de Beaufort AA ch17

1. Renaissance and Baroque
Europe

2. Humanism
New philosophical, literary, and artistic
movement
Focus on humans, not divine
A time of achievement,
exploration, and rediscovery
Renewed interest in the ideas
of classical Greece and Rome
Recovery of ancient works from
Muslim scholars
Elevation of individual artists,
not anonymous Middle-Ages
artists Realism
Depictions of light, space, and mass that
emphasize physical reality Giotto di Bondone,
Lamentation
Physical and spiritual realism
Giotto di Bondone. Lamentation. c.1305.
Fresco. 72" × 78".

3. 1
Early Renaissance in Italy
Wealth of merchants enabled competition in form of art
patronage Masaccio, The Holy Trinity
First painting based on systematic use of linear perspective
Vanishing point below base of the cross
Illusion of figures composed in three-dimensional space
Bodies and drapery realistic
Masaccio. The Holy Trinity. 1425.
Fresco. 21' 10-1⁄2" × 10' 5".

4. Early Renaissance in Italy
Popularity of the nude subject Donatello, David
First life-size, freestanding nude statue since ancient Roman
times
Biblical figure
Expressive pose
Derived from contrapposto
Likely commission for Cosimo de’ Medici
Donatello. David. c.1425–30.
Bronze. Height 62-1⁄4".

5. Early Renaissance in Italy
Botticelli, Birth of Venus
First large mythological painting
since antiquity
Lyric grace of lines shows Byzantine
influence
Decorative and flat background
makes figures appear to be in relief
“Pagan” goddess in a modest role
previously reserved for Mary
Focus on classical mythology based
on Neoplatonist philosophy
Preoccupation of business-
oriented, secular art patrons
Sandro Botticelli. Birth of Venus.
c.1480.
Tempera on canvas. 5’8-7⁄8” × 9’1-
7⁄8”.

6. 1
The High Renaissance
Between 1490–1530 in Florence, Rome, and
Venice
• Leonardo da Vinci, Michelangelo, Raphael
• Leonardo da Vinci
Art and science as two means to the same end,
knowledge
Studies of anatomy and ideas for mechanical
devices
The Fetus in the Womb
Much of the drawing is very accurate.
Leonardo da Vinci. The Fetus in the Womb. c.1510.
Pen and ink. 11-7⁄8” × 8-3⁄8”.

7. 1
• Leonardo da Vinci
Mona Lisa
Intriguing expression
Soft blurring of edges around figure
Special type of chiaroscuro
Humanism-portrait of an individual
Fairly common in ancient
Rome
Leonardo da Vinci. Mona Lisa. c.1503–6.
Oil on wood. 30-1⁄4” × 21”.

8. • Leonardo da Vinci
The Last Supper
Jesus as an accessible person who reveals his divinity in an earthly setting
Hidden geometry strengthens symbolism
Interior based on a one-point linear perspective system
Pediment suggesting halo
Leonardo da Vinci. The Last Supper. Santa Maria delle Grazie, Milan, Italy. c.1495–98.
Experimental paint on plaster. 14’5” × 28’1⁄4”.

9. 1
Leonardo da Vinci. The Last Supper:
Perspective lines as both organizing structure and symbol of content.

10. 1
Leonardo da Vinci. The Last Supper:
Christ’s figure as stable triangle, contrasting with active turmoil of the disciples.

11. • Michelangelo Buonarotti
David
Most powerful depiction of David as hero, defender of just
cause
Three years to finish large sculpture
Stance in contrapposto
Sense of anxiety and readiness for conflict
Changes in proportion and depiction of inner feeling
Michelangelo Buonarroti. David. 1501–4.
Marble. Height of figure 14’3”.

12. 1
• Michelangelo Buonarotti Sistine Chapel ceiling
Pope Julius II ordered Michelangelo to take on commission
Prophets and sibyls, and Old Testament figures on other
levels
The Last Judgment on the end wall above altar
Michelangelo Buonarroti. Frescoes in the Sistine Chapel.
Ceiling, 1508–12; end wall, 1536–41.
The Sistine Chapel. Vatican Museums, Rome, Italy.

13. 1
Diagram of the Sistine Chapel ceiling

14. 1
Genesis scene, The Creation of Adam
Expression of God as idealized, rational man with interest in humans

15. 1
The Renaissance in Northern
Europe
• Preoccupation with depicting life in the
real world
Jan van Eyck of Flanders
One of the first to use oil as painting
medium
Detail and depth
Brilliance and transparency of color
previously unattainable
The Arnolfini Portrait
Significant, symbolic objects indicate
fidelity, fertility in a marriage Accurate
figures and space
Jan van Eyck. The Arnolfini Portrait. 1434.
Oil on panel. 33-1⁄2” × 23-1⁄2”.

16. • Pieter Bruegel
Lives and surroundings of common people with rich landscapes Referred to as genre paintings
Hunters in the Snow
Mood scene of January utilizing illusion of deep space
Pieter Bruegel. Hunters in the Snow (Jager im Schnee). 1565.
Oil on panel. 46-1⁄2” × 63-3⁄4”

17. 1
• Venetian painting more lavish than inland Italian artists
Veronese, Feast in the House of Levi
Depicts sumptuous banquet from New Testament but originally intended to be a Last Supper depiction
Led to accusations of heresy by Inquisition
Important trial for artistic freedom
Defense that artist should be free to interpret subjects as he wishes
Paolo Veronese. Feast in the House of Levi. 1573.
Oil on canvas. 18’4” × 16’7”.

