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Van Eyck, Altarpiece of the Lamb (Ghent Altarpiece), 1432
Upper- god, mary, john the baptist, adam and eve
lower- adoration of the lamb in paradise (eucharistic symbol, pagans and old test. fig.) |
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Van Eyck, Madonna with Chancellor Rolin, 1435
donor was chancellor of flanders (in painting)
detailed background
foreground vs. background
perspective not main priority
vision/view from heaven
man in red turban could be van eyck |
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Van Eyck, Madonna with Canon van der Paele, 1436
analytical vision for church
reflection of virgin in armor of ma on left |
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Van Eyck, Arnolfini Double Portrait, 1434
taking marriage vows in house in Bouge
cenami- wife
mirror- van eyck and viewer or witness
chandelier- single candle (presence of christ)
"John van eyck was here"
legal document in pic form |
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Michael Ostensdorfer, Pilgrimage to the Church of the Beautiful Virgin in Regensburg, c. 1520, woodcut
site of miracles
where is line between Protestantism and Catholicism?
Process of destruction is hard to control (it becomes its own worship) |
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Dürer, Adam and Eve, 1504, engraving
eve looks like medicci venus
enscription- durers name and nuremburg
garden is gothic forest
tree on left- tree of life w/ parrot (wisdom)
tree on right- tree of knowledge
humors- fluids of body, control emotion |
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Dürer, Self-Portrait, 1500, oil on panel
Durer as christ
right hand in gesture of benediction
imitating or mocking christ?
striving for perfection
looks like and icon |
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Dürer, Melancolia I, 1514, engraving
idea of artist divinely inspired
artists no longer craftsman
art becomes burden from too much knowledge
frustration because perfection cant be reached
self-portrait like
pose fuses think and sloth (Ren. conception of divinely inspired genius (saturn)) |
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Dürer, Four Holy Men, 1526
early in reformation
serves as memorial to reformation
John, peter, paul, mark
word of god as superior to church (pretestantism) |
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Bosch, The Haywain, c. 1500-5
left paradise
mid.- earth (w/ 4 deadly sins)
right- hell "all the world is a haystack and each man plucks from it what he can."
hay- represents material riches of world |
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Bosch, Garden of Earthly Delights, c. 1510-15
resembles last judgement |
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Brueghel, Fall of Icarus, c. 1555-6
everyday quality
comical
proberb/ myth |
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Brueghel, Hunters in the Snow, 1565
represents december
roasting of pig. ritual in dec. |
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Bernini, David, 1623-4, marble
baroque style
theatrical and dramatic
dynamic |
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Bernini, Apollo and Daphne, 1622-5, marble
sense of loss
from ovid- metamorphosis |
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Bernini, Ecstasy of St Theresa, 1644-7, marble, Cornaro Chapel, S Maria della Vittoria, Rome
natural light from opening in ceiling |
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Caravaggio, David with the Head of Goliath, c. 1609-10
caravaggio self portrait as goliath |
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Caravaggio, Sick Bacchus, c. 1593-4
about decay
fruits- sense of revelry and drunkennes
bacchus- fig of mortality
moralizing lesson
skipped prep. drawing
not interesting in idealizing nature, but naturalizing the ideal |
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Caravaggio, Cardsharps, c. 1594
del monte 1st inquisition |
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Caravaggio, Calling of St Matthew, 1599-1600
tax collector matthew called to serve christ
charged moment
dramatic light and shadow
light follows christs fingers to matt |
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Caravaggio, Entombment of Christ, 1603-4
similar to christ in pieta
rivalry
meant to be an altarpiece |
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Artemisia Gentileschi, Susanna and the Elders, 1610
follower of caravaggio
hebrew wife falsely accused by 2 elders
bathing and blackmailed to have sex
gets arrested boy speaks up for her
about her refusal (womans pt. of view) |
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Artemisia Gentileschi, Judith and Holofernes, c. 1620 (Uffizi, Florence)
bethuliah invaded by asyrians
strength of women |
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Brueghel, Children’s Games, 1560
childrens games as follies of man
blue cloak (deceit)
coming into adulthood |
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Rubens, Allegory on the Blessings of Peace, 1629-30
had task of reconciling england and spain
gave painting to king charles
venus and mars story
contrasts blessings of peace w/ horrors of war |
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Juan Ribalta, Vision of St Bruno, c. 1621-22
catholic church used visions |
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Velazquez, The Water-Seller of Seville, c. 1619-20
realism (gritty, unvarnished)
muted browns
3 dif. men of dif. ages |
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Velazquez, The Drinkers (Los Borrachos), c. 1628
mythological and real people
inserts bacchus in everyday life
very self conscious (bacchus is acting a role) |
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Velazquez, Venus and Cupid (Rokeby Venus), 1648
slender venus |
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Velazquez, Las Meninas, 1656
court portrait, genre scene, self portrait
las meninas is handbook for edu of princess
shows painting is intellectual |
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| Saeredam, Interior of Church of St Bavo in Haarlem, 1648 |
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Cuyp, View of Nijmegen with the Valkhof, c. 1652-5
mideval fortress |
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Rembrandt, Nicolas Ruts, c. 1631
fur traider
contract or bill in his hand
body turned as though active
went bankrupt |
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Rembrandt, Self-Portrait at 34, 1640
confident and assertive
from titians portrait of a man
nice clothing |
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Rembrandt, The Night Watch, 1642
civic image
cocq is respected
foreshortened spear enters viewers space
captain steps forward
much movement
rembrandt portrait in background |
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Rembrandt, Conspiracy of Claudius Civilis, c. 1666
dark
barbaric and pagan
reject by city govt hung in new town hall for a few months
republican symbol from other culture |
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Vermeer, The Milkmaid, c. 1658-60
domestic environ.
primary secondary colors (allegory of painting)
painting of female virtue (humility modesty and empathy for others)
organic vs. manuf. bread - pot
suspended vs. on floor basket - box
open vs. closed
full vs. empty
heavy vs. lightness of touch |
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Vermeer, The Music Lesson, c. 1662-5
mirror she looks at man
possibly sexual
lots of persective (see handout)
strange and mysterious |
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Vermeer, Art of Painting, c. 1666-7
explicitly an allegory
largest domestic material of his
cleo- muse of history
map of northlands (creases)
artist- rep. all artists at work |
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