele , functions as part of van Eyck's textural realism but likewise challenges our credulity by reminding us, through this minor intrusion of the artist's image, that his ostensible realism is an artifice. Source: Jan van Eyck (ca. 1380/90–1441) | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Although Bosch painted traditional Christian subjects, he brought to them a variety of images that have puzzled and astonished viewers for centuries .
Grunewald rejects harmonious proportions and figural idealization in favor of dramatic exaggeration and brutally precise detail: The body of Jesus is lengthened to emphasize it’s weight as it hangs from the bowed arms of the cross, the gray-green flesh putrefies with clotted blood and angry thorns, the fingers convulse and curl in agony, while the feet – broken and bruised – contort in a spasm of pain.
Albrecht Dürer (German pronunciation: [ˈalbʁɛçt ˈdyːʁɐ] ; 21 May 1471 – 6 April 1528) [1] was a German painter , printmaker , mathematician , engraver , and theorist from Nuremberg . His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known works include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists , while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists , have secured his reputation as one of the most important figures of the Northern Renaissance . This is reinforced by his theoretical treatises, which involve principles of mathematics , perspective and ideal proportions . Albrecht was an art theorist, genius and innovator; he was an inventor, designer of clothes, armor, goblets, fountains, etc... Following his second visit to Italy between 1505 through 1507, Durer went to Venice by way of Bologna to learn the “secret art of perspective” and other secrets. He is said to have went to Venice to see Luca Pacioli who developed ideas on the law of “central perspective,” but the famous mathematician had moved to Florence. Durer traveled onward throughout until he reached Bologna, we do not know whether or not he met Pacioli while traveling because a detailed diary has been lost during that time.
He brought to the art of his day a profoundly religious view of the world and a desire to embody spiritual message of scripture in art. Amidst billowing clouds, Death (in the foreground), Famine (carrying a pair of scales), War (brandishing a sword), and Pestilence (drawing his bow) sweep down upon humankind; their victims fall beneath the horses’ hooves, or, as with the bishop in the lower left, are devoured by infernal monsters. Durer’s image seems a grim prophecy of the coming age, in which five million people would die in religious wars. Four Horsemen of the Apocalypse , ca. 1497–98 Albrecht Dürer (German, 1471–1528) Woodcut 15 3/8 x 11 in. (39.2 x 27.9 cm) Gift of Junius S. Morgan, 1919 (19.73.209) Not on view Last Updated June 17, 2011 The third and most famous woodcut from Dürer's series of illustrations for The Apocalypse , the Four Horsemen presents a dramatically distilled version of the passage from the Book of Revelation (6:1–8): "And I saw, and behold, a white horse, and its rider had a bow; and a crown was given to him, and he went out conquering and to conquer. When he opened the second seal, I heard the second living creature say, 'Come!' And out came another horse, bright red; its rider was permitted to take peace from the earth, so that men should slay one another; and he was given a great sword. When he opened the third seal, I heard the third living creature say, 'Come!' And I saw, and behold, a black horse, and its rider had a balance in his hand; … When he opened the fourth seal, I heard the voice of the fourth living creature say, 'Come!' And I saw, and behold, a pale horse, and its rider's name was Death, and Hades followed him; and they were given great power over a fourth of the earth; to kill with sword and with famine and with pestilence and by wild beasts of the earth." Transforming what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects motion and danger into this climactic moment through his subtle manipulation of the woodcut. The parallel lines across the image establish a basic middle tone against which the artist silhouettes and overlaps the powerful forms of the four horses and riders—from left to right, Death, Famine, War, and Plague (or Pestilence). Their volume and strong diagonal motion enhance the impact of the image, offering an eloquent demonstration of the masterful visual effects Dürer was able to create in this medium. Source: Albrecht Dürer: Four Horsemen of the Apocalypse (19.73.209) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Knight, Death, and the Devil , 1513–14 Albrecht Dürer (German, 1471–1528) Engraving 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm) Harris Brisbane Dick Fund, 1943 (43.106.2) Not on view Last Updated June 17, 2011 Dürer's Knight, Death, and the Devil is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). The other two are Melancholia I and Saint Jerome in His Study . Though not a trilogy in the strict sense, the prints are closely interrelated and complementary, corresponding to the three kinds of virtue in medieval scholasticism—theological, intellectual, and moral. Called simply the Reuter (Rider) by Dürer, Knight, Death, and the Devil embodies the state of moral virtue. The artist may have based his depiction of the "Christian Knight" on an address from Erasmus's Instructions for the Christian Soldier ( Enchiridion militis Christiani ), published in 1504: "In order that you may not be deterred from the path of virtue because it seems rough and dreary … and because you must