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| Aertsen, The Meat Stall, c. 1551. Power of market economy shown by products for sale in a butcher's shop and a sign in the upper right advertising a farm for sale. Mary and Jesus to the left on the Flight into Egypt giving bread to the poor who are ignored by worshippers in line for church. To the right is a tavern scene where the excesses of the senses is for sale. Some items may be read as gluttony, Christian symbols. The two scenes in the background offer a choice to the viewer. |
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| Artemisia Gentileschi, Judith Staying Holofernes, c. 1620. Oil on canvas. Very dramatic. Trained by her father who was a rival to Caravaggio. 8 years following a trial she was involved in. At 19, her teacher raped her and promised to marry her. Images represent revenge throughout her career. Open composition, left to wonder what else is going on outside of the painting. |
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| Baldung Grien, The Bewitched Groom, c. 1544. Grooming tool near his hand. Uses variety of marks to define form and to suggest textures, and organizes the space using perspective and foreshortening of both man and beast. Woman can be a witch who stunned the man or controlled the horse to do it to him. The pitchfork under the man could be her goal as witches use such tools to fly throught the sky. Her fearsome image reflects a fear of witchcraft that took hold in Europe in the sixteenth century. Woodcut on paper. |
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| Bernini, David, c. 1623. If we compare this David with that of Michelangelo's, Bernini's has the union of body and spirit, of motion and emotion, which Michelangelo so tempers. Has the fierceness of expression, movement, and dynamism of the Lacoon. Bernini's is a half of a pair, with is entire being forced on his adversary. Bernini's David tells us clearly where he sees the enemy. The space between David and his enemy belongs to the statue. The intensity of his expression suggests his focused determination. David's face is is modeled off Bernini's. It is a self-portrait. |
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| Bernini, The Ecstasy of St. Teresa, c. 1645-1652. Arm and leg are limp and the saint's rapture is obvious. The two figures on their floating cloud are lit from a hidden window so that they seem dematerialized so that the viewer sees them as a vision. The figures levitate toward heaven and causes the turbulance of their clothes. Divine nature is suggested by the golden rays that come from a source above the altar. Built in audience. On the sides of the chapel are balconies resembling theater boxes who become part of our reality. The ceiling represents the infinite space of heaven. |
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| Bronzino, Allegory of Venus, c. 1546. Bald father times tears back the curtain from Fraud, the figure in the upper left hand corner to reveal Cupid and Venus much to the delight of the child Folly who is armed with roses with a figure tearing his hair, who is identified as either jealousy or pain. On the right is pleasure, half snake half women offers a honeycomb. The moral is that Folly and pleasure blind out the jealousy and fraud of sensual love, which time reveals. The literary quality shows Bronzino's skill as a poet. |
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| Caravaggio, Bacchus, c. 1597. The fruit represents worldly things. A portrait of the artist working his easel was discovered in the reflection on the glass. The reflection of Bacchus' face can also be seen on the surface of the wine in the glass he is holding. The offering of the wine leads to the speculation that Caravaggio used a mirror to assist himself while working. In other words, the boy's left hand was actually Caravaggio's right hand. |
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| Caravaggio, David with the Head of Goliath, c. 1610. Oil on canvas. Self portrait, he is Goliath. Represents regret over the murder that he committed. David represents a man that he slept with. Tried to get on good side of papacy by showing regret in murder by having his own head cut off. |
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| Caravaggio, The Conversion of St. Paul, c. 1601. Heighten the drama and to suggest divine light at the same time. Employs muted tones and a nearly black background. He uses light to focus and even shock the viewer. A fallen Saul lies on his back, foreshortened and helpless as he is struck by the light of God. The light also reveals the flank and mane of his huge horse, which takes up most of the space. The intense light from the left is used to model forms and create textures. The figures are almost too big for the space. |
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| Correggio, The Assumption of the Virgin, c. 1522-1530. Viewer standing beneath the dome is transported into the heavens, as the sky opens to recieve the body of the Virgin rising into the light. He gives the figures the ability to move with such ease that the force of gravity seems not to exist for them. Reflecting the influence of Titian, there are energetic beings of flesh and blood, which makes the scene more miraculous. |
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| Corregio, Jupiter and Io, c. 1532. Jupiter changed his shape to seduce his lovers. Here, he is a cloud. The use of sfumato, combined with a Venetian sense of color and texture produces a sesuality. Renders the cloud with a degree of illusionism. |
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| Durer, Melencolia, c. 1514. Winged female holding a compass surrounded by the tools of the mathematician and the artist. She holds the tools of geometry, yet is surrounded by chaos. Figure is probably a personification, identified as Melancholy, Geometry, and as genius. Her face is in shadow as though she is lost in thought, she sits in a pose long associated with melancholy which is connected with intellectual activity and creative genius. He is making a statement about the artistic temperament and its relationship to the melancholic humor. |
