What makes a Renaissance master a “master?”

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Prebles' Artforms An Introduction to the Visual Arts

CHAPTER

ELEVENTH EDITION

Prebles' Artforms, Eleventh Edition Patrick Frank

Renaissance and Baroque Europe

Prebles' Artforms, Eleventh Edition Patrick Frank

Learning Objectives

Explain the concept of humanism and its impact on Renaissance art and culture.

Contrast the techniques, media, and themes in Italian and Northern European art of the Renaissance.

Describe how social and religious events of the seventeenth century shaped Baroque art.

Prebles' Artforms, Eleventh Edition Patrick Frank

Learning Objectives

Compare stylistic characteristics of Renaissance, Baroque, and Rococo art.

Recognize the relationship of Rococo art to the French aristocracy.

Discuss examples of art that function to persuade or influence the viewer.

Prebles' Artforms, Eleventh Edition Patrick Frank

Introduction

Renaissance
Technical advances with profound subject matter
Baroque
Expanded means of producing works and darker subject matter
Rococo
More decorative and playful elaboration of the Baroque

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

Literally "Rebirth"
Humanism
New philosophical, literary, and artistic movement
Focus on humans, not divine
A time of achievement, exploration, and rediscovery
Renewed interest in the ideas of classical Greece and Rome

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

Recovery of ancient works from Muslim scholars
Elevation of individual artists, not anonymous Middle-Ages artists
Realism
Depictions of light, space, and mass that emphasize physical reality
Giotto di Bondone, Lamentation
Physical and spiritual realism

Prebles' Artforms, Eleventh Edition Patrick Frank

Giotto di Bondone. Lamentation. c.1305.
Fresco. 72" × 78".
Scrovegni Chapel, Padua, Italy. © Studio Fotografico Quattrone, Florence. [Fig. 17.1]

Closer Look: Technique: Fresco

Giotto di Bondone. Lamentation. c.1305.
Fresco. 72" × 78".
Scrovegni Chapel, Padua, Italy. © Studio Fotografico Quattrone, Florence. [Fig. 17.1]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Italy
Wealth of merchants enabled competition in form of art patronage
Masaccio, The Holy Trinity
First painting based on systematic use of linear perspective
Vanishing point below base of the cross
Illusion of figures composed in three-dimensional space
Bodies and drapery realistic

Prebles' Artforms, Eleventh Edition Patrick Frank

Masaccio. The Holy Trinity. 1425.
Fresco. 21' 10-1⁄2" × 10' 5".
Santa Maria Novella, Florence, Italy. © Studio Fotografico Quattrone, Florence.
[Fig. 17-2]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Italy
Popularity of the nude subject
Donatello, David
First life-size, freestanding nude statue since ancient Roman times
Biblical figure
Expressive pose
Derived from contrapposto
Likely commission for Cosimo de' Medici

Prebles' Artforms, Eleventh Edition Patrick Frank

Donatello. David. c.1425–1430.
Bronze. Height 62-1⁄4".
Museo Nazionale del Bargello, Florence. © Studio Fotografico Quattrone, Florence.
[Fig. 17.3]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Italy
Donatello, David
Symbol of divine beauty
Donatello, Mary Magdalene
Haggard and withdrawn figure
Painted wood
Botticelli, Birth of Venus
First large mythological painting since antiquity

Prebles' Artforms, Eleventh Edition Patrick Frank

Donatello. Mary Magdalene. c.1455.
Wood, partially gilded. Height 74".
Photo Scala, Florence/Fondo Edifici di Culto—Min. dell'Interno. [Fig. 17-4]

Video: Students on Site: Donatello, Penitent Magdalen

Donatello. Mary Magdalene. c.1455.
Wood, partially gilded. Height 74".
Photo Scala, Florence/Fondo Edifici di Culto—Min. dell'Interno. [Fig. 17-4]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Italy
Botticelli, Birth of Venus
Decorative and flat background makes figures appear to be in relief
"Pagan" goddess in a modest role previously reserved for Mary
Focus on classical mythology based on Neoplatonist philosophy
Preoccupation of business-oriented, secular art patrons

Prebles' Artforms, Eleventh Edition Patrick Frank

Sandro Botticelli. Birth of Venus. c.1480.
Tempera on canvas. 5' 8-7⁄8" × 9' 1-7⁄8".
Uffizi Gallery, Florence, Italy. © Studio Fotografico Quattrone, Florence. [Fig. 17-5]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The High Renaissance
Between 1490–1530 in Florence, Rome, and Venice
Leonardo da Vinci
Art and science as two means to the same end, knowledge
Studies of anatomy and ideas for mechanical devices
The Fetus in the Womb
Much of the drawing is very accurate.

