painting pre-historic to baroque

135
Pre-Historic Pre-Historic To To Baroque Baroque

Upload: paupastrana

Post on 12-Nov-2014

2.734 views

Category:

Documents


2 download

DESCRIPTION

Painting Pre-historic to baroque lecture notes

TRANSCRIPT

Page 1: Painting Pre-Historic to Baroque

Pre-HistoricPre-Historic

ToTo

BaroqueBaroque

Pre-HistoricPre-Historic

ToTo

BaroqueBaroque

Page 2: Painting Pre-Historic to Baroque

PAINTINGPAINTING

• Is the art of applying colored pigments on to a flat surface, like canvas, paper, wood or plaster.

METHODMETHODS:S:

1. Oil

2. Water Color

3. Fresco

4. Tempera

Page 3: Painting Pre-Historic to Baroque
Page 4: Painting Pre-Historic to Baroque

Prehistoric Prehistoric PaintingPainting

• The earliest known Western The earliest known Western paintings were executed paintings were executed deep deep

within caves of southern within caves of southern EuropeEurope during the Palaeolithic during the Palaeolithic period, some 15,000 to 20,000 period, some 15,000 to 20,000

years ago. The early years ago. The early development of painting development of painting

continued in the continued in the Mediterranean littoralMediterranean littoral..

Page 5: Painting Pre-Historic to Baroque

A cave complex in south-western A cave complex in south-western FranceFrance

Lascaux Caves:Lascaux Caves: the Prehistoric Sistine Chapelthe Prehistoric Sistine Chapel

Page 6: Painting Pre-Historic to Baroque

Lascaux Caves:Lascaux Caves: the Prehistoric Sistine Chapelthe Prehistoric Sistine Chapel

• Jacques MarsalJacques Marsal• Georges AgnelGeorges Agnel• Simon CoencasSimon Coencas• Marcel RavidatMarcel Ravidat

– ROBOTROBOT

12 September 12 September 19401940

Page 7: Painting Pre-Historic to Baroque

Lascaux Caves:Lascaux Caves: the Prehistoric Sistine the Prehistoric Sistine ChapelChapel

Page 8: Painting Pre-Historic to Baroque

Altamira Caves:Altamira Caves:as Picasso famously exclaimedas Picasso famously exclaimed““AFTER ALTAMIRA, ALL IS A AFTER ALTAMIRA, ALL IS A DECADENCEDECADENCE””

Located near Located near Santilliana del Santilliana del

Mar in Mar in Cantabria, Cantabria, Northern Northern

SpainSpain

Page 9: Painting Pre-Historic to Baroque

Altamira Caves:Altamira Caves:as Picasso famously exclaimedas Picasso famously exclaimed““AFTER ALTAMIRA, ALL IS A AFTER ALTAMIRA, ALL IS A DECADENCEDECADENCE””

Discovered in Discovered in

1879 1879 by by

Maria de Maria de SantuolaSantuola

most exceptional most exceptional evidence of evidence of

Magdalenian Magdalenian culture culture in southern in southern

EuropeEurope

Page 10: Painting Pre-Historic to Baroque

Chauvet Chauvet Caves:Caves:spectacular artworkspectacular artwork

Ardeche Ardeche departement, departement,

Southern Southern FranceFrance

Page 11: Painting Pre-Historic to Baroque

Chauvet Chauvet Caves:Caves:spectacular artworkspectacular artwork

• soon regarded as one of the soon regarded as one of the most most significant pre-historic art sites significant pre-historic art sites in in

the worldthe world

• SPECTACULARSPECTACULAR

Page 12: Painting Pre-Historic to Baroque
Page 13: Painting Pre-Historic to Baroque

Magura Caves:Magura Caves:peeking into the prehistoric peeking into the prehistoric worldworld

Page 14: Painting Pre-Historic to Baroque
Page 15: Painting Pre-Historic to Baroque
Page 16: Painting Pre-Historic to Baroque
Page 17: Painting Pre-Historic to Baroque
Page 18: Painting Pre-Historic to Baroque

Panel Painting• The most respected form of art, according

to authors like Pliny or Pausanias,• individual, mobile paintings on wooden

boards,• techniques used - encaustic (wax)

painting and tempera.• depicted figural scenes - including

portraits and still-lifes• They were collected and often displayed in

public spaces. Pausanias describes such exhibitions at Athens and Delphi

• not one of the famous works of Greek panel painting has survived, nor even any of the copies that doubtlessly existed, and which give us most of our knowledge of Greek sculpture.

Page 19: Painting Pre-Historic to Baroque

One of the Pitsa panels, the only surviving panel paintings from One of the Pitsa panels, the only surviving panel paintings from Archaic Greece.Archaic Greece.

