art1100 lva 16

Art 1100

Joan Jonas“They Come to Us without a Word”U.S. Pavilion, Venice Biennale, 2015

Chapter 16

Toward the Renaissance

Monasteries also served as translation centers for Islamic texts. It is from these that Aristotle’s philosophy is reintroduced to Europe after having been lost.

Thomas Aquinas, synthesized Aristotelian philosophy with Christian belief in works like Summa Theologica. Aristotle thought that objects in nature, didn’t refer to an ideal form elsewhere as Plato did, but rather had their purpose IN their form that was given by the Prime Mover.

“Christianizing” Aristotle, simply meant switching Prime Movers. For Aquinas then the study of actual objects in the world, would reveal more about God as well as nature.

“Reason does not destroy faith, but perfects it.”


Renaissance Humanism: A synthesis of Classical Humanism and Christianity.

Previously the sinful nature of humanity was emphasized. Human thought and perception of the world thought to be insufficient and in need of God’s revelation in the church.

But humanists in this time period, Sir Thomas More among them, viewed humanity as God’s highest creation and the intellect capable of revealing the truth from observation and reason.

One can see the echoes of Greek thought in this brand of humanism, but with the moral check of Christianity.

By the early 1400’s we begin to see a break with the Middle Ages art styles in favor of:

- Renewed interest in Classicism - Naturalistic spatial techniques

- “Realistic” proportion - Depiction of movement

Two artists very influential in making this transition, which is considered a precursor to the Renaissance style, are Duccio and Giotto.


The Birth of the Virgin, 1467Fra Carnevale (Bartolomeo di Giovanni Corradini) (Italian, Marchigian, active by 1445, died 1484)Tempera and oil on wood


Cappella degli Scrovegni nell'Arena (Padua, Italy)


Giotto’s frescoes in the Arena Chapel (Capella degli Scrovegni) at Padua comprise his earliest work and set the tone for many of the Renaissance innovations in naturalism.

GiottoTitle Presentation of Mary in the Temple with ornamental bandWork Type frescoDate c. 1305

Giotto, Socle: Justice and TemperanceDate c. 1305Location Cappella degli Scrovegni nell'Arena (Padua, Italy)

Giotto, Our Lady of the AnnunciationDate c. 1305 Location Cappella degli Scrovegni nell'Arena (Padua, Italy)

Giotto Entry into Jerusalem fresco Date c. 1305 Cappella degli Scrovegni nell'Arena (Padua, Italy)

GiottoTitle Last JudgmentWork Type frescoDate c. 1305LocationCappella degli Scrovegni nell'Arena (Padua, Italy)

During the early fifteenth century, Europe continued to transition from feudal estates ruled by wealthy landowners to charter cities that functioned as powerful economic centers.

As these cities took on greater political and financial authority, a middle class, made up of artisans, bankers, and merchants, played a more substantial cultural role with their greater wealth and independence.

Patronage

Cosimo de' Medici (1389–1464)Northern ItalianOil on walnut panel, 20.9 x 16.5 cml

A merchant or prince would commission a work of art.

Patrons

• Mostly Secular art objects.• Individual reputation became more important (and lucrative)•Artists seen as individually gifted, or genius.

The Renaissance happens in Florence because of one patron family’s obsession with all things Classical, the Medici. The father Cosimo de’Medici, financed public sculpture, payed for artists, created an art academy and held a private collection of ancient texts.

Portrait of Alvise Contarini (recto) and a tethered roebuck (verso); portrait of a woman (recto) and scene in grisaille (verso), ca. 1485–95Jacometto Veneziano (Italian, Venetian, active 1472–97)Oil on panel

Patronage

Giorgio Vasari First Art Historian

Famous book: Lives of the Artists

Categorized Medieval art as “primitive”Believed Renaissance progress was based on the ideal of “observation of nature”, holding to its standard of “perfection”.

Turned artists into notable individual personalities with his extensive accounts of his contemporary artists, Da Vinci, Cimabue, Giotto, etc.

The Early Renaissance in Italy

• Donatello (Donato di Niccolò di Betto Bardi ) 1386 -1466

• Sculptor

• Used detailed study of Human Body as the framework for sculpture once again.

Donetello, St. Mark,

1411-1414.

“But [a method of learning by copying] would be good if it was founded upon works that were excellent in composition and by diligent masters; and since such masters are so rare that few are to be found, it is safer to go direct to the works of nature than to those which have been imitated from her originals with great deterioration and thereby to acquire a bad method, for he who has access to the fountain does not go to the water-pot.”

