Art History 2009 Class 5 Lecture


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Slides accompanying Dick Nelson's art history seminar April 2, 2009.

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Art History 2009 Class 5 Lecture

  1. 1. The High Renaissance The Baroque Reason vs. Passion The Climax vs. Anti-Climax
  2. 2. Da Vinci The Last Supper Caravaggio Supper at Emaus The High Renaissance The Baroque Rational idealization of Passion and real people Christian themes. Portray Christian themes. The viewer is at this table The scene takes place on stage as one of the participants. with the viewer in the audience.
  3. 3. The Baroque Period: Intimate, passionate, and natural visual reality.
  4. 4. Caravaggio portrays Christ in his Supper of Emaus with real, not idealized, men. He invites viewer participation through intimate lighting, a recessional, painterly and open form composition. Trace the edges of this detail and see where they disappear, leaving the viewer to fill in the missing visual information. This device invites viewer participation. An example of a painterly technique. Can you find these visual devices in this work?
  5. 5. Raphael The Deposition Caravaggio Entombment From Idealization to Realization High Renaissance Baroque A Rebirth of Classic and Hellenistic Greek interpretations imbued with Christian meaning.
  6. 6. Is this work by the same artist consistent with these same three visual devices? Ans: MOST CERTAINLY! Have we seen this face before?
  7. 7. Same model?
  8. 8. Recessional Composition Caravaggio
  9. 9. Velasquez provides further evidence of a trend that focuses on a world as we see it. Idealized mythology gives way to a Bacchus who is not idealized or glorified. It is painterly with a composition which is recessional and arranged in open form.
  10. 10. What characterizes this painting as Baroque? Capturing the casual and fleeting moment in time is partly the answer. Velasquez Maids Of Honor
  11. 11. Northern Renaissance Art for the eye and soul. Van Eyck documents the Arnolfini wedding with an eye for detailed images, texture and symbolism. Example: The single candle, faithful dog and the light of God which unifies all.
  12. 12. Rembrandt The Night Watch This Dutch master trades fame and fortune for personal integrity. Trapdoor lighting is introduced as his signature means of creating visual focus. Recessional Open form Painterly Time in flux
  13. 13. Rembrandt: We see the artist through his own eyes.
  14. 14. Rather than paint the eye, he paints the glance. The mouth and nose become a breath. His brush plays hide and seek with the viewer.
  15. 15. Frans Hals: Patronage or not. Another Dutch Treat
  16. 16. Vermeer: The ordinary made monumental. Optical sensations with the Genre subject matter and portraits aid of the camera obscura. for the wealthy merchants.
  17. 17. f Open form and recessional compositions include the viewer. Painterly techniques make us believe we see what is merely suggested. Optical illusions of light and surfaces are a feast for the eyes and our aesthetic senses.
  18. 18. Peter Paul Rubens The Flemish painter whose compositions dramatize mythology with the aid of his patron’s money and often, her own image.
  19. 19. Church & State meld into one.
  20. 20. Portrait of his wife, Helene Fourment. His wife provides the model for three views of the female torso. Stone-like linear modeling of the past is replaced with opulent and sensual fleshiness. The Thee Graces
  21. 21. Boucher Fragonard The Rococo Period: Indulgence during the Age of Authority…
  22. 22. Chardin With a few exceptions. Genre, or common everyday themes.
  23. 23. Plane Linear Classicism Poussin The Rape of the Sabines Pruning the divergent branches of the 17th & 18th Centuries.