constantly fight three unfair enemies—the flesh, the devil, and the world—this third rule shall be proposed to you: all of those spooks and phantoms which come upon you as if you were in the very gorges of Hades must be deemed for naught after the example of Virgil's Aeneas … Look not behind thee." Riding steadfastly through a dark Nordic gorge, Dürer's knight rides past Death on a Pale Horse, who holds out an hourglass as a reminder of life's brevity, and is followed closely behind by a pig-snouted Devil. As the embodiment of moral virtue, the rider—modeled on the tradition of heroic equestrian portraits with which Dürer was familiar from Italy—is undistracted and true to his mission. A haunting expression of the vita activa , or active life, the print is a testament to the way in which Dürer's thought and technique coalesced brilliantly in the "master engravings." Source: Albrecht Dürer: Knight, Death, and the Devil (43.106.2) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Dürer's Melencolia I is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). The other two are Knight, Death, and the Devil and Saint Jerome in His Study . Though they do not form a series in the strict sense, the prints do correspond to the three kinds of virtue in medieval scholasticism—moral, theological, and intellectual—and they embody the complexity of Dürer's conception. Melencolia I is a depiction of the intellectual situation of the artist and is thus, by extension, a spiritual self-portrait of Dürer. In medieval philosophy, each individual was thought to be dominated by one of the four humors; melancholy, associated with black gall, was the least desirable of the four, and melancholics were considered most likely to succumb to insanity. Renaissance thought, however, also linked melancholy with creative genius; thus, at the same time that this idea changed the status of this humor, it made the self-conscious artist aware of the terrible risks that came with his gift. The winged personification of Melancholy, seated dejectedly with her head resting on her hand, holds a caliper and is surrounded by other tools associated with geometry, the one of the seven liberal arts that underlies artistic creation—and the one through which Dürer hoped to approach perfection in his own work. An influential treatise, De occulta philosophia of Cornelius Agrippa of Nettesheim, almost certainly known to Dürer, probably holds the explanation for the number I in the title: creativity in the arts was the realm of the imagination, considered the first and lowest in the hierarchy of the three categories of genius. The next was the realm of reason, and the highest the realm of the spirit. It is ironic that this image of the artist, paralyzed and powerless, should exemplify Dürer's own artistic power at its superlative height. Related Source: Albrecht Dürer: Melencolia I (43.106.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Albrecht Dürer's Rhinoceros , a drawing and woodcut Germany, AD 1515 To view this video online please enable javascript. To view this video online please install the Flash player Download mp4 Close BSL video This celebrated woodcut records the arrival in Lisbon of an Indian rhinoceros on 20 May 1515. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. The rhinoceros travelled in a ship full of spices. On arrival in Lisbon, Dom Manuel arranged for the rhinoceros to fight one of his elephants (according to Pliny the Elder's Historia Naturalis ('Natural History') (AD 77), the elephant and rhinoceros are bitter enemies). The elephant apparently turned and fled. A description of the rhinoceros soon reached Nuremberg, presumably with sketches, from which Dürer prepared this drawing and woodcut. No rhinoceros had been seen in Europe for over 1000 years, so Dürer had to work solely from these reports. He has covered the creature's legs with scales and the body with hard, patterned plates. Perhaps these features interpret lost sketches, or even the text, which states, '[The rhinoceros] has the colour of a speckled tortoise and it is covered with thick scales'. So convincing was Dürer's fanciful creation that for the next 300 years European illustrators borrowed from his woodcut, even after they had seen living rhinoceroses without plates and scales. Dom Manuel sent the rhinoceros to Pope Leo X in Rome, who had much admired 'Hanno', the elephant the king had sent him the year before. Sadly, the ship carrying the new gift sank before it reached Rome.
Lucas Cranach the Elder ( Lucas Cranach der Ältere , 4 October 1472 – 16 October 1553), was a German Renaissance painter and printmaker in woodcut and engraving . He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation , whose cause he embraced with enthusiasm, becoming a close friend of Martin Luther . He also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion. He had a large workshop and many works exist in different versions; his son Lucas Cranach the Younger , and others, continued to create versions of his father's works for decades after his death. The painting shows Paris awarding a golden apple (here transformed into a glass orb) to the fairest of three goddesses. This was a favorite subject of the mature Cranach. A closely similar picture in the Öffentliche Kunstsammlung in Basel is dated 1528, and the present painting may date from about this time.
This is an excellent example of Cranach's mature but stereotyped style. The tragic figure of Lucrezia, who has suffered outrage at the hands of Tarquin, is about to take her own life. Every element in the composition is carefully exaggerated.