Page 20: Painting Pre-Historic to Baroque

The most important surviving Greek examples are the:

• Pitsa panels- fairly low - quality from circa 530 BC

• Fayum mummy portraits - a large group of much later Graeco-Roman archaeological survivals from the dry conditions of Egypt,

• Severan Tondo• Byzantine icons - also derived

from the encaustic panel painting tradition.

Page 21: Painting Pre-Historic to Baroque

Fayum mummy portraitsFayum mummy portraits

The Severan Tondo, a The Severan Tondo, a panel painting of the panel painting of the

imperial family, circa 200 imperial family, circa 200 ADAD

Page 22: Painting Pre-Historic to Baroque

Greek Orthodox IconGreek Orthodox Icon

Page 23: Painting Pre-Historic to Baroque

Wall Painting

• The tradition of wall painting in Greece goes back at least to the Minoan and Mycenaean Bronze Age, with the lavish fresco decoration of sites like Knossos, Tiryns and Mycenae.

• Wall paintings are frequently described in Pausanias, and many appear to have been produced in the Classical and Hellenistic periods.

Page 24: Painting Pre-Historic to Baroque

Symposium scene in the Tomb of the Diver at Paestum, Symposium scene in the Tomb of the Diver at Paestum, circacirca 480 BC. 480 BC.

Page 25: Painting Pre-Historic to Baroque

The most notable examples are: • a monumental Archaic 7th century BC

scene of hoplite combat from inside a temple at Kalapodi (near Thebes)

• the elaborate frescoes from the 4th century "Grave of Phillipp"

• the "Tomb of Persephone" at Vergina in Macedonia

• Greek wall painting tradition is also reflected in contemporary grave decorations in the Greek colonies in Italy,

• Some scholars suggest that the celebrated Roman frescoes at sites like Pompeii are the direct descendants of Greek tradition, and that some of them copy famous panel paintings.

Page 26: Painting Pre-Historic to Baroque

Reconstructed colour scheme of the entablature on a Doric temple.Reconstructed colour scheme of the entablature on a Doric temple.

Page 27: Painting Pre-Historic to Baroque

Polychromy: painting on statuary and architecture• Polychrome - many color• Much of the figural or

architectural sculpture of ancient Greece was painted colourfully.

Page 28: Painting Pre-Historic to Baroque

Polychromy on Architecture

• Painting was also used to enhance the visual aspects of architecture.

• Such architectural polychromy could take the form of bright colours directly applied to the stone or of elaborate patterns, frequently architectural members made of terracotta

• Sometimes, the terracottas also depicted figural scenes, as do the 7th century BC terracotta metopes from Thermon.

Page 29: Painting Pre-Historic to Baroque

Traces of paint depicting Traces of paint depicting embroidered patterns on the a embroidered patterns on the a

peplos of an Archaic peplos of an Archaic korekore, , Acropolis Museum.Acropolis Museum.

Reconstructed colour scheme on a Reconstructed colour scheme on a Trojan archer from the Temple of Trojan archer from the Temple of

Aphaia, Aegina.Aphaia, Aegina.

Page 30: Painting Pre-Historic to Baroque

Polychromy on Sculpture• Most Greek sculptures were painted in strong

colours. • The paint was frequently limited to parts

depicting clothing, hair, and so on, with the skin left in the natural colour of the stone, but it could also cover sculptures in their totality.

• The painting of Greek sculpture should not merely be seen as an enhancement of their sculpted form, but has the characteristics of a distinct style of art.

• The polychromy of stone statues was paralleled by the use of different materials to distinguish skin, clothing and other details in chryselephantine sculptures, and by the use of different metals to depict lips, nipples, etc, on high-quality bronzes like the Riace Warriors.

Page 31: Painting Pre-Historic to Baroque

Vase painting

• The most copious evidence of ancient Greek painting survives in the form of vase paintings.

• It should be noted that strictly speaking, vase painting was a separate skill or art from potting.

• It should also be kept in mind that vase painting, all be it by far the most conspicuous surviving source on ancient Greek painting, was not held in high regard in antiquity, and is never mentioned in Classical literature.

Page 32: Painting Pre-Historic to Baroque

In this early Greek painting from around 800 B.C.E., Odysseus leaps up to In this early Greek painting from around 800 B.C.E., Odysseus leaps up to blind Polyphemus the cyclops. Known as the Orientalizing style, Egyptian and blind Polyphemus the cyclops. Known as the Orientalizing style, Egyptian and

Minoan influences are mixed with a Greek interest in illustrating motion. Minoan influences are mixed with a Greek interest in illustrating motion.

Page 33: Painting Pre-Historic to Baroque
Page 34: Painting Pre-Historic to Baroque

Roman

• Our knowledge of Ancient Rome painting relies in large part on the preservation of artifacts from Pompeii and Herculanum, and particularly the Pompeian mural painting,

• Pompeian mural painting, which was preserved after the eruption of Vesuvius in 79. AD.

