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Art History Week 6

by: Katie Truppo

Art History Week 6 ARTH 173

Katie Truppo
GPA 3.4

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About this Document

Italy and Netherlands, 1500-1600's
Western Art History
Aurelia D'Antonio
Class Notes
Art, history
25 ?




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This 37 page Class Notes was uploaded by Katie Truppo on Monday September 26, 2016. The Class Notes belongs to ARTH 173 at University of Tennessee - Knoxville taught by Aurelia D'Antonio in Fall 2016. Since its upload, it has received 11 views. For similar materials see Western Art History in Arts and Humanities at University of Tennessee - Knoxville.


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Date Created: 09/26/16
Lecture  12   September 19. 2016 Left: Albrecht Dürer, Adam and Eve. 1504 Right: Albrecht Dürer, Hare, 1502 •  Dürer ◦   Follower of Martin Luther ◦   Saw painter as humanistic sculptor ◦   Worked with wood cuts and engravings •  Adam and Eve ◦   Attention to shadow and modeling even in a woodcut ◦   Comes from study of idealized form (Vetruvius) Left: Albrecht Dürer, Self-Portrait, 1500 Right: Albrecht Dürer,The Four Horsemen of the Apocalypse, 1498 •  Self Portrait ◦   Display of luxury and status ◦   Northern style ◦   Christ like ◦   Severity, sober attitude towards his role as painter •  The Four Horsemen of the Apocalypse ◦   Concern for the apocalypse ◦   Taking advantage of people’s fear of the end of the world 2   Left: Albrecht Dürer, Melancholia I. 1514. Engraving Right: Albrecht Dürer,The Four Apostles, 1523-26 •  Melancholia ◦   Angel’s pose associated with melancholy ▪   Enigmatic, tortured artist Left: Lucas Cranach the Elder, An Allegory of Law and Grace. ca. 1530. Woodcut Right: Lucas Cranach the Elder, The Judgment of Paris, ca. 1528 •  An Allegory of Law and Grace ◦   Shading suggested but not three dimensional ◦   Allegory of law and grace •  Left: Their version of Catholic interpretation of old law, punishments 3   being handed out ◦   Right: Crucifixion, Holy Spirit hits person directly (Christ’s sacrifice was enough) •   The Judgment of Paris ◦   Paris has to choose who is most beautiful woman ◦   Erotic ◦   Contemporary clothing makes it more profane Albrecht Altdorfer, The Battle of Issos, 1529 •  Landscape has potential to become subject of scene •  Depicts battle of Alexander the Great and Darius of Persia ◦   Ancient scene represented in contemporary dress and modern city 4   Left: Albrecht Altdorfer, The Battle of Issos, 1529 Right: Paolo Uccello,The Battle of San Romano, 1436-38 •  Exact opposite styles ◦   Left focuses on background ◦   Right focuses on foreground and main character 5   Hans Baldung Grien, The Bewitched Groom. ca. 1544 •  Witch or horse has done something to the man causi ng him to become unconscious ◦   Fear of witches was common 6   Left: Hans Baldung Grien, The Bewitched Groom. ca. 1544 Right: Mantegna, Dead Christ, c. 1490 •  Similar foreshortening •  Thought to have inspired Grien 7   Hans Holbein the Younger, Jean de Dinteville and Georges de Selve (“The Ambassadors”). 1533 •  Jean on left, Bishop on right •  Depiction of textures and their interests •  Anamorphic skull: Distorted skull depicted at bottom 8   Gerard David, Virgin among Virgins, 1509 •  Virgin child surrounded by Virgin saints •  Painter and wife represented in corners, not donors Left: Albrecht Dürer, Adam and Eve. 1504 Right: Jan Gossaert, Neptune and Amphitrite. 1516 •  Intentionally models Dürer’s Adam and Eve •  Influenced by both Dutch and Italian styles/texture 9   Left: Correggio, Jupiter and Io, 1530 Right: Jan Gossaert, Danae,1527 •  Jupiter becomes golden shower to get Danae where she has been locked away •  Religious influences ◦   Blue is color Virgin Mary wears Cornelis Floris and Willem van den Broek. Town Hall, Antwerp. 1561-66 •  Influenced by Italian architecture 10   ◦   Rusticated ◦   Doric and Corinthian columns •  Mix and of Italian and Dutch (dutch style roof) Joachim Patinir, The Penitence of St. Jerome. ca. 1518 •  Saints depicted in separate panels and across consistent landscape ◦   Landscape takes up more space and effort than central figures 11   Pieter Aertsen,The Meat Stall. 