Prebles' Artforms, Eleventh Edition Patrick Frank

Leonardo da Vinci. The Fetus in the Womb. c.1510.
Pen and ink. 11-7⁄8" × 8-3⁄8".
The Royal Collection © 2013 Her Majesty Queen Elizabeth II/The Bridgeman Art Library. [Fig. 17-6]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The High Renaissance
Leonardo da Vinci
Mona Lisa
Intriguing expression
Soft blurring of edges around figure
The Last Supper
Jesus as an accessible person who reveals his divinity in an earthly setting
Hidden geometry strengthens symbolism
Pediment suggesting halo

Prebles' Artforms, Eleventh Edition Patrick Frank

Leonardo da Vinci. Mona Lisa. c.1503–1506.
Oil on wood. 30-1⁄4" × 21".
Musée du Louvre, Paris, France. RMN/Michel Urtado.
[Fig. 17-7]

Closer Look: Leonardo da Vinci, Mona Lisa

Leonardo da Vinci. Mona Lisa. c.1503–1506.
Oil on wood. 30-1⁄4" × 21".
Musée du Louvre, Paris, France. RMN/Michel Urtado. [Fig. 17-7]

Prebles' Artforms, Eleventh Edition Patrick Frank

Leonardo da Vinci. The Last Supper: Perspective lines as both organizing structure and symbol of content.
Santa Maria delle Grazie, Milan, Italy. [Fig. 17-8a]

Prebles' Artforms, Eleventh Edition Patrick Frank

Leonardo da Vinci. The Last Supper: Christ's figure as stable triangle, contrasting with active turmoil of the disciples.
Santa Maria delle Grazie, Milan, Italy. [Fig. 17-8b]

Prebles' Artforms, Eleventh Edition Patrick Frank

Leonardo da Vinci. The Last Supper. c. 1495–1498.
Experimental paint on plaster. 14' 5" × 28' 1⁄4".
Santa Maria delle Grazie, Milan, Italy. © Studio Fotografico Quattrone, Florence.
[Fig. 17-8c]

Video: Church and Dominican Convent of Santa Maria delle Grazie with The Last Supper

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The High Renaissance
Michelangelo
David
Most powerful depiction of David as hero, defender of just cause
Three years to finish large sculpture
Stance in contrapposto
Sense of anxiety and readiness for conflict
Changes in proportion and depiction of inner feeling

Prebles' Artforms, Eleventh Edition Patrick Frank

Michelangelo Buonarroti. David. 1501–1504.
Marble. Height of figure 14' 3".
Accademia, Florence. Photograph © Studio Fotografico Quattrone, Florence.
[Fig. 17-9]

Podcast: David vs. David

Michelangelo Buonarroti. David. 1501–1504.
Marble. Height of figure 14' 3".
Accademia, Florence. Photograph © Studio Fotografico Quattrone, Florence.
[Fig. 17-9]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The High Renaissance
Michelangelo
Sistine Chapel ceiling
Genesis scene, The Creation of Adam
Expression of God as idealized, rational man with interest in humans
Prophets and sibyls, and Old Testament figures on other levels
The Last Judgment on the end wall above altar

Prebles' Artforms, Eleventh Edition Patrick Frank

Michelangelo Buonarroti. Frescoes on the ceiling of the Sistine Chapel. 1508–1512.
The Sistine Chapel. Vatican Museums, Rome, Italy. © Reuters/Corbis. [Fig. 17-10a]

Architectural Panorama: Sistine Chapel Ceiling

Michelangelo Buonarroti. Frescoes on the ceiling of the Sistine Chapel. 1508–1512.
The Sistine Chapel. Vatican Museums, Rome, Italy. © Reuters/Corbis. [Fig. 17-10a]

