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St. Luke Drawing the Virgin,
Jan Gossaert,
c. 1512-1515
Especially in Flanders and Brabant most painters’ guilds, medieval professional associations of painters were called ‘Saint Lucas Guilds’.
The theme of Saint Luke painting the Virgin was a popular one in the fifteenth and sixteenth centuries. These pictures were often made for the painters' guilds.
The Madonna is not posing for the picture during her lifetime. She appears to Luke in a vision, in a dream.
Jan Gossaert built up a huge reputation, traveled a lot and conversed with many other painters thus influencing them with his ideas of new art. He worked for the court of the Dukes of Burgundy, painting for the Dukes and his courtiers
Duke Philip of Burgundy to Rome G9. There he learnt the Antique Ideal, beauty in nudity and in sculpture
He was the first northern painter to bring the antique nude image from Italy to Flanders.
Gossaert lacked soul and originality. He tried to compensate these disadvantages by stunning the viewer,
Jan Gossaert is a fine example of a painter gifted with the aptitude to draw and to paint to perfection, but he was not gifted enough to imagine impressive scenes |
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Fall of the Rebel Angels,
Pieter Bruegel the Elder,
1562
The influence of Bosch on Bruegel is clearly felt in this painting; note the many fantastic figures
The central figure in the golden harness is the archangel Michael who, with his allies, is fighting the insurgent angels.
Milton's fallen angels have grandeur and dignity in their defiance.
Falling from grace, they have lost their angelic natures - Bizarre, absurd, unpleasant things, they seem neither powerfully dangerous nor deeply evil.
But the story isn't straightforward. Bruegel is an artist who believes in multitudes and masses more than individual figures. It's natural to think of an earlier artist, Hieronymus Bosch. His work was clearly an inspiration to Bruegel. But the similarity holds a big difference. It's the difference between two kinds of fantasy art. One is devoted to sheer invention. The other brings its inventions to life. |
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Wedding Dance,
Pieter Brueghel the Elder,
1566
Is he showing people having a good time or being crazy?
Captures the moment before the story could take a turn in any direction
Human nature, the world as it is.
indicates that the pen and ink graphic on the left is a "self-portrait" of the artist, and might be the only known likeness.
Brueghel rejected the influences of Italian Renaissance art and its classical foundations.
Rather than depicting mythological subjects and idealized scenes, Brueghel's art portrays natural figures acting out realistic situations
Brueghel's earliest works were landscapes. A number of his panoramic landscape drawings show his ability to depict changing seasonal moods and the atmospheric qualities of nature.
Brueghel later made drawings for engravings. Some of these were landscapes, but others depicted fantastical, monstrous figures. |
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Danaë,
Jan Gossaert,
1527
Flemish painter who was one of the first artists to introduce the style of the Italian Renaissance into the Low Countries.
Gossart accompanied his employer, Philip of Burgundy, to Italy, where he was strongly impressed by the art of the High Renaissance. After his return from Italy in 1509, he continued to study Italian art through the engravings
Sculpturesque nudes become common in Gossart’s later paintings, but they seldom avoid the stiff quality of his earlier figures. In his Danae, Gossart employs an elaborate architectural setting as a foil for the seminude figure, a device he frequently used. Throughout his life, he retained the lapidary technique and careful observation that were traditional in Netherlandish art.
