““NORTHERN RENAISSANCE”: NORTHERN RENAISSANCE”: Northern Europe (especiallyNorthern Europe (especially

modern day Holland, Belgium, modern day Holland, Belgium, and Germany)and Germany)

The Arnolfini Wedding Portrait The Arnolfini Wedding Portrait by Jan van Eyckby Jan van Eyck

England England

France France GermanyGermany

Flanders: Flanders: (Holland(Holland and Belgium)and Belgium)

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 people one 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 Portrait The Arnolfini Wedding Portrait by Jan van Eyckby Jan van Eyck

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.”

Deposition and Portrait of a Woman Deposition 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

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 from style descended from German gothicGerman gothic

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’Hertogensbosch s’Hertogensbosch where he lived (his realwhere he lived (his real name is Jerome van name 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

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 his but also famous for his pioneering work in landscapepioneering work in landscape and depictions of peasants, and depictions of peasants, as well as moralizing and as well as moralizing and satirical messages satirical messages

GermanyGermany

PRINTED IMAGESPRINTED IMAGES

BOIS PROTAT:BOIS PROTAT:Oldest survivingOldest survivingblock for printingblock for printing

(c. 1380; for printing(c. 1380; for printingon cloth altar cover)on cloth altar cover)

PRINTED IMAGES:PRINTED IMAGES:Begins in Europe in 1300s; firstBegins in Europe in 1300s; firsttechnique to create mass multiples.technique to create mass multiples.

PRINTED TEXT:PRINTED TEXT:Invention attributed to JohannesInvention attributed to JohannesGuttenberg, c.1455; familiar withGuttenberg, c.1455; familiar withmetals due to training as a metals due to training as a goldsmith, and developed a method goldsmith, and developed a method to mold metal letters which could beto mold metal letters which could bearranged, inked, and printed.arranged, inked, and printed.

Impact of printing:Impact of printing:First medium to create mass multiples, and First medium to create mass multiples, and first medium aimed at a middle or lowerfirst medium aimed at a middle or lowerclass market.class market.

““Those needing inspiration and a reminderThose needing inspiration and a reminderof our Faith should buy a print—it costs of 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

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 theartist’s choosing, rather than a patron’s.artist’s choosing, rather than a patron’s.Subject matter of interest to the artist and Subject matter of interest to the artist and the popular market; leads tothe popular market; leads toexperimentation.experimentation.

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

Andrea Mantegna, ItalyAndrea Mantegna, Italy

Albrecht Dürer, GermanyAlbrecht Dürer, Germany

Impact of printing:Impact of printing:Disseminate ideas—Disseminate ideas—propaganda propaganda

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

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

WOODCUT: RELIEF PRINTINGWOODCUT: RELIEF PRINTING

Background/negative spaceBackground/negative spacecarved away so that linescarved away so that linesto be inked and printedto be inked and printedstand above the blockstand above the block

WOODCUT: RELIEF PRINTINGWOODCUT: RELIEF PRINTING

Lines to beLines to be inked andinked and printed printed stand abovestand above backgroundbackground

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; greater wood 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 higher aimed at a higher class, sophisticated class, sophisticated audience with moreaudience with more disposable income, and disposable income, and a greater variety of subject a greater variety of subject matter emergematter emerge--uncolored: the lines carry--uncolored: the lines carry detail enough without addeddetail enough without added coloringcoloring

ENGRAVING: INTAGLIO PRINTING ENGRAVING: INTAGLIO PRINTING

The lines to be inked and The lines to be inked and printed are incised into printed are incised into

metal plate; printed metal plate; printed under pressure to under pressure to

force paper into linesforce paper into lines

ENGRAVING: MARTIN SCHONGAUER (Germany, 1400s) ENGRAVING: MARTIN SCHONGAUER (Germany, 1400s)

Death of the VirginDeath of the Virgin AngelAngel

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 most artists 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 printerprinterSelf Portrait at Age 26 (1498) Self Portrait at Age 26 (1498)

ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)ALBRECHT DÜRER (1471-1528, Nuremberg, Germany)--When he finished his --When he finished his apprenticeship, tried to apprenticeship, 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)

Rhino: woodcutRhino: woodcut

Samson: woodcutSamson: woodcut Samson blockSamson block(“Formschneider:” cuts(“Formschneider:” cuts

the wood block)the wood block)

