History Unit 3 Assignment: Timeline Activity
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ART102Chapter25.pptxChapter 25
THE BAROQUE IN NORTHERN EUROPE
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Explain the religious and economic factors that influenced the artistic forms and subjects of this period in northern Europe.
Describe the role of Peter Paul Rubens and others in Flemish art and in other spheres of life in Flanders.
Describe the economic conditions in the Dutch Republic that gave rise to a wealthy middle class, and discuss the artistic tastes and preferences of that group.
Discuss the meaning and symbolism of luxury items represented in Dutch painting, especially in portraits and scenes showing domestic interiors.
Describe the works and careers of Rembrandt van Rijn and Johannes Vermeer.
Describe the effects of the artistic patronage of Louis XIV on the art and architecture of France, especially the innovations of the palatial complex at Versailles.
Explain the return of classical ideas and ideals to the art of northern Europe during the Baroque.
List important architectural projects in England during the 17th century as well as the socioeconomic conditions that produced them.
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MAP 25.1
25.1 Europe in 1648 after the Peace of Westphalia.
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Figure 25.1
25.1 Pieter Claesz, Vanitas Still Life, 1630s. Oil on panel, 1' 2" 1' 11 1/2". Germanisches Nationalmuseum, Nuremberg.
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Figure 25.1A
25.1A Jan Brueghel the Elder and Peter Paul Rubens, Allegory of Sight, ca. 1617–1618. Oil on wood, 2' 1 5/8" 3' 7". Museo del Prado, Madrid.
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Figure 25.2
25.2 Peter Paul Rubens, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, center panel 15' 1 7/8" 11' 1 1/2", each wing 15' 1 7/8" 4' 11". Antwerp Cathedral, Antwerp.
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Figure 25.3
25.3 Peter Paul Rubens, Consequences of War, 1638–1639. Oil on canvas, 6' 9" 11' 3 7/8". Galleria Palatina, Palazzo Pitti, Florence.
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Figure 25.4
25.4 Peter Paul Rubens, Arrival of Marie de’ Medici at Marseilles, from the Luxembourg Palace, Paris, France, 1622–1625. Oil on canvas, 12' 11 1/2" 9' 7". Musée du Louvre, Paris.
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Figure 25.4A
25.4A Peter Paul Rubens, Garden of Love, 1630–1632. Oil on canvas, 6' 6" 9' 3 1/2". Museo del Prado, Madrid.
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Figure 25.5
25.5 Anthony van Dyck, Charles I at the Hunt, ca. 1635. Oil on canvas, 8' 11" 6' 11 1/2". Musée du Louvre, Paris.
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Figure 25.6
25.6 Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1' 7 3/4" 2' 1 1/4". Museo del Prado, Madrid.
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Figure 25.7
25.7 Hendrick ter Brugghen, Calling of Saint Matthew, 1621. Oil on canvas, 3' 4" 4' 6". Centraal Museum, Utrecht.
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Figure 25.8
25.8 Gerrit van Honthorst, Supper Party, 1620. Oil on canvas, 4' 8" 7'. Galleria degli Uffizi, Florence.
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Figure 25.9
25.9 Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas, 6' 9" 11'. Frans Halsmuseum, Haarlem.
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Figure 25.10
25.10 Frans Hals, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5' 7" 8' 2". Frans Halsmuseum, Haarlem.
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Figure 25.11
25.11 Judith Leyster, Self-Portrait, ca. 1630. Oil on canvas, 2' 5 3/8" 2' 1 5/8". National Gallery of Art, Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss).
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Figure 25.12
25.12 Rembrandt van Rijn, Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 5' 3 3/4" 7' 1 1/4". Mauritshuis, The Hague.
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Figure 25.13
25.13 Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), from the Musketeers Hall, Amsterdam, Netherlands, 1642. Oil on canvas, 11' 11" 14' 4" (trimmed from original size). Rijksmuseum, Amsterdam.
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Figure 25.13A
25.13A Rembrandt van Rijn, Blinding of Samson, 1636. Oil on canvas, 7' 9 1/8" 9' 5/8". Städelsches Kunstinstitut, Frankfurt.
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Figure 25.14
25.14 Rembrandt van Rijn, Return of the Prodigal Son, ca. 1665. Oil on canvas, 8' 8" 6' 9". State Hermitage Museum, Saint Petersburg.
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Figure 25.15
25.15 Rembrandt van Rijn, Self-Portrait, ca. 1659–1660. Oil on canvas, 3' 8 3/4" 3' 1". Kenwood House, London (Iveagh Bequest).
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Figure 25.15A
25.15A Rembrandt van Rijn, Self-Portrait, 1658. Oil on canvas, 4' 4 5/8" 3' 4 7/8". Frick Collection, New York.
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Figure 25.16
25.16 Rembrandt van Rijn, Christ with the Sick around Him (Hundred-Guilder Print), ca. 1649. Etching and engraving, 11" 1' 3 1/4". Pierpont Morgan Library, New York.
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Figure 25.17
25.17 Aelbert Cuyp, Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil on canvas, 5' 1" 6' 4 7/8". National Gallery, London.
