The document discusses the Northern Renaissance in Europe, especially in areas like Holland, Belgium, and Germany. It focuses on several important 15th century Flemish artists like Jan van Eyck, known for works like the Arnolfini Portrait and the Ghent Altarpiece. Rogier van der Weyden and Hans Memling were other influential Flemish painters of this time period. The document also covers Matthias Grunewald in Germany and Hieronymus Bosch in the Netherlands, known for his strange and grotesque motifs. The rise of printed images and books in the 15th century, pioneered by artists like Albrecht Dürer, helped disseminate ideas and spread the Renaissance

1. ““NORTHERN RENAISSANCE”:NORTHERN RENAISSANCE”:
Northern Europe (especiallyNorthern Europe (especially
modern day Holland, Belgium,modern day Holland, Belgium,
and Germany)and Germany)
The Arnolfini Wedding PortraitThe Arnolfini Wedding Portrait
by Jan van Eyckby Jan van Eyck
EnglandEngland 
FranceFrance 
 GermanyGermany
Flanders:Flanders:
(Holland(Holland
 and Belgium)and Belgium)

2. Jan van Eyck:Jan van Eyck:
--1395-1441--1395-1441
--Sometimes credited with--Sometimes credited with
““inventing” oil painting,inventing” oil painting,
although it is probably morealthough it is probably more
appropriate to say that he isappropriate to say that he is
one of the peopleone of the people
responsible for perfectingresponsible for perfecting
the oil painting techniquethe oil painting technique
--Considered the foremost--Considered the foremost
Flemish painterFlemish painter
--His brother, Hubert, was also--His brother, Hubert, was also
a painter, but he died young;a painter, but he died young;
Jan probably worked withJan probably worked with
his brother at one time.his brother at one time.
The Arnolfini Wedding PortraitThe Arnolfini Wedding Portrait
by Jan van Eyckby Jan van Eyck

3. The Ghent Altarpiece by Jan van EyckThe Ghent Altarpiece by Jan van Eyck
--Finished in 1432--Finished in 1432
--In the Cathedral of--In the Cathedral of
St. Bavo, GhentSt. Bavo, Ghent
--An inscription says it--An inscription says it
was “started by Hubertwas “started by Hubert
van Eyck, first in art,van Eyck, first in art,
and finished by hisand finished by his
brother Jan, second inbrother Jan, second in
art.”art.”

4. Deposition and Portrait of a WomanDeposition and Portrait of a Woman
by Rogier van der Weydenby Rogier van der Weyden
Rogier van der Weyden:Rogier van der Weyden:
--1400-1464; painted primarily in Tournai and Brussels--1400-1464; painted primarily in Tournai and Brussels
--Considered, along with Jan van Eyck, to be the most--Considered, along with Jan van Eyck, to be the most
influential of the Flemish paintersinfluential of the Flemish painters

5. The Isenheim Altarpiece by Matthias GrunewaldThe Isenheim Altarpiece by Matthias Grunewald
Matthias Grunewald:Matthias Grunewald:
--German painter, c.1470-1528--German painter, c.1470-1528
--Famous for an expressive--Famous for an expressive
style descended fromstyle descended from
German gothicGerman gothic

6. The Garden of Earthly Delights by Hieronymus BoschThe Garden of Earthly Delights by Hieronymus Bosch
Hieronymus Bosch:Hieronymus Bosch:
--1450-1516; Flemish--1450-1516; Flemish
painter whose name ispainter whose name is
taken from the city oftaken from the city of
s’Hertogensboschs’Hertogensbosch
where he lived (his realwhere he lived (his real
name is Jerome vanname is Jerome van
Aken)Aken)
--Famous for his strange--Famous for his strange
and grotesque motifs,and grotesque motifs,
derived from folkloricderived from folkloric
sourcessources

7. Pieter Bruegel:Pieter Bruegel:
--1525-1569; painted in Antwerp--1525-1569; painted in Antwerp
and Brusselsand Brussels
--Heavily influenced by Bosch,--Heavily influenced by Bosch,
but also famous for hisbut also famous for his
pioneering work in landscapepioneering work in landscape
and depictions of peasants,and depictions of peasants,
as well as moralizing andas well as moralizing and
satirical messagessatirical messages

8.  GermanyGermany
PRINTED IMAGESPRINTED IMAGES

9. BOIS PROTAT:BOIS PROTAT:
Oldest survivingOldest surviving
block for printingblock for printing
(c. 1380; for printing(c. 1380; for printing
on cloth altar cover)on cloth altar cover)
PRINTED IMAGES:PRINTED IMAGES:
Begins in Europe in 1300s; firstBegins in Europe in 1300s; first
technique to create mass multiples.technique to create mass multiples.
PRINTED TEXT:PRINTED TEXT:
Invention attributed to JohannesInvention attributed to Johannes
Guttenberg, c.1455; familiar withGuttenberg, c.1455; familiar with
metals due to training as ametals due to training as a
goldsmith, and developed a methodgoldsmith, and developed a method
to mold metal letters which could beto mold metal letters which could be
arranged, inked, and printed.arranged, inked, and printed.