Gossart was also a renowned portrait painter. His portraits reveal his facility for psychological perception and are particularly notable for their expressive depiction of hands. |
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The Ugly Old Woman,
Quentin Massys,
1533
It is likely a depiction of a real person with Paget's disease, Paget's disease is a chronic disorder that can result in enlarged and misshapen bones. though it is sometimes said to be a metaphorical portrait of the Margaret, Countess of Tyrol, who was known as Maultasch, which was used to mean "ugly woman" or "whore"
Matsys was regarded as a cult figure during the 17th century in Antwerp in addition to being one of the founders of the local school of painting
Massys based his own picture on one of Leonardo da Vinci's caricatures. Some argue this is a copy of Leonardo's sketch
Both works seem like intentional gender-benders and satirical rather than portraits
But we also know that Massys' friend Erasmus, in his book In Praise of Folly, ridicules old mad women |
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Ill-Matched Lovers,
Quentin Massys,
c. 1520
Massys settled in Antwerp in 1491, soon becoming its leading painter and an influential citizen. His fame was enhanced by stories, probably exaggerations of the truth, that he had been a blacksmith and taught himself to paint. Among his acquaintances were several of the city's leading humanists. Perhaps his contacts with these men prompted Massys to take up the kind of moralizing secular subject seen here.
An old lecher, whom Massys modeled after a drawing by Leonardo da Vinci, fondles a willing young woman. She meanwhile slips his purse to a gnomelike accomplice in a fool’s cap. The large, brightly lit figures press close to the front of the painting, as if seen through a window.
This separation makes us aware that we are witnesses of the scene, not participants, and therefore free to judge and make a moral choice. Messages like this one about the consequences of vice were familiar to audiences in Antwerp, not only from books like Sebastian Brandt’s Ship of Fools and Erasmus’ In Praise of Folly, but from a large body of popular poetry and from moralizing skits performed during city festivals. |
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Tavern Scene (Prodigal Son Carousing),
Lucas van Leyden,
1518-1520
A Tavern Scene (The Prodigal Son); a young man sitting at left is embraced by a young woman seated next to him; to the right another woman drinks from a goblet as she hands a purse to the young boy waiting in the doorway at r; above the young man, leaning in the window, a fool pointing down to the scene before him with a banderole before him; reverse copy
Engraving |
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Card Players,
Lucas van Leyden,
1515
leading graphic artist in the Netherlands in the early 16th century
In 1521 he traveled to Antwerp. There he met Albrecht Dürer, whose works provided the most important artistic influence on his graphic oeuvre.
Lucas's engraving Mohammed and the Monk Sergius (1508) confirms Van Mander's story of his precocity. His technical mastery and compositional skill at this early age presuppose considerable training and experience as well as a formidable natural talent
Much of Lucas's large production of engravings and woodcuts and a few etchings bear dates, from 1508 to 1530, so that it is possible to follow his development and to establish a probable chronology for his paintings
Lucas's close observation of nature, delight in landscape, and grotesque physiognomies were in the Dutch tradition. His best works are the early ones, in which these features predominate.
Lucas was commissioned to make woodcuts to illustrate a number of books.
His graphic works dealt mainly with religious subject matter. A few were genre subjects, such as the engraving The Dentist (1523), which pointed out a moral in an ironic way, a form of art that became very popular in Holland in the 17th century. |
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Death of the Miser,
Hieronymus Bosch,
c. 1500
The painting is the inside of the right panel of a divided triptych. The other existing portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust.
Death and the Miser belongs to the tradition of the memento mori, which works to warn the beholder of the inevitability of death
influence of popular 15th-century handbooks on the art of dying (the Ars moriendi), designed to remind Christians that they must choose between sinful pleasures and the way of Christ
We can see a reference to the broad way and the narrow
The outcome, whether or not the miser will embrace the salvation offered by Christ in the moments before his death, or ultimately cling to the emptiness of worldly riches, is uncertain.
depiction of such still-life objects to symbolize earthly vanity, transience, or decay would become a genre in itself among 17th-century Flemish artists.
Another of Bosch's panel paintings, Death and the Miser, serves as a warning to anyone who has grabbed at life's pleasures, without being sufficiently detached, and who is unprepared to die. Who can feel indifferent to this fable? In a long and concentrated Bosch sets out the whole painful scenario. |
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The Garden of Earthly Delights (interior and exterior),
Hieronymus Bosch,
c. 1500
It reveals the artist at the height of his powers; in no other painting does he achieve such complexity of meaning or such vivid imagery
The triptych is painted in oil
outer wings, when folded shut, display a grisaille painting of the earth during the Creation.
left panel depicts God presenting Adam to Eve, while the central panel is a broad panorama of sexually engaged nude figures, fantastical animals, oversized fruit and hybrid stone formations. The right panel is a hellscape and portrays the torments of damnation.