Fictional character Salomé lived in Judea between AD 14 and 71. Her Hebrew name is שלומית ( Shlomit) means “peace” and was used as the typical “hello” greeting of the time. According to tradition, Salome was the stepdaughter of Herod Antipas (ruler of Judea), and danced before him on his birthday. This so delighted Herod that he promised her mother a favour, which was the beheading of John the Baptist. Christian traditions depict her as an icon of dangerous female seductiveness, for instance depicting as erotic her dance mentioned in the New Testament, or concentrate on her lighthearted and cold foolishness that, according to the gospels, led to John the Baptist’s death.
remembered as a brilliant portrait painter, especially in the court of Henry VIII, and as the designer of a series of remarkable woodcuts, The Dance of Death . The Death and the Knight is one of forty-one woodcuts in 1538. The other images show Death escorting people from all walks of life to their final destiny.
The Ambassadors (1533) is a painting by Hans Holbein the Younger in the National Gallery, London . As well as being a double portrait , the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It is also a much-cited example of anamorphosis in painting.
The Land of Cockaigne is the subject of an oil painting by Pieter Bruegel the Elder . In medieval times, Cockaigne was a mythical land of plenty. Bruegel's depiction of Cockaigne and its residents is not meant to be a flattering one; he chooses rather a comic illustration of the spiritual emptiness believed to derive from gluttony and sloth , two of the seven deadly sins . [1] In the painting, a clerk, a peasant farmer, and a soldier lie dozing on the ground underneath a table bound to a tree. The clerk's book, papers, ink and pen lie idle, as do the peasant's flail and the soldier's lance and gauntlet . A half-eaten egg in its shell runs between the peasant and the clerk. The table attached to the tree is laden with partly consumed food and drink. Behind the tree, a roasted fowl lays itself upon a silver platter, implying that it is ready to be eaten, and a roasted pig runs about with a carving knife already slipped under its skin. On the left, a knight emerges from a lean-to whose roof is covered in dishes of pie and pastry. On the right and behind the main action, a man clutching a spoon forces his way out of a large cloud of pudding, having eaten his way through it; he reaches for the bent branch of a tree in order to lower himself into Cockaigne. The fence enclosing the main scene behind the dozing trio is made of interwoven sausages . A partly eaten wheel of cheese and a bush or tower of loaves of bread sit on the left and right of the scene. The arrangement of the clerk, peasant, and soldier underneath the tree suggests the men as the spokes of a wheel, where the tree is the hub. The roasted fowl lies in the place where a fourth spoke could be. Ross Frank has argued that the painting is a political satire directed at the participants in the first stages of the Dutch Revolt , where the roasted fowl represents the humiliation and failure of the nobleman (who would otherwise form the fourth spoke of the wheel) in his leadership of the Netherlands , and the overall scene depicts the complacency of the Netherlandish people, too content with their abundance to take the risks that would bring about significant religious and political change. [2] In Dutch , the name of the painting is " Het Luilekkerland ", meaning "the lazy-luscious-land." [3]
16 th century, as Japan emerged from a feudal age, the new merchant class that occupied Japan’s growing commercial cities demanded new forms of entertainment.
A pair of richly attired dignitaries are engaged in intellectual activities. Calligraphic writing materials, musical instruments, painted scrolls, and a chesslike board game-enduring symbols of accomplishment among Chinese humanists.
Thomas Morley (1557-1602) Thomas Weelkes (1576-1623)
Don Quixote-(It was translated from Spanish into more languages than any work other than the Hebrew bible.) Michel de Montaigne (1533-1592) (French) “ father of the personal essay,”
Sonnets were more popular then plays
Albrecht Dürer (German pronunciation: [ˈalbʁɛçt ˈdyːʁɐ] ; 21 May 1471 – 6 April 1528) [1] was a German painter , printmaker , mathematician , engraver , and theorist from Nuremberg . His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known works include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists , while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists , have secured his reputation as one of the most important figures of the Northern Renaissance . This is reinforced by his theoretical treatises, which involve principles of mathematics , perspective and ideal proportions .
This, the largest of Bosch's paintings (163.7 x 127 cm/ 66 x 50 in), is also one of the most revealing and accomplished. The familiar story is clear. Every one of his contemporaries, poor, trusting, illiterate peasants as well as educated burghers, would have grasped the significance of almost all the details and believed the basic message implicitly. But some of the images must have been frighteningly new and distressing, if not actually inducing despair. Other painters had treated the same subject powerfully, but no one, before or since, has had the creative intensity and ability to actualize the dreaded unknown in such fantastic images. This is particularly true in the devils, demons, evil spirits and unnerving monsters that Bosch created to inhabit the nether world. His contemporaries, if they thought he saw (and they would have believed it possible) and accurately represented the monsters and denizens, and the hellish regions they inhabited, must have been convinced that hell was a place to avoid at all costs. The deadly sins are all depicted a number of times and erotic symbolism abounds.
