Art History Week 7
Art History Week 7 ARTH 173
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This 28 page Class Notes was uploaded by Katie Truppo on Tuesday October 11, 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 4 views. For similar materials see Western Art History in Arts and Humanities at University of Tennessee - Knoxville.
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Date Created: 10/11/16
Lecture 15 9.26.16 Netherlands Baroque • Age of Colonialism Peter Paul Rubens, The Raising of the Cross. 1610-11 • One of most important painters in Europe • Painted for high altar • Figures have massive, steroidal quality ◦ Even though immense mass, very expressive (women in distress) • Pairing of devotional grief with soldiers on each side Peter Paul Rubens, Drawing after Michelangelo’s Ignudifrom the Sistine Chapel Ceiling. ca. 1601-02 • Extreme foreshortening, trademark of Michelangelo Left: Rosso Fiorentino, Descent from the Cross, 1521 Right: Peter Paul Rubens, The Raising of the Cross, 1610-11 (central panel) • 2 scenes of the same event • Composition imitated by Rubens ◦ Size of cross • Rueben’s Christ is much more dramatic ◦ Details shown in landscape and light/shadows to illuminate Left: Caravaggio, The Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, 1599-1600 Right: Peter Paul Rubens, The Raising of the Cross, 1610-11 • Ruben’s uses dramatic light, similar to Caravaggio • Not as dramatic, but still used to dramatize/illuminate Left: Titian, Bacchanal, 1518 Right: Peter Paul Rubens, The Raisingof the Cross. 1610-11 (right wing) • Venetian and Dutch painting styles are similar ◦ Texture, color, light Peter Paul Rubens, Marchesa Brigida Spinola Doria, 1606 • Textures in collar and dress ◦ Calls attention to nobility and luxury Peter Paul Rubens, Marie de’ Medici, Queen of France, Landing in Marseilles (November 3, 1600). 1622-25 • Cycle of 21 paintings • Scene is from earlier event of Marie's arrival in France after marriage to Henry the 4th ◦ Accompanied by court ◦ Man in blue cape with flour de lis represents France welcoming her ◦ Fame is allegorical character above her announcing her arrival wit trumpet ◦ Neptune in water with other humans/creature accompanying her • “Ruben’s bodies" Peter Paul Rubens, The Garden of Love. ca. 1638 • Style similar to what will come in the Rococo movement • Celebration of love ◦ Wife depicted in center but also in faces of other women ◦ Statue of Venus in right corner ◦ Bright blue sky ◦ Ancient Roman building garden setting • Textures shown in fabric ◦ Moving away from higher naturalism, more towards playing with light Anthony van Dyck, Rinaldo and Armida. 1629 • Ruben’s assistant • Fantastical recreation of the First Crusade ◦ Sorceress falls in love with Crusader she was supposed to kill Anthony van Dyck, Portrait of Charles I Hunting, 1635 • Interest in picturesque landscape • Not very regal for a royal portrait ◦ Doesn’t take away from status, shows other side than official Left: Anthony van Dyck, Portrait of Charles I Hunting, 1635 Right: Nicholas Hilliard, A Young Man among Roses, 1588 • Portraiture in nature • Incorporated into nobility portraits Jacob Jordaens, The King Drinks, 1638 • Takes place on Epiphany ◦ Family celebration, they would call someone “the King" • Similar to Ruben’s style ◦ Depiction of figures Jan Brueghel the Elder and Peter Paul Rubens, Allegory of Sight. 1617 • “The Wonder Room" ◦ Opportunity for painters to depict vast collections of patrons • Showed variety of objects owned by patrons ◦ Roman portrait busts ◦ History paintings ◦ Allegorical scenes ◦ Religious ◦ Portraits/Landscapes • Allegory of Sight personified and sitting to take in the visual arts Clara Peeters, Still Life with Fruit and Flowers, 1612 • Represents early still life • Fruit, wine, coins, knife, grasshopper, flowers, ◦ Variety and artist’s eye ◦ She is reflected in pewter vase ◦ Hypothesized that knife has her name inscribed to commemorate her wedding Frans Snyders, Still Life with Dead Game, Fruits, and Vegetables in a Market. 1614 • Became more elaborate • Focus on variety • Alive things: cat, rooster, and boy picking man’s pocket ◦ Hyper naturalism Jan Davidsz. de Heem, Still Life with Exotic Birds. Late 1640s • Prince still life: ostentatious • Colonial theme represented with exotic animals/objects Lecture 16 9.28.16 Left: Hendrick Goltzius, Farnese Hercules, ca. 1597, Engraving Right: Hendrick Terbrugghen, Singing Lute Player. 1624 • Left: Dutchmen on journey to Italy looking in awe at Hercules • Right: Used style of Carravggio ◦ Including colors and outfit • Ideas of antiquity combined with dramatic tenebrism being brought to Dutch painting Frans Hals, Banquet of the Officers of the St. George Civic Guard, 1616 • Commission for common space • Ritualistic and ceremonial quality, flaunts status Frans Hals, Married Couple in a Garden: Portrait of Isaac Massa and Beatrix van der Laen. ca. 1622 • Couple with setting of country villa ◦ Relaxed environment Left: Jan van Eyck, The Arnolfini Portrait, 1434 Right: Frans Hals, Married Couple in a Garden: Portrait of Isaac Massa and Beatrix van der Laen. ca. 1622 • Very different settings/environments Left: Frans Hals, The Jolly Toper, ca. 1628-30 Right: Judith Leyster, Self-Portrait, ca. 1633 • Both casual takes on the once formal style of portraits Judith Leyster, The Proposition, 1631 • Subject is stitching • Common for scenes of “the approach" ◦ Normally painted by men, but painted by woman shows different reaction ◦ Men showed acceptance of advances, Judith showed rebuffing Rembrandt van Rijn, Portrait of Saskia van Uylenburgh. 