Prebles' Artforms, Eleventh Edition Patrick Frank

Michelangelo Buonarroti.
Frescoes on the ceiling of the Sistine Chapel: The Creation of Adam. 1508–1512.
Vatican Museums, Rome, Italy. [Fig. 17-10b]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The High Renaissance
Raphael
Warmth and gentleness emphasized
The School of Athens
Complex composition with symmetrical sub-groups
Central figures of Plato and Aristotle
Paul Preaching at Athens
Commission for Pope Leo X
Reason transmits religious truth

Prebles' Artforms, Eleventh Edition Patrick Frank

Raphael. Paul Preaching at Athens. 1515–1516.
Watercolor on paper mounted on canvas. 11' 5-1⁄2" × 14' 6-3⁄4".
Victoria and Albert Museum, London © V&A Images/The Royal Collection, on loan from HM The Queen. [Fig. 17-11]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Northern Europe
Preoccupation with depicting life in the real world
Jan van Eyck of Flanders
First to use oil as painting medium
Detail and depth believable
The Arnolfini Portrait
Significant, symbolic objects indicate fidelity, fertility in a marriage
Accurate figures and space

Prebles' Artforms, Eleventh Edition Patrick Frank

Jan van Eyck. The Arnolfini Portrait. 1434.
Oil on panel. 33-1⁄2" × 23-1⁄2".
© 2013. Copyright The National Gallery, London/Scala, Florence. [Fig. 17-12]

Closer Look: Jan van Eyck, Double Portrait of Giovanni Arnolfini and His Wife

Jan van Eyck. The Arnolfini Portrait. 1434.
Oil on panel. 33-1⁄2" × 23-1⁄2".
© 2013. Copyright The National Gallery, London/Scala, Florence. [Fig. 17-12]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

The Renaissance in Northern Europe
Albrecht Dürer
The Knight, Death, and the Devil
Pieter Bruegel
Lives and surroundings of common people with rich landscapes
Referred to as genre paintings
Hunters in the Snow
Mood scene of January utilizing illusion of deep space

Prebles' Artforms, Eleventh Edition Patrick Frank

Pieter Bruegel. Hunters in the Snow. 1565.
Oil on panel. 46-1⁄2" × 63-3⁄4".
Kunsthistorisches Museum, Vienna, Austria. akg images/Erich Lessing. [Fig. 17-13]

Closer Look: Pieter Bruegel the Elder, The Return of the Hunters

Pieter Bruegel. Hunters in the Snow. 1565.
Oil on panel. 46-1⁄2" × 63-3⁄4".
Kunsthistorisches Museum, Vienna, Austria. akg images/Erich Lessing. [Fig. 17-13]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

Late Renaissance in Italy
Andrea Palladio, Villa Rotonda
Free interpretation of Roman Pantheon
Architectural goal not livability
Four identical sides surround domed hall
Inspired motifs that appear in postmodern building design
Venetian painting more lavish than inland Italian artists

Prebles' Artforms, Eleventh Edition Patrick Frank

Andrea Palladio. Villa Rotonda. 1567–1570.
Vicenza, Italy. Cameraphoto/AKG images. [Fig. 17-14]

Video: Students on Site: Villa Rotonda

Andrea Palladio. Villa Rotonda. 1567–1570.
Vicenza, Italy. Cameraphoto/AKG images. [Fig. 17-14]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Renaissance

Late Renaissance in Italy
Veronese, Feast in the House of Levi
Depicts sumptuous banquet from New Testament but originally intended to be a Last Supper depiction
Led to accusations of heresy by Inquisition
Important trial for artistic freedom
Defense that artist should be free to interpret subjects as he wishes

Prebles' Artforms, Eleventh Edition Patrick Frank

Paolo Veronese. Feast in the House of Levi. 1573.
Oil on canvas. 18' 4" × 16' 7".
Accademia Gallery, Venice/© Cameraphoto Arte, Venice
[Fig. 17-15]

Closer Look: Veronese, Fest in the House of Levi

Video: Students on Site: Veronese, House of Levi

Paolo Veronese. Feast in the House of Levi. 1573.
Oil on canvas. 18' 4" × 16' 7".
Accademia Gallery, Venice/© Cameraphoto Arte, Venice. [Fig. 17-15]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

About 1600–1750
Art moved in the direction of drama, emotion, and splendor.
Set aside balanced harmony of Renaissance artists in favor of innovative use of space
Foreshortening and sharp diagonals
Counter-Reformation of Roman Catholic Church