Between the years 1512 and 1516 Durer had experimented with etching. Years after his return from Italy, he designed three “Master Engraved Plates.” The first is titled; “Knight, Death and the Devil,” the second; “Saint Jerome in his Study ,” and the last “Melencolia I.” The plates were completed during the year of 1513 for the Knight, Death and Devil and 1514 for Saint Jerome in his Study , and Melencolia I . Throughout this period, Durer worked for the “Emperor Maximilian,” performing many Royal Commissions undertaken on his behalf, until his death in 1519. His first patron was “Frederick the Wise,” who commissioned a portrait from a youthful Durer in the year 1496. Durer finished an engraved portrait of “Frederick the Wise” in 1924, establishing a retained friendship and association with Frederick throughout his lifetime. Revelation (Apocalypse) CHAPTER 13 And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy. 2 And the beast which I saw was like unto a leopard, and his feet were as the feet of a bear, and his mouth as the mouth of a lion: and the dragon gave him his power, and his seat, and great authority. 3 And I saw one of his heads as it were wounded to death; and his deadly wound was healed: and all the world wondered after the beast. Commentator Albert Barnes saw the beast from the sea as the Roman Empire: "The reference here is to Rome, or the one Roman power, contemplated as made up of ten subordinate kingdoms, and therefore subsequently to the invasion of the Northern hordes, and to the time when the Papacy was about to rise. ...Thus in Daniel (vii. 2-7) the lion is introduced as the symbol of the Babylonian power; the bear, as the symbol of the Medo-Persian; the leopard, as the symbol of the Macedonian; and a nondescript animal, fierce, cruel, and mighty, with two horns, as the symbol of the Roman. See Notes on that passage. In John there is one animal representing the Roman power, as if it were made up of all these: a leopard with the feet of a bear , and the mouth of a lion , ...and with the general description of a fierce monster. ...the beast here represents the Roman power, as now broken up into the ten dominations which sprung up (see notes on Daniel as above) from the one original Roman power, and that became henceforward the supporters of the Papacy, and, therefore, properly represented here as having ten diadems. And upon his heads the name of blasphemy. That is, the whole power was blasphemous in its claims and pretensions." - Notes on the New Testament by Albert Barnes, 1884-1885
The Tower of Babel is the subject of two oil paintings by Pieter Bruegel the Elder . They depict the construction of the Tower of Babel , which, according to the Book of Genesis in the Bible , was a tower built by a unified, monolingual humanity as a mark of their achievement and to prevent them from scattering: "Then they said, 'Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves; otherwise we shall be scattered abroad upon the face of the whole earth.'" (Genesis 11:4). Bruegel's depiction of the architecture of the tower, with its numerous arches and other examples of Roman engineering , is deliberately reminiscent of the Roman Colosseum , [1] which Christians of the time saw as both a symbol of hubris and of persecution. Bruegel's paintings seem to attribute the ultimate failure of the Tower to engineering difficulties rather than to sudden, divinely-caused linguistic differences . [ citation needed ] Although at first glance the tower appears to be a stable series of concentric pillars, upon closer examination it is apparent that none of the layers lie at a true horizontal; rather, the tower is built as an ascending spiral. However, the workers in the painting have built the arches perpendicular to the slanted ground, thereby making them unstable, and a few arches can already be seen crumbling. More troubling, perhaps, is the fact that the foundation and bottom layers of the tower had not been completed before the higher layers were constructed. The influence of Northern artists can be seen in the careful attention Bruegel paid to the painting of the landscape. The Tower of Babel is on display at the Kunsthistorisches Museum , Vienna . Another painting of the same subject, The "Little" Tower of Babel , c. 1563, is in the Museum Boijmans Van Beuningen in Rotterdam .
In Bruegel's later years he painted in a simpler style than the Italianate art that prevailed in his time. The most obvious influence on his art is the older Dutch master Hieronymus Bosch , particularly in Bruegel's early " demonological " paintings such as The Triumph of Death and Dulle Griet (Mad Meg) . It was in nature, however, that he found his greatest inspiration as he is identified as being a master of landscapes. It was in these landscapes that Bruegel created a story, seeming to combine several scenes in one painting. Such works can be seen in The Fall of the Rebel Angels and the previously mentioned The Triumph of Death .