-Leonard da Vinci


Renaissance artists and doctors both sought to study anatomy, they openly used cadavers to explore the human musculature and organs.

De humani corporis fabrica, 1555Andreas Vesalius (1514–1564)BaselRare printed book


Two Flayed Men and Skeletons, ca. 1540–1545Domenico del Barbiere (ca. 1506–ca. 1570), after Rosso Fiorentino (Italian, Florentine, 1494–1540), Engraving

e’corche’: or flayed men.The Early Renaissance in Italy

Andrea Mantegna. Dead Christ, c. 1500. Tempera on canvas,

Foreshortening

DonatelloSt. George c. 1416-17 MarbleHeight 209 cmMuseo dell'Opera del Duomo, Florence

St. George was commissioned by the Armorer's guild and depicts its patron saint. The original work probably displayed bronze military equipment, such as a helmet and weapons (a lance or sword in the cavity of the right hand which has a clenched grip--now holding nothing).

http://www.artchive.com/artchive/D/donatello.html

We’re going to compare 3 sculptures of David.

c. 1430-1440. Bronze, 5' 2 1/2" high.

Donatello’s David

David #1

David in the Bargello, Florence

David #1

Rebellious Slave Michelangelo1513-16MarbleMusée du Louvre, Paris

Michelangelo (Michelangelo di Lodovico Buonarroti Simoni) 1475- 1564

• Sculptor

• Painter

• Architect

Also used detailed study of human body. But also distorted the figure’s proportions to idealize their anatomy.

The High Renaissance in Rome

http://www.artchive.com/artchive/M/michelangelo.html

Michelangelo. Pietà, 1498/9-1500.

Marble, 5' 8 1/2" high. Saint Peter's,

Vatican, Rome.


The first known Italian sculpture of the Pietà is that by Michelangelo in St Peter’s, Rome. Michelangelo’s highly polished marble sculpture unites the two figures into a balanced, pyramidal composition. To minimize the awkwardness of having one adult body atop another, he made Mary larger than Christ, and arranged her pose and drapery to form a large base that gracefully accommodates his figure.


Bacchus by Michelangelo, early work (1496–97)

Michelangelo Buonarroti, David1501- 1504 CE, Accademia Gallery, Florence, Italy. 16 feet 11.15 inches tall. Carrara marble.

David #2

Michelangelo’s David

Michelangelo Buonarroti, David1501- 1504 CE, Accademia Gallery, Florence, Italy. 16 feet 11.15 inches tall. Carrara marble.

Sandro Botticelli, Mars and Venus, c. 1475. Tempera on panel,

Botticelli: Combined Classical themes with Christian overtones.A vibrant and playful style that emphasized the physical body.



Sandro Botticelli The birth of Venus1483 - 1485, Uffizi Gallery, Florence. Tempera on panel. 2785 x 1725 mm

Sandro Botticelli shows the Renaissance tendency to mix Greek gods and goddesses with Christian themes. He used a more linear style with shallow modeling, unlike many High Renaissance artists, as seen in the flattened stylized water. Zephyr and his wife blow Venus toward shore while the Hora of “spring” waits to clothe her. Venus’s pose is modeled after a Roman sculpture that Botticelli studied for this composition. In Neo-Platonic thought, Venus was identified with both Eve and the Virgin Mary. Note the inverted triangular composition in order to bring logic to the composition.


Praxiteles, Aphrodite of Knidos, c. 330 B.C.E Marble.


Sandro Botticelli The birth of Venus1483 - 1485, Uffizi Gallery, Florence. Tempera on panel. 2785 x

1725 mm

https://www.google.com/culturalinstitute/u/0/asset-viewer/the-birth-of-venus/MQEeq50LABEBVg?

hl=en

Sandro Botticelli The birth of Venus1483 - 1485, Uffizi Gallery, Florence. Tempera on panel. 2785 x 1725 mm

Sandro Botticelli, Primavera, c. 1482. Tempera on panel


A Dominican monk, Fra Girolamo Savonarola (active in Florence 1490–1498),had begun to preach impassioned sermons denouncing the worldliness of Florence.

He particularly emphasized the inferiority of manmade art compared to the inherent perfection of nature. He railed against idolatrous images in churches and criticized artists for basing holy figures on identifiable living people.