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Caravaggio
Used directed light and strong contrasts
Chiaroscuro
The Conversion of Saint Paul
Foreshortened figure of Paul realistic to viewer
Emotional realism perceived by some as too strong for those accustomed to images representing piety

Prebles' Artforms, Eleventh Edition Patrick Frank

Michelangelo Merisi da Caravaggio. The Conversion of Saint Paul. 1600–1601.
Oil on canvas. 100-1⁄2" × 69".
Santa Maria del Popolo, Rome, Italy. © Vincenzo Pirozzi, Rome. [Fig. 17-16]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Artemisia Gentileschi, Judith...
Influence of Caravaggio
Dramatic lighting
Off-balance composition
Scene from Old Testament where Judith beheaded Assyrian general Holofernes
Gianlorenzo Bernini, David
Life-size, not monumental
Twisted body depicts drama of struggle

Prebles' Artforms, Eleventh Edition Patrick Frank

Artemisia Gentileschi. Judith and the Maidservant with the Head of Holofernes. c.1625.
Oil on canvas. 6' 1⁄2" × 4' 7-3⁄4".
Detroit Institute of Art Gift of Mrs. Leslie H. Green. Photograph © The Detroit Institute of Arts/The Bridgeman Art Library. [Fig. 17-17]

Web Resource: Artemesia Gentileschi

Prebles' Artforms, Eleventh Edition Patrick Frank

Gianlorenzo Bernini. David. 1623.
Marble. Life-size.
Galleria Borghese, Rome. Photograph: Scala. [Fig. 17-18]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Bernini, The Ecstasy of Saint Teresa
Portrayal of a vision from her diary
Skylight adds light to drama of the sculpture
Moment of greatest emotional impact
Peter Paul Rubens
Highly demanded European artist
The Raising of the Cross
Sensual, well-muscled figures

Prebles' Artforms, Eleventh Edition Patrick Frank

Gianlorenzo Bernini. The Ecstasy of Saint Teresa. 1645–1652.
Detail of the altar. Marble. Life-size.
Cornaro Chapel, Santa Maria Della Vittoria, Rome, Italy. Photograph: © Canali Photobank. [Fig. 17-19]

Architectural Simulation: Cornaro Chapel

Web Resource: Gianlorenzo Bernini

Video: Students on Site: Cornaro Chapel

Prebles' Artforms, Eleventh Edition Patrick Frank

Peter Paul Rubens. The Raising of the Cross. 1610–1611.
Oil on panel. One part of a three-part work. 15' 2" × 11' 2".
Onze Lieve Vrouwkerk, Antwerp Cathedral, Belgium. Photograph: Peter Willi/Bridgeman Art Library. [Fig. 17-20]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Diego Velázquez
Painted for Philip IV, King of Spain
The Maids of Honor
Unclear subject becomes a riddle
Artist stares out from behind a canvas
King's daughter in the middle
King and Queen in the mirror at the back
Art in both religious and secular subjects reflecting new patrons

Prebles' Artforms, Eleventh Edition Patrick Frank

Diego Velázquez. Las Meninas (The Maids of Honor). 1665.
Oil on canvas. 10' 5" × 9'.
Museo del Prado, Madrid, Spain. Photograph: akg-images/Erich Lessing. [Fig. 17-21]

Closer Look: Diego Velázquez, Las Meninas

Diego Velázquez. Las Meninas (The Maids of Honor). 1665.
Oil on canvas. 10' 5" × 9'.
Museo del Prado, Madrid, Spain. Photograph: akg-images/Erich Lessing. [Fig. 17-21]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Rembrandt, Return of the Prodigal Son
Biblical scene of disobedient son returning after wasting inheritance
Portrays miraculous restoration of affection between estranged people, not vision of a saint
Jan Vermeer, The Kitchen Maid
Limited use of color
Mystical qualities of light on details

Prebles' Artforms, Eleventh Edition Patrick Frank

Rembrandt van Rijn. Return of the Prodigal Son. c.1668–1669.
Oil on canvas. 8' 8" × 6' 8".
The State Hermitage Museum, St. Petersburg, Russia. [Fig. 17-22]