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

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

Modeled after Modeled after classical Apollo classical Apollo

Modeled afterModeled after classical Venusclassical Venus

Bodily humorsBodily humorscat: cholericcat: cholericrabbit: sanguinerabbit: sanguineox: phlegmaticox: phlegmaticelk: melancholicelk: melancholic

Modeled after Modeled after classical Apollo classical Apollo

Modeled after theModeled after theApollo Belvedere;Apollo Belvedere;interest in classicalinterest in classicalantiquity, Italian antiquity, Italian Renaissance Renaissance innovationsinnovations

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

CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI CRANACH: 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 a actions of the Pope as a perversion of Christ’s perversion of Christ’s teachings.teachings.--Cranach provides the --Cranach provides the illustrations; text written by illustrations; text written by Philip Melancthon. Philip Melancthon. Luther said the pictures Luther said the pictures made the book “good for made 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.

CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI

Christ driving moneyChrist driving moneychangers from templechangers from temple

Pope sellingPope sellingindulgencesindulgences

CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI

Christ disavowsChrist disavowssecular authoritysecular authority

Pope demandsPope demandssecular authoritysecular authority

Arrogant bishopsArrogant bishops who assume who assume temporal rule temporal rule should be should be considered asconsidered as false teachersfalse teachers (2 Peter 2)(2 Peter 2)

CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI CRANACH: PASSIONAL CHRISTI UND ANTICHRISTI

Christ washing theChrist washing thefeet of othersfeet of others

Pope having hisPope having hisfeet kissedfeet kissed

““It is indeed an It is indeed an un-Christian un-Christian thing . . . for thing . . . for (the Pope) a (the Pope) a sinful man to sinful man to let his feet be let his feet be kissed by one kissed by one who is a who is a hundred timeshundred timesbetter than better than himself.”himself.”——Luther Luther

MANNERISM:MANNERISM:The Madonna with theThe Madonna with theLong Neck by Parmigianino,Long Neck by Parmigianino,Italy, c.1535Italy, c.1535

Other key manneristOther key manneristpainters include:painters include:Giulio RomanoGiulio RomanoPontormoPontormoRosso FiorentinoRosso FiorentinoBronzinoBronzino

MANNERISM: PONTORMO MANNERISM: 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’s Andrea 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.

MANNERISM: ROSSO FIORENTINO MANNERISM: 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 any but 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 a after accusing a friend of theft falsely.friend of theft falsely.

MANNERISM: BRONZINO MANNERISM: 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.

MANNERISM: PARMIGIANINO MANNERISM: 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 obsessed becoming obsessed with alchemy and with alchemy and allowing his beard toallowing his beard to grow long and grow long and disordered.disordered.

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

COUNCIL OF TRENT COUNCIL OF TRENT (1545-63): (1545-63): Catholic response to Catholic response to the Protestant Reformation.the Protestant Reformation.

Counter-Reformation Counter-Reformation

Calls for reform of art Calls for reform of art within the Church, as within the Church, as the Mannerist style was the Mannerist style was considered inappropriate.considered inappropriate.

Giulio de’Fabriano (1564;Giulio de’Fabriano (1564;Dialogues of the Errors ofDialogues of the Errors ofHistory Painting): criticizes History Painting): criticizes contemporary Catholic contemporary Catholic artists for showing a lack of artists for showing a lack of piety and devotion and piety and devotion and paying no attention to paying no attention to subject matter; rather, hesubject matter; rather, heclaims, they interested onlyclaims, they interested onlyin “the charms of art.” Says in “the charms of art.” Says true beauty is in clarity, andtrue beauty is in clarity, andboth in style and subject both in style and subject matter art should strive matter art should strive for beauty through clarity.for beauty through clarity.

Archbishop Paleotti of Archbishop Paleotti of Bologna (Discourse on Bologna (Discourse on Sacred and Profane Sacred and Profane Images): art should be clear Images): 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 will Desires an new art that will ““incite devotion and sting incite devotion and sting the heart.”the heart.”

Some points of Church Some points of Church decrees on the reform of decrees on the reform of art:art:--No “seductive charms;” --No “seductive charms;” no eroticism, no eroticism, lasciviousness lasciviousness --The main function of art --The main function of art must be to incite devotionmust be to incite devotion and inspire the heart of the and inspire the heart of the worshipper worshipper --Art should instruct the --Art should instruct the worshipper in tenets of the worshipper in tenets of the Faith Faith

EL GRECO: THE BURIAL OF COUNT ORGAZ EL GRECO: THE BURIAL OF COUNT ORGAZ