Page 35: Painting Pre-Historic to Baroque

Pompeian painter with painted statue and framed painting PompeiiPompeian painter with painted statue and framed painting Pompeii

Page 36: Painting Pre-Historic to Baroque

Roman

• Nothing remains of the Greek paintings imported to Rome during the 4th and 5th centuries, or of the painting on wood done in Italy during that period.

• Pliny explicitly states around 69-79 AD that the only true painting was painting on wood and that this had nearly disappeared by his time, to the benefit of the muralists, which was more indicative of the wealth of the owners than their artistic tastes.

Page 37: Painting Pre-Historic to Baroque

Variety of subjects

• Roman painting provides a wide variety of themes: animals, still life, and scenes from everyday life.

• During the Hellenistic period, it evoked the pleasures of the countryside and represented scenes of shepherds, herds, rustic temples, rural mountainous landscapes and country houses.

Page 38: Painting Pre-Historic to Baroque

Boscotrecase , Pompeii. Second styleBoscotrecase , Pompeii. Second style

Page 39: Painting Pre-Historic to Baroque

Innovations

• The main innovation of Roman painting compared to Greek art was the development of landscapes, in particular incorporating techniques of perspective.

• The art of the ancient East would have known the landscape only in terms of civil or military scenes.

Page 40: Painting Pre-Historic to Baroque

Periods

• Roman mural painting is generally distinguished by four periods, as originally described by the German archaeologist August Mau and dealt with in more detail at Pompeian Styles.

Page 41: Painting Pre-Historic to Baroque

Triumphal paintings

• From the 3rd century BC, a specific genre known as Triumphal Paintings appeared, as indicated by Pliny.

• These were paintings which showed triumphal entries after military victories, represented episodes from the war, and conquered regions and cities.

• Summary maps were drawn to highlight key points of the campaign

• These paintings have disappeared, but they likely influenced the composition of the historical reliefs carved on military sarcophagi, the Arch of Titus, and Trajan's Column.

Page 42: Painting Pre-Historic to Baroque

Ranuccio also describes the oldest painting to be found in Rome, in a tomb on the Esquiline Hill:

• "It describes a historical scene, on a clear background, painted in four superimposed sections. Several people are identified, such Marcus Fannius and Marcus Fabius. These are larger than the other figures...In the second zone, to the left, is a city encircled with crenellated walls, in front of which is a large warrior equipped with an oval buckler and a feathered helmet; near him is a man in a short tunic, armed with a spear...Around these two are smaller soldiers in short tunics, armed with spears...In the lower zone a battle is taking place, where a warrior with oval buckler and a feathered helmet is shown larger than the others, whose weapons allow to assume that these are probably Samnites.

Page 43: Painting Pre-Historic to Baroque

Roman• This episode is difficult to pinpoint. One

of Ranuccio's hypotheses is that it refers to a victory of the consul Fabius Maximus Rullianus during the second war against Samnites in 326 BC.

• The presentation of the figures with sizes proportional to their importance is typically Roman, and finds itself in plebeian reliefs.

• This painting is in the infancy of triumphal painting, and would have been accomplished by the beginning of the 3rd century BC to decorate the tomb.

Page 44: Painting Pre-Historic to Baroque

Panel paintings• In Greece and Rome, wall painting was not

considered as high art. • The most prestigious form of art besides

sculpture was panel painting, i.e. tempera or encaustic painting on wooden panels.

• Since wood is a perishable material, only very few examples of such paintings have survived, namely the Severan Tondo from circa 200 AD, and the well-known Fayum mummy portraits.

• They usually depict a single person, showing the head, or head and upper chest, viewed frontally.

• The background is always monochrome, sometimes with decorative elements.

• In terms of artistic tradition, the images clearly derive more from Graeco-Roman traditions than Egyptian ones.

Page 45: Painting Pre-Historic to Baroque
Page 46: Painting Pre-Historic to Baroque

• Medieval painting refers to most of the art produced in Europe during a period of about 1,000 years. This period began with the fall of the Roman Empire in the A.D. 300’s and 400’s and ended with the beginning of the Renaissance in the 1300’s. Medieval European society centered around Christianity. Most medieval Christians believed that life on earth was less important than the life of the spirit. They placed the greatest importance on life after death. Painting in the medieval period reflected this attitude.

Page 47: Painting Pre-Historic to Baroque

• For medieval artists, the Christian religion- not human beings and nature- was the chief source of subject matter. These artists were not interested in techniques that would help show the world as it was. They generally ignored perspective and gave their works a flat look. They made wide use of symbols in their works in order to tell stories. For example, some medieval artists painted skies in gold or purple to symbolize God’s kingdom in heaven.