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| Durer, Self-Portrait, c. 1500. Belongs to tradition of van Eyck's Man in a Red Turban. The solemn pose and the idealization of the features have an authority not found in most portraits up to this time. He places himself frontally in the composition, a pose usually reserved for images of the divine. Patterns after images of Christ. It reflects his deep piety and the seriousness with which he viewed his mission as an artist and intellectual. |
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| El Greco, The Burial of Count Orgaz, c. 1586 St. Stephen and St. Augustine appear at his funeral to lower his body into its grave. He puts some of his noblemen and clergy from his time at the funeral. The display of color and texture in the armor reflects his Venetian training. The soul is being lifted to heaven by an angel. The assembly in the upper half is painted very differently than the assembly in the lower half. Every form takes part in the sweeping movement towards the figure of Christ. His compressed space, unearthly light, and weightless bodies share stylistic features with italian Mannerism. Violent foreshortening. The stone plaque represents the front of the sarcophagus. Three levels of reality: grave itself, renenactment of the burial, and the glory witnessed by the people there. |
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| Georges de La Tour, The Cheat, c. 1635. Oil on canvas. Three temptations- wine, money, and women. Person on the right is being cheated since they are oblivious to what is going on. The man to the left has an ace up his sleeve in case their plan of the three temptations fail, they have another way to cheat. |
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| Georges de La Tour, The Penitent Magdalene, c. 1640s. Oil on canvas. French baroque (style of 17th century). Candle with transparent hand was his signature move. Use of Caravaggio. Preoccupied by mirror. Candle may represent rebirth. There is a temporary nature of light. Symbol of Christ=light of the world. Life is easily put out, like a candle. |
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| Giorgione (and Titian), Pastoral Concert, c. 1509-1510. Depicts a group of young people gathered in a lush landscape to make music when a shepherd and his flock come to them. The forms are rendered in a soft chiaroscuro technique so that they emerge from the atmospheric landscape as soft round shapes. The landscape moves from dark to light to dark passages, receding into the distance. This painting just sets a mood rather than telling a story. |
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| Giorgione, The Tempest, c. 1505. Stormy landscape occupied by a male figure on the left and a nursing mother on the right. The man has been identified as a shepherd, a worrior, or an angel. The nude woman is identified as Eve, Hagar, Venus, or nature. With its humid atmosphere, the scene is like a dream of pastoral beauty soon to be swept away as the thunderstorm lights the sky. It is suggested that this started the pictorial equivalents to poetry. The atmosphere sets a mood, rather than tell a story. |
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| Grunewald, Isenheim Altarpiece, c. 1509-1515. Displays the Crucifixion in the center panel. The wings depict St. Sebastian and St. Anthony Abbot. The figure of Christ with his twisted limbs, many wounds, streams of blood, matching the vision depicted in the Revelations. The body on the cross is rendered in a heroic scale so that it dominates the other figures and the landscape. The event becomes lonely. A light bathes the foreground figures to heighten awareness of them. The red robe of St. John accents Mary's paleness. The bottle of water represents the healing power of baptism. The lamb at John's feet blees into a chalice as does the lamb in the Ghent Altarpiece. A tomb at the bottom awaits the body. |
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| Hans Holbein the Younger, The Ambassadors, c. 1533. Two friends standing with table in between them. His rendering of textures, surfaces, and details harks back to van Eyck. On the table are objects representing the interests of the two men. Show contrast in worldly and heavenly objects. Anamorphic representation of a skull. Serves as a vanitas, a reminder that the things of this world are fleeting. |
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| Lorrain, A Pastoral Landscape, c. 1648. Oil on copper. Just a copy of the natural world. Started as French pastry chef. He was well known for landscape paintings. Composition of landscape is of an atmosphere of early morning or late afternoon, as in most of his paintings. Painting into the light since the sun is in the middle of the horizon. Past experience enhanced by memory imbues the scene. |
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| Michelangelo, David, c. 1501-1504. Marble. Treated the biblical figure as the gaurdian of the city. Does not include the head of Goliath unlike Donatello's David. Eyes focus on an enemy in the distance. David is calm and tense, active yet static, full of potential for movement rather than its actual expression. At this point, nudity was no longer shocking. |
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| Michelangelo, Pieta, c. 1498. Depicts the lamentation of the Virgin and her dead son as a calm and transcendent moment rather than a tortured or hopeless one. The oversized Virgin and her deeply carved robe easily supports her son. The virgin seems far to young to be holding her dead son. The image echoes the theme of Madonna and Child. Her youth expresses her virginity. Doesn't only tell a story, but allows the viewer to contemplate the mystery of Christian faith. |