Art historians and critics frequently interpret the painting as a didactic warning on the perils of life's temptations. However, the intricacy of its symbolism, particularly that of the central panel, has led to a wide range of scholarly interpretations over the centuries. |
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The Haywain (exterior and interior),
Hieronymus Bosch,
c. 1500 – 1502
triptych panel painting
The outside shutters of the triptych are titled The Path of Life
left panel shows God as he creates Eve. At the top, the rebel angels are cast out of Heaven
Adam and Eve find the serpent and the tree; the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve looks ahead to the right in a melancholic pose.
The central panel features a massive wagon of hay surrounded by hundreds of figures engaged in a variety of sins, not just the sin of lust which dominates the Garden of Earthly Delights. An angel on top of the wagon looks to the sky, praying, whereas none of the other figures see Christ looking down on the world.
The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. |
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The Seven Deadly Sins and the Four Last Things,
Hieronymus Bosch,
c. 1480
Four small circles, detailing "Death of the sinner", "Judgement", "Hell", and "Glory", surround a larger circle in which the seven deadly sins are depicted in scenes from everyday life rather than allegorical representations of the sins
At the centre of the large circle, which is said to represent the eye of God, is a "pupil" in which Christ can be seen emerging from his tomb. Below this image is the Latin inscription ("Beware, Beware, God Sees"). |
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Christ Appearing to his Mother,
Juan de Flandes,
c. 1496
Workshops routinely produced copies of paintings that were prized for their spiritual powers or for the status of their authorship and/or ownership. Such factors prompted Queen Isabella of Castile to order a copy of Rogier van der Weyden's Mary Altarpiece This picture is the right panel of Isabella's triptych and can be attributed to her court artist Juan de Flandes
The earliest of the three works, Christ Appearing to His Mother, is a copy of a panel from Rogier van der Weyden's Miraflores Altarpiece, the Triptych of the Virgin Mary. Here, Juan de Flandes aimed to mask his own individual style and suppress his artistic identity. |
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Arms and Coronation Opening, Isabella Breviary;
Belgium;
c. 1497
The Isabella Breviary is an illuminated codex from the late 15th century
Queen Isabella I was given this manuscript shortly before 1497 to commemorate not only the double marriage of her children but also the successful undertakings of her reign: the discovery of America and the conquest of Granada.
The manuscript is of great historical importance because it reflects not only the artistic reality but also the political unrest of late fifteenth-century Europe, a period when royal marriages meant international political alliances, territorial expansion, etc.
Intended to be the most lavish of all Flemish breviaries, its pages were illuminated by at least six of the finest Flemish painters |
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Allegory of the Tudor Dynasty,
William Rogers,
c. 1590-95
first English craftsman known to have practiced engraving and the greatest portrait engraver of the Tudor period
known for his engraved portraits of Queen Elizabeth I of England
Rogers' work shows him to have been a trained artist in the art of engraving |
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The Ambassadors,
Hans Holbein,
1533
As well as being a double portrait, the painting contains a still life of several meticulously rendered objects
Holbein displayed the influence of Early Netherlandish painters in this work
What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: Holbein used symbols to link his figures to show the same things on the table.
explorative associations and the conflicts between secular and religious authorities are represented |
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Henry VIII,
Hans Holbein,
c.1540
two reasons for King Henry VIII's persistent fame - the fascinating history of his reign, and the artistic genius of Hans Holbein the Younger
His domestic policies changed the course of English history. Determined to annul his first marriage, Henry eventually rejected papal authority in England. In 1535, he declared himself Supreme Head of a new English church; the Reformation had arrived in England |
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The Great Bible,
England,
1539
first authorized edition of the Bible in English
authorized by King Henry VIII of England to be read aloud in the church services of the Church of England
prepared by Myles Coverdale, working under commission of Sir Thomas Cromwell
includes much from the Tyndale Bible, with the objectionable features revised |
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King of England - second monarch of the House of Tudor.