Savonarola is associated with the Bruciamenti delle Vanità (bonfires of the vanities), especially with the two that took place in 1497-98, in which dice, playing cards, cosmetics, mirrors, false hair, profane books and even paintings were destroyed. He did, however, support art as a means of moral instruction and proclaimed ‘you who cannot read, go to paintings and contemplate the life of Christ and his saints’.

Sandro Botticelli, Mystic Nativity, 1501; National Gallery, London

Many Florentines felt convicted by Savonarola’s words and processions of weeping people wound through the streets. Botticelli, too, fell into a state of religious fervor. In a dramatic gesture of repentance, he burned many of his earlier paintings and began to produce highly emotional pictures pervaded by an intense religiosity.

Leonardo da Vinci, Mona Lisa, ca. 1503-1505.

Leonardo Da Vinci (1452–1519)The ‘Renaissance Man’ who mastered many arts.

• Poetry• Drawing• Painting• Anatomy• Mechanics• Architecture,etc.

Most works only survive as drawings in his notebooks.


Leonardo da Vinci, Madonna and Child with Saint Anne, C.

1503-06.

sfumato: smoke-like way of depicting soft lighting in a painting.


Leonardo DA VINCIDrapery for a Seated Figure1470

Camera Obscura: Early Pinhole Optics

The term 'camera obscura' means 'dark chamber', because the instrument typically took the form of a closed room, the windows shuttered, with a small hole in a blind or door. Light entering the room through the hole then cast an image onto a screen or onto the wall opposite the door.

A contemporary camera obscura in action.


Linear Perspective: A system of the representation of space that mimics the way in which we see.

1.The apparent size of objects gets smaller with distance.2.Parallel lines converge to points on the ‘horizon’.

Leonardo da Vinci. Perspective study for the Adoration of the Magi, c. 1481.

- Renewed interest in Classicism - Naturalistic spatial techniques

- “Realistic” proportion - Depiction of movement

The Renaissance

Leonardo da Vinci, Last Supper, ca. 1485-1498. Fresco, oil, tempera and varnish on plaster,

http://milan.arounder.com/en/churches/santa-maria-delle-grazie-church/leonardo-s-last-supper.html


Leonardo’s Last Supper. A. Uses linear perspective “vanishing point” to center the

composition on Jesus.B. Located in the dining hall of the monastery the

composition continues the line of sight of the room “into” the painting. This reinforces the feeling that the painting is part of the room, and Jesus is close to the monks.

C. Compared to the other painting on the other side of the room, Leonardo’s painting is easy to understand and logically laid out.

http://milan.arounder.com/en/churches/santa-maria-delle-grazie-church/leonardo-s-last-supper.html

The Crucifixion Giovanni Donato Montorfano, Santa Maria delle Grazie, Milan 1495


http://milan.arounder.com/en/churches/santa-maria-delle-grazie-church


Leonardo da Vinci, 1498Tempera on plasterDimensions: 267 m²[1]Location:Sforza Castle, Milan

Detail of Leonardo da Vinci, 1498 Sforza Castle, Milan

“Similarly, in the members of a temple there ought to be the greatest harmony in the symmetrical relations of the different parts to the general magnitude of the whole.

Then again, in the human body the central point is naturally the navel. For if a man can be placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom.

And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are completely square.”

(Marcus Vitruvius, De Architectura, Book III, Chapter 1, p 3)

VitruviusRoman architect and engineer. 80- 15 BCE

Vitruvian Man

The Vitruvian Man, ca. 1492Leonardo da Vinci (Italian, 1452–1519)Pen and ink;

Renaissance Humanism returns to “man as the measure of all things.”

Santa Maria del Fiore, also known as the Duomo, Florence Italy, 1420–36

Renaissance Architecture

Filippo Brunelleschi (1377–1446) Considered the first Renaissance architect.


Known for the dome of Florence Cathedral (Santa Maria della Fiore, also known as “the Duomo”).

His buildings use an underlying system of proportion. With a unit of measurement whose repetition throughout the building created a sense of harmony.

Filippo Brunelleschi: dome of Florence Cathedral, 1418–36; diagram showing construction

One example is the Ospedale degli Innocenti (Florence, 1419). This building is based on a modular cube, which determines the height of and distance between the columns, and the depth of each bay.