Page 48: Painting Pre-Historic to Baroque

• Even though almost all medieval artists dealt with religious subjects, they developed several styles:

Page 49: Painting Pre-Historic to Baroque

Byzantine painting

• Starting in the A.D. 300’s, eastern Christians gradually separated from the western Christians, who were ruled by the pope in Rome. Eastern Christian art is called Byzantine because the religion centered in the city of Byzantium (now Istanbul, Turkey). By the 500’s, the Byzantine artists had developed a special painting style of religious painting. The Byzantine painting style has remained largely unchanged to the present day

Page 50: Painting Pre-Historic to Baroque

Madonna and Child Enthroned

Italian artist Cimabue Italian artist Cimabue broke away from the broke away from the iconic Byzantine style, iconic Byzantine style, taking a more realistic taking a more realistic approach in his approach in his paintings. He attempted paintings. He attempted to depict objects to depict objects receding in space, as can receding in space, as can be seen here in the be seen here in the architectural form of the architectural form of the throne and in the throne and in the overlapping figures of overlapping figures of the angels on either side. the angels on either side. This work is dated This work is dated around 1285 and is in around 1285 and is in the collection of the Uffizi the collection of the Uffizi Gallery, Florence, Italy.Gallery, Florence, Italy.

Page 51: Painting Pre-Historic to Baroque

Theodora and Attendants

• Completed around 547, the lavishly detailed mosaics covering the Completed around 547, the lavishly detailed mosaics covering the interior of the Church of San Vitale in Ravenna, Italy, are some of the interior of the Church of San Vitale in Ravenna, Italy, are some of the most famous in most famous in ByzantineByzantine (Eastern Christian) art. Here, in a scene (Eastern Christian) art. Here, in a scene from the south wall of the apse, the Empress Theodora stands with from the south wall of the apse, the Empress Theodora stands with her attendants while holding a golden cup for the Eucharist.her attendants while holding a golden cup for the Eucharist.

Page 52: Painting Pre-Historic to Baroque

Transfiguration of Christ by Theophanes the Greek

• This icon by Byzantine painter Theophanes the Greek dates from the end of the 14th century. It represents the transfiguration of Jesus Christ, an event that is believed to have taken place on Mount Tabor. The triangular composition of the painting is emphasized by the rays of glory, which radiate from the figure of Christ down toward the three apostles. On Jesus’s left is Moses (holding a tablet), and on his right is the prophet Elijah.

Page 53: Painting Pre-Historic to Baroque

Celtic painting

• developed among the tribes of Ireland and other parts of northern Europe. Celtic artists became most famous for their illuminations (illustrations from the Bibles. The Celtic style emphasized abstract patterns of elaborately arranged interlaced lines. An example from the famous Book of Kells, made in Ireland during the 700’s or 800’s, is reproduced in color in the Manuscript article.

Page 54: Painting Pre-Historic to Baroque

Book of Kells

• The The Book of Kells,Book of Kells, an an illuminated Irish illuminated Irish manuscript of the Gospels manuscript of the Gospels in Latin, contains in Latin, contains sumptuous illustrations on sumptuous illustrations on vellum, including this page vellum, including this page illustrating the arrest of illustrating the arrest of Jesus Christ. The Jesus Christ. The manuscript, which manuscript, which probably dates from the probably dates from the mid-8th century, is in mid-8th century, is in Trinity College Library in Trinity College Library in Dublin, Ireland.Dublin, Ireland.

Page 55: Painting Pre-Historic to Baroque

Romanesque painting • During the 1000’s and 1100’s, a generally

uniform style painting called Romanesque painting appeared in western Europe. It combined elements of classical Roman, early Christian, Byzantine, and Carolingian art. It developed at about the same time that many churches were being built to serve the needs of the growing Christian faith. Romanesque artists painted beautiful frescoes on the stone walls of many churches. The paintings lack perspective, but they show skill in composition. Some of the paintings look like brightly colored pages from illuminated Bibles that had been enlarged and transferred to wall surfaces.

Page 56: Painting Pre-Historic to Baroque

Moses Expounding the Law

• This early-12th-century This early-12th-century illuminated manuscript illuminated manuscript illustration depicts Moses illustration depicts Moses expounding the law. The expounding the law. The piece is divided into two piece is divided into two scenes, the upper showing scenes, the upper showing Moses and Aaron delivering Moses and Aaron delivering the law to the Israelites, and the law to the Israelites, and the lower showing Moses the lower showing Moses distinguishing between the distinguishing between the clean and unclean beasts. clean and unclean beasts. The illustration serves as The illustration serves as the frontispiece for a Bible the frontispiece for a Bible from the Abbey of Bury from the Abbey of Bury Saint Edmunds in England.Saint Edmunds in England.