His desire to provide England with a male heir led to the two things that Henry is remembered for: his wives, and the English Reformation that made England a mostly Protestant nation. |
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Queen of England - second wife of Henry VIII
heroine of the English Reformation - she provided the occasion for Henry VIII to divorce Catherine of Aragon, and declare his independence from Rome.
she failed to produce a male heir.
Henry had Anne investigated for high treason, found guilty, and beheaded |
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series of events by which the Church of England broke away from the authority of the Pope and the Roman Catholic Church
associated with wider European Protestant Reformation, a religious and political movement which affected the practice of Christianity across most of Europe during this period.
Based on Henry VIII's desire for an annulment of his marriage, the English Reformation was at the outset more of a political affair than a theological dispute. The split from Rome made the English monarch the Supreme Governor of the English church by "Royal Supremacy", thereby making the Church of England the established church of the nation. |
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leading figure in Protestant reform
Tyndale's was the first English translation to draw directly from Hebrew and Greek texts, and the first to take advantage of the new medium of print, which allowed for its wide distribution.
burnt at the stake for heresy
The Tyndale Bible, as it was known, continued to play a key role in spreading Reformation ideas |
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an artist who painted for the members of a royal or noble family
Usually they were given a salary and formal title, and often a pension for life. For the artist, a court appointment had the advantage of freeing them from the restriction of local painters' guilds |
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portraits were given an important role in Renaissance society and valued as depictions of success and status.
England had no portrait painters of the first rank, and artists like Holbein were in demand by English patrons. Holbein made his great success painting the royal family, including Henry VIII.
dynasty = sequence of rulers considered members of the same family |
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important councilor to Henry VIII
opponent of the Protestant Reformation, in particular Martin Luther and William Tyndale.
coined the word "utopia" – a name he gave to the ideal and imaginary island nation for which he described a political system.
opposed the king's separation from the Catholic Church and refused to accept the king as Supreme Head of the Church of England (Act of Supremacy). imprisoned for his refusal to take the oath required by the First Succession Act - he was tried for treason and beheaded. |
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officially established Christian church in England
considers itself within the tradition of Western Christianity
the church in England became an integral part of the Roman Catholic Church and acknowledged the authority of the Pope. Prompted by a dispute over the annulment of the marriage of Henry VIII, the Church of England separated from the Roman Catholic Church in 1534 and became the established church by an Act of Parliament in the Act of Supremacy, beginning a series of events known as the English Reformation. |
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| Mary Tudor (aka ‘Bloody Mary’) |
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Mary Tudor was the only child born to Henry VIII and Catherine of Aragon to survive childhood.
Eventually, Henry sought an annulment from her mother Catherine, and married his second Queen: Anne Boleyn. Mary was declared illegitimate
Henry VIII died in 1547, leaving his 9 year-old son as King. The young Edward was a supporter of the Protestant faith, although Mary seems to have hoped at one point he would return England to the Church of Rome.
Edward began to show signs of the illness that would eventually claim his life.
Fearing Mary would return the country to the Catholic faith, Duke of Northumberland and others convinced Edward to leave his crown to his cousin Jane.
Mary realized that a plot was being hatched to place Jane on the throne. Mary knew that if she fled, she would forfeit all chances of becoming Queen and returning England to Catholicism, so she chose to remain and make a stand for her crown.
Edward died on July 6, 1553. Shortly afterwards, Northumberland informed Jane at Syon house that Edward had left the crown to her and that she was now Queen of England. Mary, meanwhile, received news from a reliable source that Edward was indeed dead, and promptly sent proclamations throughout the country announcing her accession to the throne.