Relief from the Doors of Paradise, 1425–52Baptistery of San Giovanni, FlorenceLorenzo Ghiberti (Italian, ca. 1378–1455)


http://florence.arounder.com/en/churches/florence-s-baptistry/baptistry-interior.html

Baptistry Interior


Outside of the Santa Maria del Fiore in Florence stands a Romanesque Bapistry. This octagonal building is what Ghilberti's bronze doors mentioned on page 396 hung upon.

http://florence.arounder.com/en/churches/florence-s-baptistry/baptistry-interior.html

http://florence.arounder.com/en/churches/florence-s-cathedral/altar.html

Santa Maria del Fiore in Florence


http://florence.arounder.com/en/churches/florence-s-cathedral/altar.html

Michelangelo, St. Peter’s Basilica, Vatican, C. 1546-64, Dome completed 1590.


St. Peter’s cathedral in Rome, stands on a site that has been continually reinvented from antiquity. Built on the site of the Constantinian original, Renaissance architects added their style to the older styles. Later Baroque architects would do the same.

In 1546, Michelangelo, now seventy-one years old, was named architect of Saint Peter's. St.Peter has the first great dome to be raised on a colonnade.

Designed by Michelangelo but not completed until after his death, it crowns the church and floods the space with light from its “fenestrated” drum and oculus.



Michelangelo, St. Peter’s Basilica, Vatican, C 1546-64, Dome completed 1590.

In 64 CE the Apostle Peter was buried on the north-west side of the Circus of Caligula and Nero, where there was already a cemetery. Owing to the circumstances of his death by crucifixion, St Peter’s first burial-place would have been an earth tomb.



St. Peter’s tombNew obelisk position

New St. Peter’s floorplan (in red)


The ancient Egyptian obelisk, brought to Rome by the Roman emperor Caligula in 37 CE, now place in the plaza of St. Peter’s.

Michelangelo: Creation of Adam (1511–12), fresco, Sistine Chapel, Vatican, Rome;


Michelangelo was hesitant to take the commission, due to his distaste for painting. Here is an excerpt from his quote about the four years in which he undertook this huge task:

“I’ve grown a goiter by dwelling in this den… Which drives the belly close beneath the chin; my beard turns up to heaven; my nape falls in, Fixed on my spine; my breast-bone visibly Grows like a harp: a rich embroidery Bedews my face from brushdrops thick and thin…”

Michelangelo painted the vault with scenes from the Book of Genesis: • The Creation of the world and of Adam and Eve• The Fall and Expulsion from the Garden of Eden• God's destruction of the world by the flood.

On the lunettes and spandrels Michelangelo painted Christ's ancestors, while the spaces between the spandrels show the prophets and sibyls who foretold Christ’s birth.


Michelangelo: Creation of Eve, (1508–10), fresco, Rome, Sistine Chapel, Vatican;


Michelangelo employed the use of architectural framework elements to organize the images (logic). Fresco is a tedious task, as we studied earlier, and there is no room for mistakes. Small areas at a time must be worked at the right dampness as the plaster is drying. The images cover 700 sq. yds. and must be painted on scaffolding at arm’s reach, while envisioning it as viewed from 70’ feet below.

Michelangelo, Ceiling, Sistine Chapel, 1508-12.

Studies for the Libyan Sibyl ;Michelangelo Buonarroti (Italian, 1475–1564)Italian

Michelangelo, The Libyan Sibyl, Detail of the Sistine Chapel

ceiling, 1508-1512.

Michelangelo, Ceiling, Sistine

Chapel, 1508-12.

Michelangelo, Last Judgment (after cleaning), Sistine Chapel, Vatican, Rome.