Prebles' Artforms, Eleventh Edition Patrick Frank

Jan Vermeer. The Kitchen Maid. c.1658.
Oil on canvas. 18" × 16-1⁄8".
Rijksmuseum, Amsterdam. [Fig. 17-23]

Web Resource: Essential Vermeer

Jan Vermeer. The Kitchen Maid. c.1658.
Oil on canvas. 18" × 16-1⁄8".
Rijksmuseum, Amsterdam. [Fig. 17-23]

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Still life flourishes
Fruits or flowers as subject arranged by artist, often including other domestic and/or food items
Netherlands
Celebrated bounty of nature
Spain
Isolation of a few items in dramatic light

Prebles' Artforms, Eleventh Edition Patrick Frank

Baroque

Still Life with Sweets and Pottery
Mix of still life schools' styles
Exercise in composition
French aristocratic splendor
Palace of Versailles built for King Louis XIV
Hall of Mirrors
Expensive glassworks
Visual spectacle reflecting status

Prebles' Artforms, Eleventh Edition Patrick Frank

Juan van der Hamen. Still Life with Sweets and Pottery. 1627.
Oil on canvas. 33-1⁄4" × 44-3⁄8".
National Gallery of Art, Washington D.C. Samuel H. Kress Collection 1961.9.75.
[Fig. 17-24]

Prebles' Artforms, Eleventh Edition Patrick Frank

Video: Palace and Park of Versailles

Video: Students on Site: Versailles

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Persuasion

Inspiration
Progress as positive
Wright, Philosopher Gives a Lecture...
Propaganda for a scientific worldview
Orrery
Model of the solar system with the sun at its center
Symbolic of scientific enlightenment
Virtues of inquiry and knowledge

Prebles' Artforms, Eleventh Edition Patrick Frank

Joseph Wright of Derby. A Philosopher Gives a Lecture on the Orrery. 1766.
Oil on canvas. 58" × 80".
Derby Museum and Art Gallery. akg-images/Erich Lessing. [Fig. 17-26]

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Persuasion

Inspiration
Westward the Course of Empire Takes Its Way
Expansion of the United States
"Manifest Destiny"
Aimed to represent expansion as peaceful although this was not the case
Larger version commissioned for government in Washington, D.C.

Prebles' Artforms, Eleventh Edition Patrick Frank

Emanuel Leutze. Westward the Course of Empire Takes its Way. 1860.
Mural study. 33-1⁄4" × 43-3⁄8".
Smithsonian American Art Museum Washington, D.C. © 2013. Photo Smithsonian American Art Museum/Art Resource/Scala, Florence. [Fig. 17-27]

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Persuasion

Inspiration
Monument to the Third International
Third International party founded by Lenin to spread Communism
Conceptual structure intended to symbolize technological prowess of Communist Russia
Designed to compete with Eiffel Tower
Impossible to build during a time of shortage and political unrest

Prebles' Artforms, Eleventh Edition Patrick Frank

Vladimir Tatlin. Model for Monument to the Third International. 1919.
Photograph. The Bridgeman Art Library. [Fig. 17-28]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rococo

Lighter, more playful version of Baroque
Enthusiastic sensuality
Imitation of curved shapes of shells
Arts moved from marble halls to fashionable town houses
Hôtel de Soubise
Romantic visions of life free from hardship

Prebles' Artforms, Eleventh Edition Patrick Frank

Germain Boffrand. Salon de la Princesse. Begun 1732.
Hôtel de Soubise, Paris. Hirmer Fotoarchiv, Munich, Germany. [Fig. 17-29]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rococo

Fragonard's Happy Accidents of the Swing
Well-dressed, idle young woman admired by a hiding youth
Storyline provided by flying shoe that may reveal the young man
Contrasts of light and dark and off-balance composition learned from Baroque

Prebles' Artforms, Eleventh Edition Patrick Frank

Jean-Honoré Fragonard. Happy Accidents of the Swing. 1767.
Oil on canvas. 31-7⁄8" × 25-1⁄4".
The Wallace Collection, London. The Bridgeman Art Library. [Fig. 17-30]

Closer Look: Jean-Honoré Fragonard, The Swing

Jean-Honoré Fragonard. Happy Accidents of the Swing. 1767.
Oil on canvas. 31-7⁄8" × 25-1⁄4".
The Wallace Collection, London. The Bridgeman Art Library. [Fig. 17-30]