Post on 11-May-2015
Renaissance and Baroque Europe
Chapter 16
Renaissance
• Renaissance-”rebirth”
• Science was a major influence
• Accuracy and naturalism were valued
• A revived interest in the art and ideas of classical Greece and Rome
• Major Renaissance ideas stemmed from Italy
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Giotto di Bondone. Lamentation. Scrovegni Chapel, Padua, Italy. c. 1305. 72" × 78".
Lamentation by Giotto
• Departed from the abstract Byzantine style
• Giotto began to show mass, space, and light in a more naturalistic way
• The scene is very stage-like and shallow in terms of space
• He takes pains to portray the emotion and the grief of the scene
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Masaccio. The Holy Trinity. Santa Maria Novella, Florence, Italy. 1425. 21'10-1/2" × 10'5".
The Holy Trinity by Masaccio
• Considered to be the first painting made using linear perspective– Filippo Brunelleschi is considered the “inventor” of linear
perspective
• The trinity is represented here– God the father as a seated figure
– Christ the son on the cross
– The Holy Spirit as a white dove
• On either side of the cross stand Mary and St. John• Kneeling on the outside are the donors that paid for the painting• Masaccio’s figures have lifelike presence and realistic folds in
their clothing
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Donatello. David. c. 1425–1430.Height 62-1/4".
David by Donatello
• Donatello sculpts the way that Masaccio paints• Donatello studied the Greek and Roman
sculptures – He takes a more naturalistic approach
• This sculpture show David just after slaying the giant Goliath
• David stands in a contrapposto position • This David is more sensual than most previous
sculptures
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Sandro Botticelli. Birth of Venus. c. 1480.5'8-7/8" × 9'1-7/8".
Birth of Venus by Botticelli
• The first large mythological painting since antiquity
• Portrays the goddess Venus at her birth• The posture denotes modesty, probably
copied from the Roman sculpture of Venus• He shows the idealized female form, an idea
taken from Greece, but infuses it with feeling • Putting a pagan goddess as a central figure
in a painting was revolutionary, usually that spot was reserved for Mary
The High Renaissance
• High Renaissance-between 1490-1530
• Italian art reached its peak in the cities of Florence, Rome, and Venice
• The major artists Leonardo, Michelangelo, and Raphael developed a style that combined Christianity and Greek philosphy
Leonardo da Vinci
• Highly intelligent and curious, Leonardo kept journals of his research
• His journals contain, anatomy studies, explorations, and mechanical devices
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Leonardo da Vinci. The Babe in the Womb. c. 1510.11-7/8" × 8-3/8".
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Leonardo da Vinci. Mona Lisa. c. 1503–1506.30-1/4" × 21".
Mona Lisa by Leonardo da Vinci
• Her actual identity is unknown
• Her slight smile is world famous
• This piece is also famed for it’s hazy quality called sfumato– Sfumato-”without lines”
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Leonardo da Vinci. The Last Supper. Santa Maria delle Grazie, Milan, Italy. c. 1495–1498.
14'5" × 28'-1/4".
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Leonardo da Vinci. The Last Supper. Perspective lines as both organizing structure and symbol of content.
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Leonardo da Vinci. The Last Supper. Christ's figures as stabe triangle, contrasting with active turmoil of the disciples.
Last Supper by Leonardo da Vinci
• Contains a hidden geometry and linear perspective
• Leonardo depicts Jesus as an approachable and human being
• Jesus sits in the center surrounded by his disciples• The fresco depicts the disciples’ reactions to
Jesus' announcement that one of them will betray him
• Judas is the darkest figure and the only one in full profile showing his guilt
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Michelangelo Buonarroti. David. 1501–1504.Height of figure 14'3".
David by Michelangelo Buonarotti
• Depicts the biblical hero David just before his battle with Goliath
• Made in the idealized Greek style• David stands in contrapposto with his
weight on one foot as he begins to tense for his battle
• This took 3 years for Michelangelo to sculpt
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Michelangelo Buonarroti. The Creation of Adam. Frescoes on the ceiling of The Sistine Chapel. Vatican, Rome. 1508–1512.
