northern europe, 1600-1700 · 2014-04-11 · baroque art in the netherlands dutch gain independence...

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NORTHERN EUROPE, 1600-1700 GARDNER CHAPTER 25-1 PP. 679-691

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Page 1: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

NORTHERN

EUROPE,

1600-1700GARDNER CHAPTER 25-1

PP. 679-691

Page 2: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

BAROQUE ART IN THE NETHERLANDS

Dutch gain independence from Spain in late 16th century

Northern Netherlands gains official recognition as the Dutch Republic in 1648 -> Treaty of Westphalia

Economic prosperity

Bank of Amsterdam 1609

Amsterdam had highest per capita income in Europe

Prosperity + lack of absolute ruler = power of the urban patrician class of merchants and manufacturers

Dutch avidly collected landscapes, interior scenes, and still lifes -> these painting genres dealt directly with daily lives of the urban mercantile public, accounting for their appeal

Because of the prosperity of the Netherlands, the taste for collecting art spread not only among aristocrats, but with merchants and the working class too. The taste for art stimulated a free market for paintings that functioned like other commodity markets. Artists had to compete to capture the interest of their public by painting on speculation

Page 3: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

HENDRICK TER BRUGGHEN -

Caravaggisti HENDRICK TER BRUGGHEN, Calling of

Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”

Returned from a trip to Italy, where he fell under the influence of Caravaggio, the Catholic painter Hendrick ter Brugghen painted the Calling of Saint Matthew in a manner that echoes the naturalistic presentation of the figures of Caravaggio's painting of the same subject

However, ter Brugghen employs a more colorful palette of soft tints and reduces the contrasts of dark and light

Page 4: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

GERRIT VAN HONTHORST -

Caravaggisti GERRIT VAN HONTHORST, Supper

Party, 1620. Oil on canvas, approx. 7’ x 4’ 8”

Genre scene

Gerrit van Honthorst's Supper Party is a moralizing genre scene showing an informal gathering of unidealized human figures

Influence of Caravaggio is evident in the mundane setting and the dramatic lighting. A new development is the placement of the light source within the painting

Page 5: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

FRANS HALS

Dutch republic had no absolute monarch

Protestant/Calvinist -> suspicious of religious art

No monarch or Catholic Church meant patronage came from expanding class of merchant patrons

Dutch Baroque art centered on genre scenes, landscapes, portraits and still lifes

Frans Hals -> leading Dutch portrait painter -> casualness, immediacy, and intimacy in his paintings

Page 6: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

ARCHERS OF SAINT HADRIAN

FRANS HALS, Archers of Saint

Hadrian, ca. 1633. Oil on

canvas, approx. 6’ 9” x 11

Frans Hals, who specialized in

portraiture, painted a group

portrait of the Archers of Saint

Hadrian

He enlivened by showing each

man as both a troop member and

an individual with a distinct

personality

The painting has a lively

impromptu energy, an effect that

is enhanced by Hals's vivacious

brushwork

Participation of Dutch burgher in

civic organizations -> militia

group

Page 7: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

WOMEN REGENTS OF HAARLEM

FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem

Group portrait of Calvinist women engaged in charitable work

Hals's more somber group portrait of The Women Regents of the Old Men's Home at Haarlem communicates a stern, puritanical, and composed sensibility

Page 8: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

JUDITH LEYSTER

JUDITH LEYSTER, Self-Portrait, ca.

1630. Oil on canvas, 2’ 5 3/8” x 2’ 1

5/8”

Born in 1609 in Haarlem, Leyster

may have worked in the workshop

of the famous Dutch portraitist

Frans Hals while in her twenties.

Like Hals', her brushwork is free and

lively. The relaxed pose and

gesture she used in her Self-Portrait

is very similar to one Hals had used

Page 9: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

REMBRANDT

Rembrandt van Rijn was recognized as the leading Dutch painter of his time. In his portraits, for which he became particularly prominent, Rembrandt delved deeply into the psyche and personality of his subjects

Rembrandt van Rijn was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age

Page 10: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

REMBRANDT – ANATOMY LESSON OF DR. TULP

REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague

Rembrandt’s first group portrait -> depicts specific anatomy lesson of January 1632

Dr. Tulp is seated -> wearing rimmed hat that is an academic badge of chairman -> hands prominently displayed

Influenced by Caravaggio and tenebroso

Commissioned by the surgeon’s guild

Page 11: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

NIGHT WATCH

REMBRANDT VAN RIJN, The

Company of Captain Frans

Banning Cocq (Night Watch),

1642. Oil on canvas 11’ 11” x

14’ 4”. Rijksmuseum,

Amsterdam

Misnamed painting -> not a

nocturnal scene -> darkness is

due to varnish and grime

18 men portrayed -> militia

marching out on patrol or on

parade

Painted for the new

Musketeers hall -> part of a

group of 6 paintings of various

militias -> later cut down on all

sides when moved to the town

hall

Page 12: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

THE COMPANY OF CAPTAIN FRANS

BANNING COCQ – THE NIGHT WATCH

The painting is renowned for three elements: its colossal size (11 ft 10in x 14 ft 4in), the effective use of light and shadow (chiaroscuro), and the perception of motion in what would have traditionally been a static military portrait

This painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant (dressed in yellow, with a white sash)

With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them the company's colours are carried by the ensign

Page 13: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

RETURN OF THE

PRODIGAL SON

REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”

Contrast this with the overwhelming and opulent art of Baroque Italy

Spiritual stillness of Rembrandt’s religious paintings -> inward turning contemplation far from the choirs and trumpets and heavenly tumult of Italian Baroque Counter-Reformation work