18. 1
Mannerism
Artists extended and questioned heritage of
Raphael and Michelangelo
Masters were celebrated for seemingly reaching
perfection
Younger painters struggled with how to proceed
afterward
Rosso Fiorentino, “Red the Florentine One of
most radical Mannerists
Developed a tangled and problematic style
Rosso Fiorentino. Moses Defending the
Daughters of Jethro. 1523. Oil on canvas. 63” ×
46”.

19. Baroque
About 1600–1750
Art moved in the direction of drama, emotion, and
splendor.
Set aside balanced harmony of Renaissance artists in favor
of innovative use of space Foreshortening and sharp
diagonals
Counter-Reformation of Roman Catholic Church
Italian Baroque
Caravaggio
Down-to-earth realism and dramatic use of light Used
directed light and strong contrasts
Chiaroscuro
The Conversion of Saint Paul
Foreshortened figure of Paul realistic to viewer
Emotional realism perceived by some as too strong for
those accustomed to images representing piety
Michelangelo Merisi da Caravaggio. The Conversion of
Saint Paul. 1600–1.
Oil on canvas. 100-1⁄2” × 69”

20. Italian Baroque
Artemisia Gentileschi, Judith and the
Maidservant with the Head of Holofernes
Influence of Caravaggio
Dramatic lighting
Off-balance composition
Scene from Old Testament where Judith
beheaded Assyrian general Holofernes
Artemisia Gentileschi. Judith and the
Maidservant with the Head of
Holofernes. c.1625.
Oil on canvas. 6’1⁄2” × 4’7-3⁄4”.

21. 1
Italian Baroque
Gianlorenzo Bernini, David
As influential in sculpture as Caravaggio in
painting
Life-size, not monumental
Twisted body depicts drama of struggle
Gianlorenzo Bernini. David. 1623. Marble.
Life-size.

22. 1
Italian Baroque
Gianlorenzo Bernini
Elaborate orchestrations are climax of
Italian Baroque expression
The Ecstasy of Saint Teresa
Intensity of art apparent
Portrayal of a vision from her diary
Skylight adds light to drama of the
sculpture
Moment of greatest emotional impact
Departure from the classical norm
influenced sculptors throughout Europe
Gianlorenzo Bernini. The Ecstasy of Saint
Teresa. 1645–1652.

23. 1
The Baroque in Flanders
and the Netherlands
Peter Paul Rubens
The Raising of the Cross
Sensual, well-muscled figures
Results of viewing works by
Michelangelo and Caravaggio
High degree of realistic detail Shows
Flemish heritage
Peter Paul Rubens. The Raising of the
Cross. 1610–11.
Oil on panel. One part of a three-part
work. 15’2” × 11’2”.

24. 1
The Baroque in Flanders and
the Netherlands
Rembrandt
One of Western world’s most revered
artists
Return of the Prodigal Son
Shows influence of Italian Baroque painters
Biblical scene of disobedient son returning
after wasting inheritance
Portrays miraculous restoration of
affection between estranged people, not
vision of a saint
Rembrandt van Rijn. Return of the Prodigal
Son. c.1668–69.
Oil on canvas. 8’8” × 6’8”.

25. 1
The Baroque in Flanders
and the Netherlands
Jan Vermeer
Genre paintings raised daily life to great
solemnity
Concentrated on the way light reveals
each color, texture, and detail Images
had a clear, luminous vitality
The Kitchen Maid
Light has a mystical quality
Pouring milk seems like solemn ritual
Jan Vermeer. The Kitchen Maid. c.1658.
Oil on canvas. 18” × 16-1⁄8”

26. 1
The Baroque in Spain and
France
Diego Velázquez
Painted for Philip IV, King of Spain
The Maids of Honor
Unclear subject becomes a riddle
Artist stares out from behind a canvas
King's daughter in the middle
King and Queen in the mirror at the back
Diego Velázquez. Las Meninas (The Maids
of Honor). 1665.
Oil on canvas. 10’5” × 9’.

27. 1
The Baroque in Spain
and France
French aristocratic splendor
Palace of Versailles built for
King Louis XIV Hall of Mirrors
Expensive glassworks
Visual spectacle reflecting
status
Jules Harouin-Mansart. The Hall
of Mirrors. Versailles. Begun
1678. Length approx. 240’.

28. 1
Rococo
Light, playful version of Baroque
Enthusiastic sensuality
Imitation of curved shapes of shells
Arts moved from marble halls to
fashionable town houses
Hôtel de Soubise
Romantic visions of life free from
hardship
Germain Boffrand. Salon de la
Princesse. Hôtel de Soubise, Paris.
Begun 1732

29. 1
Fragonard’s Happy Accidents of the
Swing
Well-dressed, idle young woman
admired by a hiding youth
Story line provided by flying shoe that
may reveal the young man
Contrasts of light and dark and off-
balance composition learned from
Baroque
Jean-Honoré Fragonard. Happy
Accidents of the Swing. 1767.
Oil on canvas. 31-7⁄8” × 25-1⁄4”