10. Impact of printing:Impact of printing:
First medium to create mass multiples, andFirst medium to create mass multiples, and
first medium aimed at a middle or lowerfirst medium aimed at a middle or lower
class market.class market.
““Those needing inspiration and a reminderThose needing inspiration and a reminder
of our Faith should buy a print—it costsof our Faith should buy a print—it costs
but a penny—and contemplate it.”but a penny—and contemplate it.”
--Geiler von Keysersberg--Geiler von Keysersberg

11. Impact of printing:Impact of printing:
First medium in which the subject, style,First medium in which the subject, style,
means of production are entirely of themeans of production are entirely of the
artist’s choosing, rather than a patron’s.artist’s choosing, rather than a patron’s.
Subject matter of interest to the artist andSubject matter of interest to the artist and
the popular market; leads tothe popular market; leads to
experimentation.experimentation.

12. Impact of printing:Impact of printing:
Prints travel—disseminate ideas.Prints travel—disseminate ideas.

13. Andrea Mantegna, ItalyAndrea Mantegna, Italy
Albrecht Dürer, GermanyAlbrecht Dürer, Germany

14. Impact of printing:Impact of printing:
Disseminate ideas—Disseminate ideas—propagandapropaganda

15. Page from the Passional Christi undPage from the Passional Christi und
Antichristi by Lucas Cranach (1521)Antichristi by Lucas Cranach (1521)

16. Characteristics of earliest printed images:Characteristics of earliest printed images:
--woodcut--woodcut
--typically religious subject matter--typically religious subject matter
--crude in style; untrained artists--crude in style; untrained artists
--colored to mimic style of illuminated--colored to mimic style of illuminated
manuscripts and panel paintingmanuscripts and panel painting

17. WOODCUT: RELIEF PRINTINGWOODCUT: RELIEF PRINTING
Background/negative spaceBackground/negative space
carved away so that linescarved away so that lines
to be inked and printedto be inked and printed
stand above the blockstand above the block

18. WOODCUT: RELIEF PRINTINGWOODCUT: RELIEF PRINTING
 Lines to beLines to be
inked andinked and
printedprinted
stand abovestand above
backgroundbackground

19. ENGRAVING:ENGRAVING:
--starts to become popular--starts to become popular
by mid-1400sby mid-1400s
--metal plate rather than--metal plate rather than
wood plate; greaterwood plate; greater
precision and detailprecision and detail
--more skilled artists: some--more skilled artists: some
training, often in metalwork,training, often in metalwork,
is necessaryis necessary
--prints are more expensive:--prints are more expensive:
aimed at a higheraimed at a higher
class, sophisticatedclass, sophisticated
audience with moreaudience with more
disposable income, anddisposable income, and
a greater variety of subjecta greater variety of subject
matter emergematter emerge
--uncolored: the lines carry--uncolored: the lines carry
detail enough without addeddetail enough without added
coloringcoloring

20. ENGRAVING: INTAGLIO PRINTINGENGRAVING: INTAGLIO PRINTING
The lines to be inked andThe lines to be inked and
printed are incised intoprinted are incised into
metal plate; printedmetal plate; printed
under pressure tounder pressure to
force paper into linesforce paper into lines

21. ENGRAVING: MARTIN SCHONGAUER (Germany, 1400s)ENGRAVING: MARTIN SCHONGAUER (Germany, 1400s)
Death of the VirginDeath of the Virgin AngelAngel

22. ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)
--The most famous of the--The most famous of the
German renaissance eraGerman renaissance era
artists and the mostartists and the most
famous printmaker whofamous printmaker who
ever lived.ever lived.
--His father was a goldsmith--His father was a goldsmith
who had emigrated fromwho had emigrated from
HungaryHungary
--He was trained in--He was trained in
Nuremberg in the studio ofNuremberg in the studio of
Michael Wolgemut, whoMichael Wolgemut, who
was a painter, but alsowas a painter, but also
among the most importantamong the most important
early German printmakersearly German printmakers
--His godfather was Anton--His godfather was Anton
Koberger, a famous bookKoberger, a famous book
printerprinter
Self Portrait at Age 26 (1498)Self Portrait at Age 26 (1498)

23. ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)
--When he finished his--When he finished his
apprenticeship, tried toapprenticeship, tried to
travel to Colmar to meettravel to Colmar to meet
Schongauer, but he wasSchongauer, but he was
already deadalready dead
--Traveled instead to Italy--Traveled instead to Italy
in 1494, and was therein 1494, and was there
again 1505-1507, mostlyagain 1505-1507, mostly
in Venicein Venice
--In 1512 entered the service--In 1512 entered the service
of the Holy Romanof the Holy Roman
Emperor Maximilian IEmperor Maximilian I
--On his death, even the--On his death, even the
harshest Italian criticharshest Italian critic
(Vasari, who hated non-(Vasari, who hated non-
Italian artists) called himItalian artists) called him
““a truly great artist.”a truly great artist.”
Self Portrait at Age 26 (1498)Self Portrait at Age 26 (1498)

24. Rhino: woodcutRhino: woodcut

25. Samson: woodcutSamson: woodcut Samson blockSamson block
(“Formschneider:” cuts(“Formschneider:” cuts
the wood block)the wood block)

26. APOCALYPSE (1498; 15 woodcuts with facing text )APOCALYPSE (1498; 15 woodcuts with facing text )

27. FALL OF MANFALL OF MAN
(ADAM AND EVE):(ADAM AND EVE):
Engraving (1504)Engraving (1504)

28. Modeled afterModeled after
classical Apolloclassical Apollo 
Modeled afterModeled after
 classical Venusclassical Venus
Bodily humorsBodily humors
cat: cholericcat: choleric
rabbit: sanguinerabbit: sanguine
ox: phlegmaticox: phlegmatic
elk: melancholicelk: melancholic

29. Modeled afterModeled after
classical Apolloclassical Apollo 
Modeled after theModeled after the
Apollo Belvedere;Apollo Belvedere;
interest in classicalinterest in classical
antiquity, Italianantiquity, Italian
RenaissanceRenaissance
innovationsinnovations

30. ““Master Engravings” (1513-1514)Master Engravings” (1513-1514)

31. CRANACH: PASSIONAL CHRISTI UND ANTICHRISTICRANACH: PASSIONAL CHRISTI UND ANTICHRISTI
Passional Christi:Passional Christi:
--13 pages of text and paired--13 pages of text and paired
images, comparing theimages, comparing the
example of Christ with theexample of Christ with the
actions of the Pope as aactions of the Pope as a
perversion of Christ’sperversion of Christ’s
teachings.teachings.
--Cranach provides the--Cranach provides the
illustrations; text written byillustrations; text written by
Philip Melancthon.Philip Melancthon.
Luther said the picturesLuther said the pictures
made the book “good formade the book “good for
laymen.”laymen.”
--Printed in 1521; goes through--Printed in 1521; goes through
21 editions, and some of the21 editions, and some of the
prints are also releases asprints are also releases as
single-leaf images.single-leaf images.

32. CRANACH: PASSIONAL CHRISTI UND ANTICHRISTICRANACH: PASSIONAL CHRISTI UND ANTICHRISTI
Christ driving moneyChrist driving money
changers from templechangers from temple
Pope sellingPope selling
indulgencesindulgences


33. CRANACH: PASSIONAL CHRISTI UND ANTICHRISTICRANACH: PASSIONAL CHRISTI UND ANTICHRISTI
Christ disavowsChrist disavows
secular authoritysecular authority
Pope demandsPope demands
secular authoritysecular authority
 Arrogant bishopsArrogant bishops
who assumewho assume
temporal ruletemporal rule
should beshould be
considered asconsidered as
false teachersfalse teachers
(2 Peter 2)(2 Peter 2)

34. CRANACH: PASSIONAL CHRISTI UND ANTICHRISTICRANACH: PASSIONAL CHRISTI UND ANTICHRISTI
Christ washing theChrist washing the
feet of othersfeet of others
Pope having hisPope having his
feet kissedfeet kissed
““It is indeed anIt is indeed an
un-Christianun-Christian
thing . . . forthing . . . for
(the Pope) a(the Pope) a
sinful man tosinful man to
let his feet belet his feet be
kissed by onekissed by one
who is awho is a
hundred timeshundred times
better thanbetter than
himself.”himself.”
——LutherLuther

35. MANNERISM:MANNERISM:
The Madonna with theThe Madonna with the
Long Neck by Parmigianino,Long Neck by Parmigianino,
Italy, c.1535Italy, c.1535
Other key manneristOther key mannerist
painters include:painters include:
Giulio RomanoGiulio Romano
PontormoPontormo
Rosso FiorentinoRosso Fiorentino
BronzinoBronzino

36. MANNERISM: PONTORMOMANNERISM: PONTORMO
Pontormo (1494-1557):Pontormo (1494-1557):
--Born Jacopo Carrucci--Born Jacopo Carrucci
in the city of Pontormo.in the city of Pontormo.
--May have studied--May have studied
under Leonardo daunder Leonardo da
Vinci before enteringVinci before entering
Andrea del Sarto’sAndrea del Sarto’s
workshop.workshop.
--One of the first--One of the first
Florentine artists toFlorentine artists to
turn away from theturn away from the
High Renaissance andHigh Renaissance and
towards Mannerism.towards Mannerism.