Page 57: Painting Pre-Historic to Baroque

Illustration of Saint Mark from the Ebbo Gospels

• Illustration of Saint Mark from the Illustration of Saint Mark from the Ebbo GospelsEbbo Gospels

• This is a page from the This is a page from the illuminated manuscript known as illuminated manuscript known as the the Ebbo GospelsEbbo Gospels (about 816- (about 816-835). It depicts Saint Mark looking 835). It depicts Saint Mark looking heavenward for inspiration as he heavenward for inspiration as he writes his gospel account, and is writes his gospel account, and is drawn in an expressive, energetic drawn in an expressive, energetic style typical of medieval art of style typical of medieval art of that period. The full name of the that period. The full name of the Ebbo GospelsEbbo Gospels is the is the Gospel Book Gospel Book of Archbishop Ebbo of Reims.of Archbishop Ebbo of Reims. This This page measures about 25 by 20 page measures about 25 by 20 cm (about 10 by 8 in).cm (about 10 by 8 in).

Page 58: Painting Pre-Historic to Baroque

Gothic painting

• During the 1200’s, Gothic architecture replaced Romanesque as the style for many European churches. The Gothic style of architecture featured large windows that took away much of the wall space on which artists had painted frescoes in Romanesque churches. Artists filled the windows with beautifully colored stained glass that told religious stories. In northern Europe, fresco painting declined during the Gothic period. Many painters during this time worked as illuminators. They decorated expensive manuscript copies of the Gospels and prayer books.

Page 59: Painting Pre-Historic to Baroque

• The colors and design of stained-glass windows influenced the Gothic manuscript painters. Many of these artists favored the bright blues and reds common in stained-glass. They often divided their figures into separate compartments that resemble the many panels of these complex windows.

Page 60: Painting Pre-Historic to Baroque

Rose Window, Notre Dame

• The north rose window of the The north rose window of the Notre Dame Cathedral in Notre Dame Cathedral in Paris (1240-1250) was built Paris (1240-1250) was built by Jean de Chelles. It is by Jean de Chelles. It is designed in the Rayonnant designed in the Rayonnant style, named for the style, named for the radiating spokes in this type radiating spokes in this type of window. The center circle of window. The center circle depicts the Virgin and Child, depicts the Virgin and Child, surrounded by figures of surrounded by figures of prophets. The second circle prophets. The second circle shows 32 Old Testament shows 32 Old Testament kings, and the outer circle kings, and the outer circle depicts 32 high priests and depicts 32 high priests and patriarchs.patriarchs.

Page 61: Painting Pre-Historic to Baroque

Giotto

• Sometime during the 1200’s, European painting took a turn toward greater realism. Some artists began painting people and scenes in a way that resembled their appearance in real life. This movement became strongest during the late 1200’s in Italy. It is most apparent in the works of Giotto, one of the greatest painters in the history of art.

Page 62: Painting Pre-Historic to Baroque

• Gothic architecture was not widespread in Italy during Giotto’s time. Giotto and other artists continued to paint frescoes on church walls. The Italians tried to make their church walls look like windows by decorating them with realistic frescoes.

Page 63: Painting Pre-Historic to Baroque

Ascension by Giotto • Italian painter Giotto Italian painter Giotto

dedicated an early dedicated an early 13th-century fresco 13th-century fresco cycle in the Scrovegni cycle in the Scrovegni Chapel in Padua, Italy, Chapel in Padua, Italy, to the life of Jesus to the life of Jesus Christ. This panel Christ. This panel showing the ascension showing the ascension of Jesus is taken from of Jesus is taken from the New Testament the New Testament account in the Acts of account in the Acts of the Apostles. Christ the Apostles. Christ ascends into heaven on ascends into heaven on a cloud, hidden from a cloud, hidden from the apostles below. Two the apostles below. Two men in white robes men in white robes then announce to the then announce to the apostles that Christ will apostles that Christ will one day return to Earth.one day return to Earth.

Page 64: Painting Pre-Historic to Baroque

Saint Francis Fresco Cycle

• In this fresco, one of a series In this fresco, one of a series of frescoes executed by 14th-of frescoes executed by 14th-century Italian artist Giotto in century Italian artist Giotto in the Church of Santa Croce in the Church of Santa Croce in Florence, Italy, Francis of Florence, Italy, Francis of Assisi receives papal Assisi receives papal confirmation for the rule of confirmation for the rule of his Franciscan order. Giotto’s his Franciscan order. Giotto’s concern with the realistic concern with the realistic depiction of human figures in depiction of human figures in sculptural, rounded forms sculptural, rounded forms marked a decisive break with marked a decisive break with medieval pictorial medieval pictorial conventions. His altarpieces conventions. His altarpieces and church frescoes heralded and church frescoes heralded some of the most important some of the most important innovations of Florentine innovations of Florentine Renaissance painting.Renaissance painting.

Page 65: Painting Pre-Historic to Baroque
Page 66: Painting Pre-Historic to Baroque

• The word mannerism derives from the Italian maniera, meaning "style" or "manner". Like the English word “style,” maniera can either be used to indicate a specific type of style (a beautiful style, an abrasive style), or maniera can be used to indicate an absolute that needs no qualification (someone ‘has style’).