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Michelangelo Buonarroti. The Sistine Chapel. Frescoes on the ceiling of The Sistine Chapel. Vatican, Rome. 1508–1512.
Sistine Chapel Ceiling by Michelangelo
• Michelangelo had to be talked into this commission
• Took four years to complete• In the highest portion, he paints the creation
of the world• In the second portion, he paints prophets and
sibyls• In the lowest level, he paints the judgement
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Raphael (Raffaello Sanzio). Paul Preaching at Athens. 1515–1516. 11'5-1/2" × 14'6-3/4".
Paul Preaching at Athens by Raphael
• Sophisticated use of space and a very real 3d quality
• Reason can transmit religious truth
The Renaissance in Northern Europe
• A new interest in realism was also arising in northern Europe
• These artist were even more concerned with depicting life in the real world
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Jan van Eyck. The Arnolfini Portrait. The Portrait of Giovanni, Arnolfini and his Wife Giovanna Cenami. 1434.
33-1/2" × 23-1/2".
The Arnolfini Portrait by Jan van Eyck
• Jan van Eyck was THE painter of Flanders (Belgium, Netherlands, France)
• He was one of the first to use oil paint • He mostly painted on wooden panels• Jan van Eyck is know for his use of detail and the
illusion of depth and light• In the Arnolfini portrait, each object has a specific
meaning or significance• The reflection in the mirror is very exact and you
can see Jan van Eyck in that mirror as he paints the couple
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Pieter Bruegel. Hunters in the Snow (Jager im Schnee). 1565.46-1/2" × 63-3/4".
Hunters in the Snow by Pieter Bruegel
• Pieter Bruegel developed a new style
• He painted the lives of the surrounding countryside and the common people
• This is called a genre painting
• This painting is from a series depicting the seasons Andrea Palladio. Villa Rotonda. Vicenza, Italy. 1567–1570.
Baroque
• Baroque 1600-1770
• Uses the techniques of the Renaissance but moves in the direction of drama, emotion, and splendor
• A new sense of vivid realism
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Michelangelo Merisi da Caravaggio. The Conversion of Saint Paul. 1600-1601.
100-1/2" × 69".
The Conversion of St. Paul by Caravaggio
• Created a dramatic use of light called chiaroscuro, a strong directional light
• This painting shows St. Paul’s earth shattering conversion
• An extreme view that uses foreshortening
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Gian Lorenzo Bernini. David. 1623.Life-size.
David by Bernini
• A life size sculpture rather than monumental in size
• In this depiction of David, Bernini decides to show David in the midst of the battle about to fling the stone that kills Goliath
• Emotional intensity is key
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Gian Lorenzo Bernini. The Ecstasy of Saint Teresa. Detail of the altar. 1645–1652.
Life-size.
The Ecstasy of St. Theresa by Bernini
• Here Bernini depicts the vision described by St. Theresa in her diary
• She saw an angel who seemed to pierce her heart with a flaming gold arrow, giving her great pain and pleasure
• He shows that moment of greatest intesity
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Peter Paul Rubens. The Raising of the Cross. 1601-1611.462 × 339 cm.
The Raising of the Cross by Peter Paul Rubens
• Strong diagonal composition
• The musculature of the men was influenced by the Italian painters he saw on a trip to Italy
• Strong sense of action
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Diego Velázquez de Silva. The Maids of Honor (Las Meninas). 1665.138 × 276 cm.
The Maids of Honor by Diego Velasquez de Silva
• The artist is visible peaking out from behind his canvas
• The maids of honor surround the king’s daughter– She is the brightest object in the painting
• The king and queen are reflected in the mirror
• This painting is an elaborate game
The Kitchen Maid by Jan Vermeer
• Takes everyday life and raises it to the level of a religious portrayal
• Light reveals each texture in exquisite detail
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Jan Vermeer. The Kitchen Maid. c. 1658.18" × 16-1/8".
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Pierre Patel. Versailles. c. 1665.
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Germain Boffrand. Salon de la Princesse, Hôtel de Soubise. Paris. Begun 1732.