Hallmark of Rembrandt's style is nuanced treatment of light -> manipulated the direction, intensity, distance, and surface texture of light and shadow in order to render the subtle nuances of character and mood of persons or of whole scenes. In his later work, the conflicts of light and dark are reconciled to produce a quiet mood of tranquil meditation

Page 14: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

REMBRANDT’S

SELF-PORTRAITS

REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”

Late Rembrandt self-portrait, light shines from the upper left to bathe the subject's face in soft light, leaving the lower part of his body in shadow -> chiaroscuro

The portrait's dignity and strength is also the result of assertive brushwork, which suggests confidence and self-assurance

One of numerous self-portraits throughout his life

Page 15: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

REMBRANDT

Belshazzar's Feast, Rembrandt Van Rijn, 1635,

Oil on canvas

Page 16: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

REMBRANDT

Supper at Emmaus, Rembrandt

Van Rijn.1648,Oil on canvas

Page 17: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

LANDSCAPE AND INTERIOR

PAINTING

Landscape scenes abound in 17th

century Dutch art

The people had a very direct

relationship to the land ->

extensive century long land

reclamation project -> dikes and

drainage systems

The Dutch urban mercantile public

avidly collected paintings—

landscapes, interior scenes, and

still lifes—showing their own daily

lives and everyday world. In a

country that had reclaimed much

of its land from the sea, landscape

scenes were especially popular

Page 18: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

AELBERT

CUYP

AELBERT CUYP, A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures (The “Large Dort”), late 1640s. Oil on canvas, approx. 5’ 1” ´ 6’ 4 7/8”

Contrast this w/the idealized classical landscapes that appear in Italian Renaissance paintings

Albert Cuyp's View of Dordrecht with Cattle shows a specific, unidealized landscape in which the details have been carefully and skillfully observed. The cows, shepherds, and milkmaid refer to the Dutch Republic’s important dairy industry

Page 19: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

JACOB

VAN RUISDAEL

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”

Jacob van Ruisdael's sensitively observed and precisely detailed View of Haarlem from the Dunes at Overveen includes identifiable landmarks.

The low horizon line leaves the sky filling almost three-quarters of the picture space

Work is imbued w/a quiet serenity that becomes almost spiritual

Page 20: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

JAN VERMEER

JAN VERMEER, Girl with a Pearl

Earring, 1665

Vermeer’s masterwork, as the

name implies, uses a pearl earring

for a focal It is sometimes referred

to as "the Mona Lisa of the North"

or "the Dutch Mona Lisa"

The best-known and most highly

regarded of the Dutch interior

scene painters was Jan Vermeer.

He painted no more than thirty-

five paintings, but each are small,

luminous, and captivating

Page 21: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

THE LETTER

JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam

The small, luminous interior scenes painted with care and directness by Jan Vermeer of Delft exude a sense of peace, familiarity, and comfortable domesticity

It is believed that Vermeer used optical devices such as mirrors and the camera obscura in composing his paintings. These devices also enabled him to develop a deep understanding of color

Page 22: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

THE ART OF

PAINTING

JAN VERMEER, Allegory of the Art

of Painting, 1670–1675. Oil on

canvas, 4’ 4” x 3’ 8”

In the Allegory of the Art of

Painting, Vermeer places the

viewer outside the space of the

action, which is shown illuminated

as if by the light of inspiration

Women/model represents “history”

and the artist represents painting

-> painting is inspired by history

Page 23: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

JAN STEEN

JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas, 2’ 8 1/4” x 2’ 3 3/4”

Genre works, popular in the

Netherlands, are pictorial representations in any of various media that represent scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes

In The Feast of Saint Nicholas, Jan Steen shows a festive scene that may be interpreted as an allegory of selfishness, pettiness, and jealousy

Page 24: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

STILL-LIFE PAINTING

PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”

Many Dutch still-life paintings celebrate material possessions -> but the morality and humility central to Calvinist faith tempered Dutch pride in worldly goods

VANITAS PAINTINGS = a theme in still life painting that stresses the brevity of life and the folly of human vanity

Skull, timepiece, tipped glass, cracked walnut -> passage of time or presence of someone now gone

Page 25: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

WILLEM KALF

WILLEM KALF, Still Life with a Late

Ming Ginger Jar, 1669. Oil on

canvas, 2’ 6” x 2’ 1 3/4”

Opulent objects -> Indian carpet

and Chinese jar -> attest to the

prosperous Dutch maritime trade

Watch, peach, and peeled lemon

suggest this is a vanitas painting

Page 26: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

RACHEL RUYSCH

RACHEL RUYSCH, Flower Still Life,

after 1700, Oil on canvas, 2’ 6” x 2’

Rachel Ruysch's Flower Still Life

shows a lavish floral arrangement.

The short-lived blossoms of flowers

appear frequently as symbols of

life's transience

Flower paintings were very popular

in the Dutch Republic

Page 27: NORTHERN EUROPE, 1600-1700 · 2014-04-11 · BAROQUE ART IN THE NETHERLANDS Dutch gain independence from Spain in late 16th century Northern Netherlands gains official recognition

ST. BAVO’S

CHURCH

Interior of the Choir of St. Bavo’s

Church, Haarlem, 1660

The stark interiors of Dutch

churches reflect the Calvinist

beliefs in a simple, unadorned

interior so that worshippers can

focus on the word of God rather

than the ornamental idols found in

Catholic churches.