Page 67: Painting Pre-Historic to Baroque

Mannerism

• a period of European art which emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but continued into the seventeenth century throughout much of Europe. Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities.

Page 68: Painting Pre-Historic to Baroque

Madonna with the Long Neck

• Italian painter Italian painter Parmigianino’s works Parmigianino’s works clearly illustrate the clearly illustrate the Mannerist style. Mannerist style. Madonna Madonna with the Long Neck,with the Long Neck, one of one of Parmigianino’s best known Parmigianino’s best known works, features a crowded works, features a crowded group of elegant, elongated group of elegant, elongated figures in strangely figures in strangely exaggerated poses. The exaggerated poses. The work was painted from work was painted from 1534 to 1540 and is in the 1534 to 1540 and is in the collection of the Uffizi collection of the Uffizi Gallery, Florence, Italy.Gallery, Florence, Italy.

Page 69: Painting Pre-Historic to Baroque

Pontormo’s Deposition

• Italian artist Jacopo da Italian artist Jacopo da Pontormo’s Pontormo’s DepositionDeposition (1525- (1525-1528, Church of Santa Felicitá, 1528, Church of Santa Felicitá, Florence, Italy) shows the Florence, Italy) shows the characteristics of the Mannerist characteristics of the Mannerist style. The arrangement of the style. The arrangement of the figures creates a sense of figures creates a sense of swirling movement and helps swirling movement and helps convey the emotionally charged convey the emotionally charged atmosphere while the body of atmosphere while the body of Jesus Christ is brought down Jesus Christ is brought down from the cross and presented to from the cross and presented to his mother Mary. The elongated his mother Mary. The elongated bodies and unnatural bodies and unnatural compression of space between compression of space between the figures are also typical of the figures are also typical of Mannerism.Mannerism.

Page 70: Painting Pre-Historic to Baroque

Last Judgement • Michelangelo’s Michelangelo’s Last Last

Judgment,Judgment, the large the large fresco on the altar fresco on the altar wall of the Sistine wall of the Sistine Chapel, dates from Chapel, dates from 1536-1541—about 20 1536-1541—about 20 years after the years after the famous ceiling famous ceiling frescoes were frescoes were painted. This painting painted. This painting of judgment day, with of judgment day, with its grotesque and its grotesque and twisted figures, twisted figures, represents one of the represents one of the earliest examples of earliest examples of Mannerist art. Christ Mannerist art. Christ stands in the center stands in the center of the fresco meting of the fresco meting out justice, while the out justice, while the saved rise on the left saved rise on the left and the damned and the damned descend on the right.descend on the right.

Page 71: Painting Pre-Historic to Baroque

Rosso’s Descent from the Cross

• In In Descent from the CrossDescent from the Cross (1521, (1521, Pinacoteca Comunale, Volterra, Pinacoteca Comunale, Volterra, Italy), Italian painter Rosso Italy), Italian painter Rosso Fiorentino intentionally created a Fiorentino intentionally created a disturbing scene. In this and other disturbing scene. In this and other early paintings Rosso departed early paintings Rosso departed from the classical conventions of from the classical conventions of High Renaissance art and helped High Renaissance art and helped launch the 16th-century Italian launch the 16th-century Italian style known as Mannerism. In style known as Mannerism. In Mannerist paintings, attenuated Mannerist paintings, attenuated human figures typically assume human figures typically assume exaggerated poses in a shallow exaggerated poses in a shallow picture space.picture space.

Page 72: Painting Pre-Historic to Baroque

Saint John the Baptist

• With its stylized, With its stylized, twisted pose and twisted pose and ambiguous use of ambiguous use of space, Italian painter space, Italian painter Agnolo Bronzino’s Agnolo Bronzino’s painting painting Saint John the Saint John the BaptistBaptist demonstrates demonstrates the Mannerist style the Mannerist style popular in the mid-popular in the mid-16th century. This 16th century. This work is in the work is in the Borghese Gallery in Borghese Gallery in Rome, Italy.Rome, Italy.

Page 73: Painting Pre-Historic to Baroque
Page 74: Painting Pre-Historic to Baroque

Renaissance• French: Renaissance, meaning "rebirth“• Italian: Rinascimento, from re- "again"

and nascere "be born“• was a cultural movement that spanned

roughly the 14th to the 17th century, beginning in Italy in the late Middle Ages and later spreading to the rest of Europe.

• Painting of this era is connected to the "rebirth" of classical antiquity, the impact of humanism on artists and their patrons, new artistic sensibilities and techniques, and, in general, the transition from the Medieval period to the Early modern age.