1633 • Silver point drawing of his wife • Reminiscent of countryside life and being in love Rembrandt van Rijn, The Blinding of Samson. 1636 • Baroque light • Interest of drama in scene ◦ Visceral reaction to gore Rembrandt, The Night Watch (The Company of Captain Frans Banning Cocq). 1642 • Dramatic scene and lighting Rembrandt van Rijn, Bathsheba with King David’s Letter. 1654 • Sorrow and anxiety because she is pregnant with David’s child Rembrandt van Rijn, Self-Portrait. 1658 • Self advertising his skills in how self portrait • Technique of imposto: thick layering of paint ◦ Naturalistic, but playing with light and paint Jan van Goyen, Pelkus Gate Near Utrecht. 1646 • Art for markets (landscapes, genre, architecture) • Supposed to be real city, but not painted exactly ◦ Moved things to make most picturesque Jacob van Ruisdel, View of Haarlem with Bleaching Grounds. ca. 1670 • Recognized because of the skyline Jacob van Ruisdael, The Jewish Cemetery. 1655-70 • More mysterious than realistic scene • Tombs, tree, ruins of church all point to decay of civilization Pieter Saenredam, Interior of the Choir of St. Bavo’s Church at Haarlem. 1660 • White washed walls • Stripped of liturgical furnishings Willem Claesz, Heda. Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. 1634. • Everyday use combined with luxury • Frozen in time ◦ Staged but interrupted (overturned) Lecture 17 9.30.16 Georges de La Tour, Joseph the Carpenter. ca. 1642 • France: Classicism returned under Louis the 14th • Georges de La Tour never went to Italy, inspired by people who studied Caravaggio • Quiet, introspective scenes with religious subjects ◦ Joseph (Christ’s father) with child Christ ◦ Christ’s hand around candle similar to blessing gesture Simon Vouet, The Toilet of Venus. ca. 1640 • Richly colored fresco • Venus shown in “primping" scene ◦ Even though mid undressed, not overly erotic but subtly suggestive • Similar to Venetian style • Color and light Nicolas Poussin, The Death of Germanicus,1627-28 • Structured, strict emphasis on history painting ◦ Mythological, biblical, historical scenes • Heroic death scene ◦ Perspective ◦ Not as idealized/colorful as baroque Nicolas Poussin, The Abduction of the Sabine Women. ca. 1633-34 • Theft of women from another town • Meant to be heroic narrative • Display of Roman architecture Nicolas Poussin, Landscape with St. John on Patmos. 1640 • Landscape shows ruins of city (ruins of past) ◦ Melancholic, contemplative atmosphere ◦ By putting St. John with classical elements, makes landscape more than just a landscape ◦ Elevates subject matter Claude Lorrain, A Pastoral Landscape. ca. 1648 • One of the first to paint oil paintings outside • Because of forgers, he kept records of his paintings and who he sold them to Left: Giorgione/Titian, Fête Champêtre (Pastoral Concert), 1509-10 Right: Claude Lorrain, A Pastoral Landscape. ca. 1648 • Escape to nature to rejuvenate the soul • Difference is A Pastoral Landscape is nostalgic ◦ Looking back longingly Left: Anthony van Dyck, Charles I Hunting, 1635 Right: Hyacinthe Rigaud, Portrait of Louis XIV. 1701 • Way to succeed in academy was to paint history painting (high status) • Return to formal environment and setting ◦ Still have similar pose Louis Le Vau, Claude Perrault, and Charles Le Brun. East Front of the Louvre, Paris. 1667-70 • Return to Classical style ◦ Temple pediment ◦ Colonnades • Only thing not Classical was double columns • Using prestige of Romans to puff up own status Louis Le Vau and Jules Hardouin-Mansart. Garden front of the center block of the Palace of Versailles. 1669-85 • Increasingly horizontal Jules Hardouin-Mansart, Louis LeVau, and Charles LeBrun. Galeriedes Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678 • 240 feet long • Rooms of War and Peace and either side • Mirrors used to make room feel larger ◦ Mirrors were very expensive, showed wealth Jules Hardouin-Mansart, Charles LeBrun (the room and decoration), and Antoine Coysevox (for the relief, The Triumph of Louis XIV). Salon de la Guerre (Salon of War), Palace of Versailles. Begun 1678 • Combination of sculptures create theatrical ensemble • Different Textures and colors to create an effect ◦ A little Baroque Aerial view of Versailles • Garden of Versailles ◦ Idea of taming nature ◦ 18,000 acres ◦ Shows dominance of Louis 14’s rule over people and nature ◦ Shape of garden echo shape of palace ◦ East to West: sun sets on one side to the other (Louis 14th known as Sun King) Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677 -91 Right: Plan of the church of the Invalides • One of architects from Versailles • Corner chapels • Chapel where wounded soldiers were taken Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677-91 Right: St. Peter’s, Rome • Similar dome style Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677 -91 Right: St. Peter’s, Rome, façade by Carlo Maderno • Facades step up to central pediments
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