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Figure 25.18
25.18 Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1' 10" 2' 1". Mauritshuis, The Hague.
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Figure 25.18A
25.18A Jacob van Ruisdael, Jewish Cemetery, ca. 1653–1655. Oil on canvas, 2' 9 1/8" 3' 1 3/8". Gemäldegalerie Alte Meister, Dresden.
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Figure 25.18B
25.18B Johannes Vermeer, View of Delft, ca. 1661. Oil on canvas, 3' 2 1/2" 3' 10 1/4". Mauritshuis, The Hague.
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Figure 25.19
25.19 Johannes Vermeer, Woman Holding a Balance, ca. 1664. Oil on canvas, 1' 3 7/8" 1' 2". National Gallery of Art, Washington, D.C. (Widener Collection).
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Figure 25.19A
25.19A Johannes Vermeer, The Letter, 1666. Oil on canvas, 1' 5 1/4" 1' 3 1/4". Rijksmuseum, Amsterdam.
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Figure 25.20
25.20 Johannes Vermeer, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4' 4" 3' 8". Kunsthistorisches Museum, Vienna.
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Figure 25.21
25.21 Jan Steen, Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas, 2' 8 1/4" 2' 3 3/4". Rijksmuseum, Amsterdam.
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Figure 25.22
25.22 Willem Kalf, Still Life with a Late Ming Ginger Jar, 1669. Oil on canvas, 2' 6" 2' 1 3/4". Indianapolis Museum of Art, Indianapolis (gift in commemoration of the 60th anniversary of the Art Association of Indianapolis, in memory of Daniel W. and Elizabeth C. Marmon).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
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Figure 25.23
25.23 Rachel Ruysch, Flower Still Life, after 1700. Oil on canvas, 2' 5 3/4" 1' 11 7/8". Toledo Museum of Art, Toledo (purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey).
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Figure 25.24
25.24 Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas, 9' 2" 6' 3". Musée du Louvre, Paris.
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Figure 25.25
25.25 Claude Perrault, Louis Le Vau, and Charles Le Brun, east facade of the Louvre (looking southwest), Paris, France, 1667–1670
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Figure 25.26
25.26 Jules Hardouin-Mansart, Charles Le Brun, and André le Nôtre, aerial view of the palace and gardens (looking northwest), Versailles, France, begun 1669.
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Figure 25.27
25.27 Jules Hardouin-Mansart and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680.
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Figure 25.28
25.28 François Girardon and Thomas Regnaudin, Apollo Attended by the Nymphs of Thetis, Grotto of Thetis, park of Versailles, Versailles, France, 1664–1670. Marble, life-size.
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Figure 25.28A
25.28A Hubert Robert, Baths of Apollo, park of Versailles, Versailles, France, 1777–1781.
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Figure 25.29
25.29 Jules Hardouin-Mansart, interior of the Royal Chapel, with ceiling decorations by Antoine Coypel, palace of Versailles, Versailles, France, 1698–1710.
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Figure 25.30
25.30 Jules Hardouin-Mansart, Église du Dôme (looking north), Church of the Invalides, Paris, France, 1676–1706.
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Figure 25.31
25.31 Nicolas Poussin, Et in Arcadia Ego, ca. 1655. Oil on canvas, 2' 10" 4'. Musée du Louvre, Paris.
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Figure 25.32
25.32 Nicolas Poussin, Landscape with Saint John on Patmos, 1640. Oil on canvas, 3' 3 1/2" 4' 5 5/8". Art Institute of Chicago, Chicago (A. A. Munger Collection).
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Figure 25.32A
25.32A Nicolas Poussin, Burial of Phocion, 1648. Oil on canvas, 3' 11" 5' 10". Musée du Louvre, Paris.
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Figure 25.33
25.33 Claude Lorrain, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3' 6" 4' 10 1/2". Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection).
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Figure 25.34
25.34 Louis Le Nain, Family of Country People, ca. 1640. Oil on canvas, 3' 8" 5' 2". Musée du Louvre, Paris.
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Figure 25.35
25.35 Jacques Callot, Hanging Tree, from the Miseries of War series, 1629–1633. Etching, 3 3/4" 7 1/4". Bibliothèque nationale de France, Paris.
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Figure 25.36
25.36 Georges de La Tour, Adoration of the Shepherds, 1645–1650. Oil on canvas, 3' 6" 4' 6". Musée du Louvre, Paris.
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Figure 25.37
25.37 Inigo Jones, Banqueting House (looking northeast), Whitehall, London, England, 1619–1622.
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Figure 25.38
25.38 Christopher Wren, west facade of Saint Paul’s Cathedral, London, England, 1675–1710.
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Discussion Questions
How did the 17th-century Dutch Republic’s economy and politics shape the work created by its artists?
Contrast the differences in the paintings by Rembrandt to those of Baroque artists from Italy or France. What features unite them all under the term Baroque too?
How does 17th-century architecture in the northern European countries compare to the architecture of Baroque Italy? Consider appearance, form, and function.
Why did landscape paintings become more popular at this time?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
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