Page 75: Painting Pre-Historic to Baroque

Renaissance Art• Renaissance art was a reflection of

Renaissance literature.• During the Middle Ages, artists had used a

flat, symbolic style of painting.• Renaissance artists were much more realistic

than Middle Age artists.• Renaissance artists tried to show human

forms and facial features as they looked in real life.

• Biblical, classical and mythological characters were common subjects in Renaissance painting.

• Renaissance painting bridges the period of European art history between the art of the Middle Ages and Baroque art.

• In the visual arts, significant achievements occur around 1400 in both Italy and north of the Alps.

Page 76: Painting Pre-Historic to Baroque

Renaissance Art• Masaccio's art and the writings of Leon

Battista Alberti helped establish linear perspective and the idealisation of the human body as primary ideas of Italian Renaissance painting in the early 15th century.

• Likewise, Early Netherlandish artists such as Jan van Eyck were innovators in oil painting and intuitive spatial compositions. The brief High Renaissance (c. 1500–1520) centred around Leonardo da Vinci, Michelangelo and Raphael in Florence and Rome, was a culmination of the Italian achievements, while artists like Albrecht Dürer brought a similar level of intellectual and artistic innovation to northern Europe.

• Late Renaissance painting, from about 1520 until the end of the 16th century, is marked by various Mannerist tendencies that spread from Italy through the rest of France.

Page 77: Painting Pre-Historic to Baroque

REASONS THE RENAISSANCE BEGAN IN ITALY

1. City life stronger in Italy than other parts of Europe.

2. City-State governments of Italy required educated citizenry.

3. Italy's traders/merchants came into contact with other civilizations.

4. Classical relics found in Italy inspired Renaissance.

5. Italy was the richest nation in Europe at the time.

6. Italian city-states competed in civic pride.

7. Immigration into Italy from Eastern Europe.

Page 78: Painting Pre-Historic to Baroque

Techniques • The use of perspective: The first major

treatment of the painting as a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti.

• sfumato - The term sfumato was coined by Italian Renaissance artist, Leonardo da Vinci, and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The Latin origin is fumare, to smoke. The opposite of sfumato is chiaroscuro.

Page 79: Painting Pre-Historic to Baroque

Techniques• foreshortening - The term foreshortening refers

to the artistic effect of shortening lines in a drawing so as to create an illusion of depth.

• chiaroscuro - The term chiaroscuro refers to the fine art painting modeling effect of using a strong contrast between light and dark to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning light (chiaro) and dark (scuro), a technique which came into wide use in the Baroque Period.; Sfumato is the opposite of chiaroscuro.

• Balance and Proportion: proper sizes and the use of airy, bright colors. The human anatomy wasn't as idealized as during the ancient times.

Page 80: Painting Pre-Historic to Baroque

Early Renaissance (1400 - 1499)• The scholars and artists of the

Renaissance believed they were participating in a rebirth of the ideals and values of the classical Greek, Hellenistic, and Roman eras.

• Artistic personality and the notion of individual humanity were emerging from a long sleep of anonymity.

• The symbolic, abstract, and remote imagery of the past was being supplanted by a more tangible reality.

Page 81: Painting Pre-Historic to Baroque

High Renaissance in the South (1500 - 1550)• The 16th century was the age

of individual genius. • Many of the West's most

legendary artists - da Vinci, Michelangelo, Raphael, Titan, Tintoretto, and Veronese were active during this era.

• They changed not only the direction of Western art, but established the modern concept of the artist.

Page 82: Painting Pre-Historic to Baroque

The Northern Renaissance (1400 - 1599)

• The Italian style of Renaissance art was carried by merchants and foreign businessmen into the north, but Medieval traditions lingered into the fifteenth century - influencing the development of Northern Renaissance art and architecture.

• Northern artists often combined Renaissance techniques of perspective and realism with typically Gothic elements, such as pointed arches and the meticulous detail usually found in manuscript illumination.

Page 83: Painting Pre-Historic to Baroque

Mannerism (1520 - 1600)• A style that developed in the

sixteenth century as a reaction to the classical rationality and balanced harmony of the High Renaissance; characterised by the dramatic use of space and light, exaggerated colour, elongation of figures, and distortions of perspective, scale, and proportion.

Page 84: Painting Pre-Historic to Baroque

Before the Renaissance:

Duccio, Cimabue, and Giotto

Page 85: Painting Pre-Historic to Baroque

Duccio, Maesto Madonna, 1308-1311

Page 86: Painting Pre-Historic to Baroque

Cimabue,Madonna in Majesty,

c. 1285

Page 87: Painting Pre-Historic to Baroque

Giotto, Ognisanti Madonna, c. 1310

Page 88: Painting Pre-Historic to Baroque

Giotto, Arena (Scrovegni) Chapel, 1302-6

Page 89: Painting Pre-Historic to Baroque

Giotto, The Kiss of Judas, Arena Chapel, 1302-6

Page 90: Painting Pre-Historic to Baroque

Giotto, Lamentation Over Christ, Arena Chapel, 1302-6

Page 91: Painting Pre-Historic to Baroque

The Early Renaissance in Italy

Page 92: Painting Pre-Historic to Baroque

Masaccio, The Trinity,

1425-1428

Page 93: Painting Pre-Historic to Baroque

Masaccio, Brancacci Chapel, Santa Maria della Carmine in Florence, 1426-28

Page 94: Painting Pre-Historic to Baroque

Masaccio, Expulsion from Eden, Brancacci Chapel, 1426-28

Page 95: Painting Pre-Historic to Baroque

Masaccio, Tribute Money, Brancacci Chapel, 1426-28

Page 96: Painting Pre-Historic to Baroque

Sandro Botticelli, Madonna of the Magnificat, 1485

Page 97: Painting Pre-Historic to Baroque

The High Renaissancein Italy

Page 98: Painting Pre-Historic to Baroque

Leonardo da Vinci, The Virgin, Child, and St. Anne,

1510

Page 99: Painting Pre-Historic to Baroque

Leonardo da Vinci, The Last Supper,

1498

Page 100: Painting Pre-Historic to Baroque

Raphael, The Alba Madonna, 1511

Page 101: Painting Pre-Historic to Baroque

Raphael, The School of Athens, 1509-10

Page 102: Painting Pre-Historic to Baroque

Michelangelo Sistine Chapel (full), 1508-1512

Page 103: Painting Pre-Historic to Baroque

Michelangelo, Sistine Chapel Ceiling (part 1)

Page 104: Painting Pre-Historic to Baroque

Michelangelo, Sistine Chapel Ceiling (part 2)

Page 105: Painting Pre-Historic to Baroque

OTHER RENAISSANCE PAINTING

Page 106: Painting Pre-Historic to Baroque
Page 107: Painting Pre-Historic to Baroque
Page 108: Painting Pre-Historic to Baroque
Page 109: Painting Pre-Historic to Baroque
Page 110: Painting Pre-Historic to Baroque
Page 111: Painting Pre-Historic to Baroque
Page 112: Painting Pre-Historic to Baroque
Page 113: Painting Pre-Historic to Baroque
Page 114: Painting Pre-Historic to Baroque
Page 115: Painting Pre-Historic to Baroque

BAROQUE• According to the Oxford English Dictionary,

the word baroque is derived from the Portuguese word "barroco", Spanish "barrueco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain.

• In informal usage, the word baroque can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the seventeenth and eighteenth centuries.

• was a Western cultural epoch, commencing roughly at the beginning of the 17th century in Rome, Italy.

Page 116: Painting Pre-Historic to Baroque

BAROQUE ART• Baroque painting is the painting associated

with the Baroque cultural movement, a movement often identified with the existence of important Baroque art and architecture in non-absolutist and Protestant states.

• A defining statement of what Baroque signifies in painting is provided by the series of paintings executed by Peter Paul Rubens for Marie de Medici at the Luxembourg Palace in Paris (now at the Louvre) in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement.

• There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona; both approaching emotive dynamism with different styles.

Page 117: Painting Pre-Historic to Baroque

BAROQUE ART• Another frequently cited work of Baroque

art is Bernini's Saint Theresa in Ecstasy for the Cornaro chapel in Saint Maria della Vittoria, which brings together architecture, sculpture, and theater into one grand conceit.

• The later Baroque style gradually gave way to a more decorative Rococo, which, through contrast, further defines Baroque.

• The intensity and immediacy of baroque art and its individualism and detail—observed in such things as the convincing rendering of cloth and skin textures—make it one of the most compelling periods of Western art.

Page 118: Painting Pre-Historic to Baroque

Diego Velázquez

(1599 - 1660)

Spanish painter who ranks among the greatest masters of

seventeenth-century Europe and is best known for his portraits

Page 119: Painting Pre-Historic to Baroque
Page 120: Painting Pre-Historic to Baroque

Francisco de Zurbarán

(1598 - 1664)

Spanish Baroque painter of portraits and religious

subjects

Page 121: Painting Pre-Historic to Baroque
Page 122: Painting Pre-Historic to Baroque

Other BaroquePaintings

Page 123: Painting Pre-Historic to Baroque
Page 124: Painting Pre-Historic to Baroque
Page 125: Painting Pre-Historic to Baroque
Page 126: Painting Pre-Historic to Baroque
Page 127: Painting Pre-Historic to Baroque
Page 128: Painting Pre-Historic to Baroque
Page 129: Painting Pre-Historic to Baroque
Page 130: Painting Pre-Historic to Baroque
Page 131: Painting Pre-Historic to Baroque
Page 132: Painting Pre-Historic to Baroque
Page 133: Painting Pre-Historic to Baroque
Page 134: Painting Pre-Historic to Baroque
Page 135: Painting Pre-Historic to Baroque