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| Michelangelo, The Creation of Adam from the Sistine Chapel ceiling, c. 1508-1512. Fresco. Doesn't depict the molding of Adam's body but the passage to him of the divine spark-the soul. The composition expresses a profound conception of the relationship between God and humankind. Adam looks at God and the figures in the shelter of God's left arm. The female may be Eve, or may be the Virgin, with Jesus at her knee. |
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| Michelangelo, The Fall of Man and the Expulsion from the Garden of Eden from the Sistine Chapel ceiling, c. 1508-1512. Shows the bold hues and expressive body language that characterize the whole ceiling. The figures are full of life, acting out their epic roles in sparse landscape settings. To the left of the Tree of Knowledge, Adam and Eve form a spiral composition as they reach toward the forbidden fruit. The nude youths form a sort of chain linking the narratives. They hold acorns which is a refrence to the Pope's family name. They also support bronze Madallions that look like trophies reminding the viewer of Julius's military campaigns throughout Italy. |
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| Parmigianino, Self-Portrait, c. 1524. Suggests his self-confidence. The appearance is well groomed. The features are veiled by a delicate sfumato. The image is what he saw looking into a convex mirror, including the fishbowl distortion of his hands. He used a specially prepared convex panel. Shows his skill at portraying what the eye sees and shows off his learning by an allusion to the myth of Narcissus who fell in love with his own reflection. |
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| Pieter Bruegel the Elder, Landscape with the Fall of Icarus, c. 1558. Oil on canvas. New landscape art, before this no one saw a need to paint landscapes since you can view them naturally. Icarus is falling into water. Man trying to strive for more than what they should. Moral is to know your limits or die. |
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| Pieter Bruegel the Elder, Peasant Wedding, c. 1568. One of his most memorable scenes for peasant life. Often disguised himself as a peasant so he could observe and sketch them. Gathering of people in a barn that is decorated for a wedding. Masters italian perspective so the viewer enters the room dominated by a table with all of the wedding guests. The bride sits in front of a green curtain to distinguish herself. The empty mugs suggest that much liquid has been consumed. Only food is a simple porridge. Noise level seems high with bagpipers ready to play. |
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| Poussin, Arcadian Shepherds, c. 1650. Oil on canvas. Inscription in tomb reads "I also was in Arcadia." Use of primary colors. Person on right is personification of history. |
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| Raphael, La Belle Jardiniere, c. 1507. Oil on wood. Pyramid style painting. Looks different from The Virgin of the Rocks. Reflects the style of his teacher, however, more ample and the chiaroscuro expertly rendered. Landscape has bright light and natural beauty provides an apporpriate setting for the figure group. Michelangelo's influence. Diead at 37 and was barried in the Pantheon. |
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| Raphael, The School of Athens, c. 1508-1511. Fresco. Represents a group of famous Greek philosophers gathered around Plato and Aristotle, each in a characteristic pose or activity. Has Michelangelo influence because of the expressive energy, physical power, and dramatic grouping of his figures. In Leonardo's spirit is the symmetrical design and the opening in the building serves as a frame for the key figures. Standing before the steps are figures representing math and physics. Despite the competition between them, he added Michelangelo last minute. |
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| Titian, Venus of Urbino, c. 1538. Oil on canvas. Commissioned by Duke of Urbino. Two women in the back may be searching for a garment. Details such as the dog suggest that this may have been an image intended to celebrate a marriage. His use of color records the sensuous textures of the woman's body which has been placed on display for the viewer to meet gazes with her. |
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| Titian, Bacchanai, c. 1518. Attempted to remake a Roman painting known only from descriptions. The theme is the effect of a river of wine on the island of Andros. Depicts a group of people in various stages of nudity misbehaving. The landscape is rich in contrasts of warm and cool tones. At least the man bending over to fill his jug may be copied from Michelangelo. Many figures reflect the influence of classical art. The woman in the lower corner is on display for the viewer's pleasure. |
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| Parmigianino, The Madonna with the Long Neck, c. 1535. The compostion is unbalanced like the postures, heavily weighted to the left, open and distant to the right. All the figures have elongated limbs and ivory-smooth features, and the space is compressed. These elements draw attention to the artist's skill. The large Christ child in his mother's lap recalls the theme of the Pieta which implies that Jesus is already aware of his fate. The gigantic column is a symbol often associated with the Madonna as the gateway to Heaven and eternal life. |
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"poetry is like painting," Statement originated by the Roman poet Horace; interpreted artists in the Renaissance to mean that painting and poetry seek similar effects, the making of pictorial equivalents to poetry, as seen in The Tempest, an image that sets a mood rather than convey a story.