1551 •  Still life in foreground, religious event (flight from Egypt) in background •  Rich church goers ignoring poor ◦   Contrast of excess and poverty (charity vs. selfishness)   12   Art History Lecture 13 September 21. 2016 Caravaggio, The Calling of St. Matthew, 1599 •   Eerie, direct light source coming from outside painting º   Light shines on St. Matthew º   On right is Christ calling saint Matthew §   Christ’s hand position º   Contemporary clothes, Christ and Matthew are barefoot º   Tenebrism: dramatic, accentuated light source coming from outside of picture Caravaggio, The Conversion of St. Paul, 1601 •   Dramatic light and scene •   Paul is shown in dramatic foreshortening •   Mysterious, creates wonder 2   Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, ca. 1625 •   One of first woman painters •   Story of virtuous overcoming powerful •   Drama surrounds part of story we don’t know, heightens drama 3   Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1638-39 •   Self portrait where she represented herself as the allegory of painting º   Used specific references to text (hair, jewelry, position) 4   Annibale and Agostino Carracci, vault frescoes in the Farnese Gallery, 1597-1602. Palazzo Farnese, Rome •   References to Sistine Chapel •   Mythological scenes º   Love of the gods º   Able to because it’s private space, not religious º   Satire of gods behaving badly 5   Left: Annibale Carracci, The Wrath of Polyphemus. Fresco, Farnese Gallery, Palazzo Farnese, Rome Right: Michelangelo, Jonah, Sistine Chapel, Rome •   Differences º   Forward motion (left) º   Foreshortened turning (right) •   Similarities º   Classical elements º   Poses and composition Annibale Carracci, Venus and Anchises. Fresco. Farnese Gallery, Palazzo Farnese, Rome •   Anchises: legendary founder of Rome 6   •   Painting shows conception of Anchises, his father with Venus Annibale Carracci, Jupiter and Juno, Fresco. Farnese Gallery, Palazzo Farnese, Rome •   Birds plays on words of latin word “uchelari” which meant bird Annibale Carracci, Bacchus and Ariadne, 1597-1602. Fresco, Farnese Gallery, Palazzo Farnese, Rome •   Riding in on chariot after battle •   Carraci is changing how stories are told, showing next logical step of stories •   Allegory of drunkenness and sexual behavior as a result 7   Annibale Carracci, Landscape with the Flight into Egypt, ca. 1603 •   Mary and Holy family depicted small in comparison to landscape •   Mysterious, picturesque landscape Left: Pietro da Cortona, Allegory of Divine Providence. 1633-39 Right: Giovanni Battista Gaulli, Triumph of the name of Jesus. 1672-79. Ceiling Fresco, Il Gesù, Rome Allegory of Divine Providence •   Varborini family commissioned, represented with “V” •   Illusionistic, fake architecture 8   •   Taking of individual scenes and sticking them on stealing •   Taking into account viewer’s perspective looking up •   Subject: Divine Providence, Varborini shown as divinely chosen Triumph of the name of Jesus •   Stucco sculptures are real sculptures, rest is painted º   Spilling out of frame •   Metaphor for divine light of Christ Carlo Maderno, Façade of St. Peter’s, Rome. 1607-12 •   Inside and outside space º   Similar to Palazzo dei Conservatori •   Unites church and area as a whole •   Increased visual gains 9   Bernini, Baldacchino, 1624-33. At crossing. St. Peter’s, Rome •   Became head architect after Maderno’s death •   Took bronze from interior of Pantheon to create Baldacchino 10   Aerial view of St. Peter’s, Rome. Nave and façade by Carlo Maderno , 1607-12; colonnade by Gianlorenzo Bernini, designed 1657 •   Provides order to the space and surrounding area Francesco Borromini, Façade and Plan of San Carlo alle Quattro Fontane, Rome. plan: 1638-41, Façade, ca. 1665-7 •   Other architect of St. Peter’s •   San Carlino (little church) º   Scultpural façade º   Concavities/convexities: façade curves in and out 11   §   Also found