37. MANNERISM: ROSSO FIORENTINOMANNERISM: ROSSO FIORENTINO
Rosso FiorentionRosso Fiorention
(1494-1540):(1494-1540):
--Born in Florence--Born in Florence
--Studied under--Studied under
Andrea del Sarto,Andrea del Sarto,
but refused anybut refused any
permanent master.permanent master.
--Moved to France--Moved to France
and painted thereand painted there
for Francois I.for Francois I.
--Noted for his--Noted for his
strange quirks,strange quirks,
including a petincluding a pet
baboon; supposedlybaboon; supposedly
committed suicidecommitted suicide
after accusing aafter accusing a
friend of theft falsely.friend of theft falsely.

38. MANNERISM: BRONZINOMANNERISM: BRONZINO
Agnolo Bronzino (1503-Agnolo Bronzino (1503-
1572):1572):
--Born in Firenze.--Born in Firenze.
--Studied under Pontormo--Studied under Pontormo
and painted in Florence.and painted in Florence.
--Painted for Duke Cosimo--Painted for Duke Cosimo
I de Medici.I de Medici.

39. MANNERISM: PARMIGIANINOMANNERISM: PARMIGIANINO
Parmigianino (1503-Parmigianino (1503-
1540):1540):
--Born Girolamo--Born Girolamo
Francesco Mazzola inFrancesco Mazzola in
Parma.Parma.
--Worked in Rome,--Worked in Rome,
Bologna, and Parma.Bologna, and Parma.
--Accused of growing--Accused of growing
increasingly eccentric,increasingly eccentric,
becoming obsessedbecoming obsessed
with alchemy andwith alchemy and
allowing his beard toallowing his beard to
grow long andgrow long and
disordered.disordered.

40. MANNERISM:MANNERISM:
--Emphasis on artistic--Emphasis on artistic
virtuosity; sprezzaturavirtuosity; sprezzatura
--Deliberately difficult, to--Deliberately difficult, to
the point illegibility; if itthe point illegibility; if it
is too easy, it lacks classis too easy, it lacks class
--Grazia (grace): emphasis--Grazia (grace): emphasis
on eleganceon elegance
--Taste for bizarre and--Taste for bizarre and
novel, often includingnovel, often including
eroticerotic
--Abstraction—art--Abstraction—art
placing aestheticplacing aesthetic
concerns over worldlyconcerns over worldly
concerns and religiousconcerns and religious
valuesvalues

41. COUNCIL OF TRENTCOUNCIL OF TRENT
(1545-63):(1545-63):
Catholic response toCatholic response to
the Protestant Reformation.the Protestant Reformation.
Counter-ReformationCounter-Reformation
Calls for reform of artCalls for reform of art
within the Church, aswithin the Church, as
the Mannerist style wasthe Mannerist style was
considered inappropriate.considered inappropriate.

42. Giulio de’Fabriano (1564;Giulio de’Fabriano (1564;
Dialogues of the Errors ofDialogues of the Errors of
History Painting): criticizesHistory Painting): criticizes
contemporary Catholiccontemporary Catholic
artists for showing a lack ofartists for showing a lack of
piety and devotion andpiety and devotion and
paying no attention topaying no attention to
subject matter; rather, hesubject matter; rather, he
claims, they interested onlyclaims, they interested only
in “the charms of art.” Saysin “the charms of art.” Says
true beauty is in clarity, andtrue beauty is in clarity, and
both in style and subjectboth in style and subject
matter art should strivematter art should strive
for beauty through clarity.for beauty through clarity.

43. Archbishop Paleotti ofArchbishop Paleotti of
Bologna (Discourse onBologna (Discourse on
Sacred and ProfaneSacred and Profane
Images): art should be clearImages): art should be clear
and easy to understand—and easy to understand—
““books for the illiterate.”books for the illiterate.”
Desires an new art that willDesires an new art that will
““incite devotion and stingincite devotion and sting
the heart.”the heart.”

44. Some points of ChurchSome points of Church
decrees on the reform ofdecrees on the reform of
art:art:
--No “seductive charms;”--No “seductive charms;”
no eroticism,no eroticism,
lasciviousnesslasciviousness
--The main function of art--The main function of art
must be to incite devotionmust be to incite devotion
and inspire the heart of theand inspire the heart of the
worshipperworshipper
--Art should instruct the--Art should instruct the
worshipper in tenets of theworshipper in tenets of the
FaithFaith

45. EL GRECO: THE BURIAL OF COUNT ORGAZEL GRECO: THE BURIAL OF COUNT ORGAZ