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| Drawing; an emphasis on the use of line to create space and depth rather than color; supporters of disegno often made several preparatory drawings before beginning work. |
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| Color; the use of light and color to create a sense of depth but also to create mood; prominent in the work of the Venetians of the 16th century. |
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| a full scale drawing for a picture or design intended to be transferred to a wall, panel, or tapestry, etc. Example- Raphael. |
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| The Depicting of images in art in order to convey certain meanings. |
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| The destruction of works of art practiced in the 16th and 17th centuries in Protestant churches as part of the Protestant Reformation as part of the church's stance of forbidding the worship or production of religious images. |
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| Martin luther 1517, Wittenburg Cathedral. Sale of indulgences, veneration of saints, the wealthy of the papacy and the spending of church money on extravagant art works. Spread of Protestantism in Northern Europe. Iconoclasm. |
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| Catholic Church's response to Luther and the Reformation. A counter attack that includes the Council of Trent in 1545 that confirms the Catholic devotion. Religious art in Italy becomes grander. |
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| a style that emerges in the 16th century. Elongated bodies, twisted motions, and lack of clarity in terms of composition. Emphasis on the creative nature of the artist rather than relying on the observation of nature for forms and compositions. Could be a response to the political and religious uncertainty in the period. |
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| a style of art in the 17th century characterized by extreme emotion, extravagant gestures or high drama. Often the lighting of a composition can be dramatic or in architecture, classical proportions are disregarded in favor of undulation forms. |
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| the intense contrast of light and dark in painting. Example- Caravaggio, Gentileschi |
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| the notion of the passing of time and life's brevity, and the inevitability of death. Often focuses on the individual reather than a higher purpose. Seen in the art of the Northern European art in the 17th century. |
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| a technique in some 16th and 17th century paintings, of placing the main theme or narrative of a work in the background and placing a still life or other representation in the foreground. |
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The Tempest (1505)
Pastoral Concert (1509-1510) |
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Venus of Urbino (1538)
Bacchanal (1518) |
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Pieta (1498)
David (1501-1504)
The Creation of Afam from the Sistine Chapel ceiling (1508-1512)
The Fall of Man and The Expulsion from the Garden of Eden from the Sistine Chapel ceiling (1508-1512)
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La Belle Jardiniere (1507)
The School of Athens (1508-1511) |
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Jupiter and Io (1532)
The Assumption of the Virgin (1522-1530) |
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Self-Portrait (1524)
The Madonna with the Long Neck (1535) |
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David (1623)
The Ecstasy of St. Teresa (1645-1652) |
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Bacchus (1597)
The Conversion of St. Paul (1601)
David with the Head of Goliath (1610) |
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| Judith Slaying Holofernes (1620) |
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| Isenheim Altarpiece (1509-1515) |
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Self-Portrait (1500)
Melencolla (1514) |
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| The Bewitched Groom (1544) |
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Landscape with the Fall of Icarus (1558)
Peasant Wedding (1568) |
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The Penitent Magdalene (1640s)
The Cheat (1635) |
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| Arcadian Shepherds (1650) |
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| A Pastoral Landscape (1648) |
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| The Burial of Count Orgaz (1586) |
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