in the entablatures º   Extended to plan of church, oval shape Dome of San Carlo alle Quattro Fontane, 1638-41 •   Dome also looks pinched, oval shape •   Coffers decrease in size, perspective makes it look higher 12   Left: Francesco Borromini, Exterior of Sant’Ivo, Rome. Begun 1642 Right: Interior view into dome of Sant’Ivo Cutaway plan of Francesco Borromini’s Sant’Ivo •   Added church to end of cloistered space •   Hexagonal star shape, Varvorini V •   Coherence between different stories 13   Left: Borromini, Sant’Agnese, 1653-63 Right: Bernini, Four Rivers Fountain, 1648-52 Francesco Borromini, Plan of Sant’Agnese •   Where Romans had chariot races •   Created competition between Borromini and Bernini 14   Lecture  14   September  23.  2016     Left: Francesco Borromini, San Carlino, façade 1665-67 Right:Guarino Guarini, Façade of Palazzo Carignano. Turin. Begun 1679 •  Turin, North Italy ◦   Site of a lot of Baroque architecture •  Brick building with concavities and convexities •  Stories broken up into units Guarino Guarini. Dome of the Chapel of the Holy Shroud, Turin Cathedral. 1668-94 •  Temple of Shroud ◦   Relic of Shroud that was on Christ when he was placed in the tomb, his likeness imprinted on •  Indented with coffers and windows •  Web of ribs in dome, exaggerated depth 2   Baldassare Longhena, Santa Maria della Salute. Venice. 1631 -87 •  Church that welcomes people into the Grand Canal •  Octagonal centrally planned •  High pediments, break up surface of facade •  Dedicated to the Virgin for delivering the city from plague Stefano Maderno, Santa Cecilia. 1600. Marble, life-size.Santa Cecilia in Trastevere, Rome •  5th century martyr, decapitated •  Sculpture depicts her dead body ◦   Dramatic, visceral 3   Gianlorenzo Bernini, David. 1623. Marble, life-size. Galleria Borghese, Rome •  Extreme, intense facial expression •  Classical action shot 4   Gianlorenzo Berlini, The Ecstasy of St. Teresa(full chapel view). 1645-52. Marble, life-size. Cornaro Chapel, Santa Maria dellaVittoria, Rome •  Pierced by arrow of angel •  Experiences intense pain and pleasure ◦   Shown in her expression ◦   Echoed with intense drapery and floating position Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber. ca. 1602 •  Staged scene intentionally 5   ◦   Intense light and dark ◦   Shows strings used to assemble scene Jusepe de Ribera, The Club-Footed Boy. 1642 •  Disability depicted in painting ◦   Shown begging for alms 6   Pieter Bruegel the Elder, The Return of the Hunters. 1565 •  Part of meditations of the year ◦   Medieval tradition Pieter Bruegel the Elder, Peasant Wedding. ca. 1568 •  Boisterous celebration •  Social class thats not his own, outsider looking in •  Idealized ◦   Slightly offensive, depicting people as stereotypes 7   Pieter Bruegel the Elder, The Blind Leading the Blind. ca. 1568 •  Proverb from gospel of Matthew ◦   Blind are leading each other into a ditch ◦   Maybe offensive (blind peasants) •  Allows speculation Diego Velázquez, The Water Carrier of Seville. ca. 1619 •  Depicting class not his own, but showing dignity •  Focus on texture •  Theme of good works 8   Diego Velázquez, Surrender at Breda. 1634-35 •  1620’s: became court painter ◦   Painted many portraits for the crown •  Embraced interest in light, shadow, and now color ◦   Exposure to works of Titian •  Scene of battle between Spain and the Netherlands ◦   Dutch general is handing keys to condescending Spanish general, shows defeated Dutch soldiers 9   Diego Velázquez, Juan de Pareja. 1650 •  Sent to Rome to work for Pope, while waiting for Pop he painted his assistant •  Similar to Leonardo’s portraits ◦   Pose ◦   Shadows •  However, Velázquez focuses on light on face and texture that begins to change texture of paint 10   Diego Velázquez, Las Meninas, 1656 •  Velázquez shown painting portrait ◦   Canvas of painting taking up part of actual painting ◦   We can’t see what he’s painting, viewer is subject •  Mirror shows King and Queen as potential subjects •  Testament of importance of his artwork   11  


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