1534-1541

1 The Archangel Gabriel 2 Pharaoh’s daughter who found Moses; or Eve; or Sarah3 and 4 Niobe and a daughter [Niobe is a queen from mythology whose many children were killed by Apollo and Artemis; see this ancient statue]; or Eve and a daughter (the personification of maternity); or the merciful Church and a believer5 Abel, who was murdered by his brother Cain; or Eve 6 Abraham; or St. Bernard; or Pope Julius II 7 St. John the Baptist; or Adam8 Rachel; or Dante’s Beatrice 9 Noah; or Enoch; or Pope Paul III 10 St. Andrew; or John the Baptist; or Dimas [St. Dimas was the Good Thief who was crucified with Jesus] 11 St. Martha; or St. Anne; or Vittoria Colonna, Michelangelo’s great friend 12 St. Lawrence 13 *The Virgin Mary 14 *Christ the Judge 15 Solomon’s wife; or Dante 16 Francesco Amadori (the Urbino); or Tommaso de Cavalieri, Michelangelo’s friend 17 St. Bartholomew with the face of Pietro Aretino, the poet who criticized the painting as indecent17a The skin of St. Bartholomew with the face of Michelangelo 18 St. Paul 19 St. Peter 20 St. Mark; or Pope Clement VII 21 St. Longinus, the soldier who lanced Christ on the Cross22 Simon Zelote 23 St. Philip; or Dimas24 Job; or Adam; or Abraham25 Job’s wife; or Eve; or Pope Hadrian VI 26 St. Blaise 27 St. Catherine of Alexandria 28 St. Sebastian with the arrows of his martyrdom29 Dimas; or St. Francis of Assisi; St. Andrew; Simon the Cyrenian; the encarnation of Justice; the symbol of Man with his trials and tribulations30 Moses; or Adam

http://upload.wikimedia.org/wikipedia/commons/5/50/Sommer%2C_Giorgio_%281834-1914%29_-_n._2990_-_Niobe_madre_-_Firenze.jpg

Michelangelo, The Conversion of Saul

1542-45 Fresco, 625 x 661 cm Cappella Paolina, Palazzi Pontifici, Vatican

Raphael, Pope Leo X with Two Cardinals, C.

1518.

•Raphael; (Raffaelo Sanzio) •Most famous painter of his time.•Usually painted religious scenes for clergy.•Used all of the Renaissance innovations.


Raphael’s first commission at the Vatican was to decorate the Stanza della Segnatura, the library of Pope Julius.

He painted first the Disputa (disputation), a composition on three tiers representing the Church, on earth and in heaven, with the Trinity above an altar displaying the Eucharist.

Raphael’s next work in this room was the Parnassus. It depicts great poets assembled on the slopes of the hill where Apollo’s music enraptures the Muses.

Raphael's famous fresco The School of Athens is also in the Stanza della Segnatura. Executed in 1510–11, the painting depicts an imaginary gathering of Greek philosophers, many rendered as portraits of Raphael's contemporaries. the pope's books.


http://www.metmuseum.org/toah/hd/ipha/hd_ipha.htm

The Disputation of the Holy Sacrament


The Parnassus, from the Stanza delle Segnatura


The Parnassus and the School of Athens from the Stanza delle Segnatura

Raphael, School of Athens (c. 1510–12), fresco, Stanza della Segnatura, Vatican, Rome;


1: Zeno of Citium 2: Epicurus Possibly, the image of two philosophers, who were typically shown in pairs during the Renaissance: Heraclitus, the "weeping" philosopher, and Democritus, the "laughing" philosopher. 3: unknown (believed to be Raphael)[14] 4: Boethius or Anaximander or Empedocles? 5: Averroes 6: Pythagoras 7: Alcibiades or Alexander the Great? 8: Antisthenes or Xenophon or Timon? 9: Raphael,[14][15][16] Fornarina as a personification of Love[17] or Francesco Maria della Rovere? 10: Aeschines or Xenophon? 11: Parmenides? (Leonardo da Vinci) 12: Socrates 13: Heraclitus (Michelangelo) 14: Plato (Leonardo da Vinci) 15: Aristotle (Giuliano da Sangallo) 16: Diogenes of Sinope 17: Plotinus (Donatello?) 18: Euclid or Archimedes with students (Bramante?) 19: Strabo or Zoroaster? (Baldassare Castiglione) 20: Ptolemy? R: Apelles (Raphael) 21: Protogenes (Il Sodoma, Perugino, or Timoteo Viti)[18]


Raphael, School of Athens, 1510-11.

The Renaissance in the North

Matthias Grünewald, Isenheim Altarpiece (exterior), 1515.


Jan Van Eyck,Man in a Red Turban (Self Portrait?), 1433.


Oil Paint: Paint made of pigment suspended in vegetable oil, usually linseed.

Slow drying time allows sections to be reworked.

Allows for thin transparent layers called glazes.

Jan van Eyck, Ghent Altarpiece (open), completed 1432. oil on panel, 3.65×4.87 m (wings open), c. 1423–32 (Ghent, St Bavo);


Jan van Eyck, Ghent Altarpiece (closed), completed 1432. Oil on panel,

Jan van Eyck, Ghent Altarpiece (open), completed 1432. Oil on panel,


Hubert and Jan van Eyck, Adoration of the Lamb detail of the Ghent Altarpiece, c. 1432.