By this time, the Privy Council in London realized their error in going along with Northumberland's plot and declared Mary the true Queen of England. |
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queen regnant of England and Ireland
fifth and last monarch of the Tudor dynasty
daughter of Henry VIII and Anne Boleyn, declared illegitimate after mother’s execution
succeeded the Catholic Mary I
One of her first moves as queen was the establishing of an English Protestant church, of which she became the Supreme Governor
After the short reigns of Elizabeth's brother and sister, her 44 years on the throne provided welcome stability for the kingdom and helped forge a sense of national identity |
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legislation that declared King Henry VIII of England supreme head of the church and state
marks beginning of the English Reformation
main purpose was so Henry could get an annulment of his marriage to Catherine of Aragon, for Anne Boleyn
repealed in the reign of his staunchly Catholic daughter, Mary I. reinstated by Mary's Protestant half-sister, Elizabeth I, when she ascended the throne. Elizabeth instituted an Oath of Supremacy, requiring anyone taking public or church office to swear allegiance to the monarch as head of the Church and state. |
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| main style in Spanish painting of the 15th/16th centuries – influence from Flanders, new naturalism of detail made possible by the adoption of oil paint, combined with the intense religious sentiment typical of Spanish art |
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literally "the red one", palace and fortress complex located in the Granada, Spain. constructed during the mid 14th century by Moorish rulers
Alhambra's Moorish palaces were built for the last Muslim Emirs in Spain and its court, of the Nasrid dynasty. After the Reconquista, some portions were used by the Christian rulers. The Palace of Charles V, Holy Roman Emperor, was inserted in the Alhambra
The decoration consists of stiff, conventional foliage, Arabic inscriptions, and geometrical patterns wrought into arabesques |
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| Queen Isabella of Castille |
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| marriage to Ferdinand II of Aragon united their kingdoms and, ultimately, Spain. Her reforms and those she made with her husband had an influence that extended well beyond the borders of their united kingdoms. known for completing the Reconquista. |
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"fight against heretics" started in the 12th century, with the introduction of torture in the persecution of heresy.
These inquisitions responded to large popular movements throughout Europe considered apostate or heretical to Christianity.
King Ferdinand II of Aragon and Queen Isabella I of Castile established the Spanish Inquisition in 1478. it operated completely under royal authority, in all Spanish territories. It targeted primarily converts from Islam and Judaism — who came under suspicion of continuing their old religion |
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Seven Deadly Sins (Lust, Greed, Envy, Pride (Vanity), Gluttony, Wrath,
Sloth) |
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(Lust, Greed, Envy, Pride (Vanity), Gluttony, Wrath, Sloth)
classification of objectionable vices that have been used since early Christian times to educate and instruct followers concerning fallen humanity's tendency to sin.
Theologically, a mortal sin is believed to destroy the life of grace within the person and thus creates the threat of eternal damnation.
seen as the origin the other sins.
Beginning in the early 14th century, the popularity of the seven deadly sins as a theme among European artists of the time eventually helped to ingrain them in many areas of Catholic culture and Catholic consciousness in general throughout the world. |
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| simple and concrete saying popularly known and repeated, which expresses a truth, based on common sense or the practical experience of humanity—often metaphorical. |
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Vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, and society itself, into improvement.
Greater purpose is often constructive social criticism, using wit as a weapon.
A common feature is strong irony or sarcasm—This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to attack. |
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Netherlandish Proverbs,
Pieter Bruegel the Elder,
1559
depicts a land populated with literal renditions of Flemish proverbs of the day.
Proverbs were popular during Bruegel's time: a number of collections were published including a famous work by Erasmus.
Bruegel's paintings have themes of the absurdity, wickedness and foolishness of mankind, and this painting is no exception.
he was not intending to produce a mere collection of proverbs but rather a study of human stupidity. Many of the people depicted show the characteristic blank features which Bruegel used to portray fools.
There are around 100 identifiable idioms in the scene |
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