Albrecht Durer • Traveled to Italy bringing

back artistic innovations to Germany.

• Known for elaborate print work and book illustration.

Four Horsemen of the Apocalypse, ca. 1497–98Albrecht Dürer (German, 1471–1528)Woodcut


Albrect Dürer, Self-Portrait, 1500. Oil on

wood,

1. Relief Method: Raised area prints (woodcut).

2. Intaglio: Depressed area prints (engraving).

Printmaking

An “indirect” process that results in multiples or editions that are each unique, original works of art.

“Registration” (repeatable alignment) allows for multiple colors to be added.

Woodcuts: This process of transferring ink is similar to the process of rubber stamping.

An artist cuts away areas not meant to print, then inks the wood plate and presses to transfer the ink onto paper.

This is the oldest print-making method used to produce text and books, textiles, and cards. Not until the 15th century was paper cheap enough to create the “information revolution.”

Printmaking

Woodblock for Samson Rending the Lion, ca. 1497–98Albrecht Dürer (German, 1471–1528)Pearwood

Printmaking

The print block made of carved wood..

Samson Rending the Lion, ca. 1497–98Albrecht Dürer (German, 1471–1528)Woodcut

Printmaking

The finished woodblock print on paper. Note

that it is the reverse of the image on the block.

Detail Samson Rending the Lion

Intaglio is the reverse of relief, so the artist cuts away the areas to print or hold ink. Ink is pressed in the grooves and then transferred to damp paper by pressing through a strong roller press. Engraving is the oldest of intaglio methods, developed from incising designs in Medieval armor and jewelry.

The method is similar to pen and ink drawing. The clean, sharp lines create the possibility of a full tonal range.

Printmaking

Adam and Eve, 1504Albrecht Dürer (German, 1471–1528)Engraving

Knight, Death, and the Devil, 1513–14Albrecht Dürer (German, 1471–1528)Engraving

Melencolia I, 1514 Albrecht Dürer (German, 1471–1528) Engraving; 9 1/2 x 7 3/8 in. (24 x 18.5 cm)

The Reformation

Martin Luther (1483–1546)Workshop of Lucas Cranach the Elder (German, 1472–1553)

In 1517,Martin Luther, an Augustinian monk nailed to a church door in Wittenberg, a manifesto listing 95 arguments, or Theses, against the use and abuse of indulgences, which were official pardons for sins granted through penance.

Protestantism

The result of Martin Luther’s treatise was a radical shift in spiritual authority from the Catholic church to individual Christians.

1). Instead of salvation coming through the rituals prescribed by the church, individuals could control their own access to salvation by their actions (faith vs. non-faith).

2). Instead of reliance on church theologians to read the scripture in Latin, it was published for layman to read for themselves.

Martin Luther would later translate the New Testament into German himself.

Protestantism

Gutenberg Bible 1455 C.E.

Used movable type.Printed books were embellished with woodcut prints.Allowed more copies to be created easily.

Satire on Popery, 1555German

Printed images were effective tools for handing out negative portrayals of the Catholic church and for popularizing Reformation ideas.

Protestantism

Adriaen Pietersz. van de VenneFishing for Souls. 1614, Oil on panel


http://commons.wikimedia.org/wiki/Creator:Adriaen_Pietersz._van_de_Venne

http://commons.wikimedia.org/wiki/1614

Pieter Bruegel the Elder, The Harvesters, Oil on wood 1565.


Northern artists turned increasingly to the everyday world around them, including the landscape.

Religious authority ----> Secular authority

“genre” painting: scenes of everyday life.



Pieter Brueghel the Elder, The Blind Leading the Blind, 1568. Tempera on canvas,

Pieter Brueghel the Elder, Hunters Returning in a Winter Landscape. Oil on canvas,

Merrymakers at Shrovetide, ca. 1615Frans Hals (Dutch, 1582/83–1666)


The Dissolute Household, ca. 1663–64Jan Steen (Dutch, 1626–1679) Oil on canvas

Scholars generally date the end of the High Renaissance in Italy with the death of Raphael in 1520. The most interesting trend is Mannerism, an Italian word for “stylishness,” suggesting grace and sophistication. They were reacting against the logic, order, and balance of the High Renaissance and artists like Michelangelo.

The Late Renaissance in Italy

art1100 lva 16

Art & Photos