Transcript Ch. 23 High Renaissance and Mannerism in

Ch. 23 High Renaissance and
Mannerism in Northern Europe
and Spain
Ch. 23 Quiz
• Clear your desks
• Write your name on your paper and Ch. 23
1. Choose the incorrect statement
about Adam and Eve
A. It is an engraving.
B. The artist used
contrapposto poses.
C. The artist studied human
proportions based on
arithmetic ratios.
D. Symbolism is not used.
2. Choose the incorrect statement about
Garden of Earthly Delights
A. Painted in the 1500s.
B. Bosch is the artist.
C. The artist is the leading
Netherlandish painter.
D. It is a fresco.
3. Choose the incorrect statement about the
Isenheim Altarpiece
A. It is moveable
B. artist= Matthias Grunewald
C. a complex and fascinating monument reflecting Islamic beliefs.
D. created for the Saint Anthony Hospital
4. Choose the incorrect statement about
Hunters in the Snow
A. painted in 1765.
B. line, shape, and composition are used to draw the viewer deep into
the landscape.
C. Bruegel was the artist.
D. Netherlandish painter.
5. Choose the incorrect statement about Law
and Gospel
A.
B.
C.
D.
it is a woodcut.
it deals with the idea of salvation.
Martin Luther impacted this artwork.
the tree in the center symbolizes hope.
• Albrecht Dürer’s contribution to the so-called Northern Renaissance is
indisputable. However, so much changed in Northern Europe in the
fifteenth and sixteenth centuries that the era deserves to be evaluated
on its own terms. Some of the most important changes in Northern
Europe include the:
• invention of the printing press, c. 1450
• advent of mechanically reproducible media such as woodcuts and
engravings
• formation of a merchant class of art patrons that purchased works in oil
on panel
• Protestant Reformation and the translation of the Bible from the
original languages into the vernacular or common languages such as
German and French
• international trade in urban centers
The printing press (images + text)
• Perhaps the most influential aspect of the Northern Renaissance
is the combination of printed image with text together in books.
The printing press was invented in Germany around 1450. Until
the printing press, books were laboriously copied and illustrated
by hand, one at a time. The combination of printed words and
images created an explosion of information (rather like the
change from typewriters to computers). The printing of books
such as Luther’s translation of scripture and illustrated polemical
pamphlets accelerated the Protestant Reformation, a movement
that re-aligned religious and national boundaries, and ultimately
would motivate migration to the New World.
• While the Renaissance was happening in Italy, great
artistic and social changes occurred in Germany and
the Low Countries. A bias in favor of Italian art among
earlier generalizations of scholars made Italy the focus
of artistic invention and the Northern Renaissance a
less sophisticated imitation of the real thing. One
might debate whether the North experienced a
Renaissance, but the artistic, institutional, and
intellectual changes are evident.
The Reformation
• 1517 Martin Luther
• German movement
• Reform the Catholic Church
• Questioned Practices
• powers of the pope
• Selling of indulgences
• Eucharist
There is very little
agreement as to the
precise meaning of the
work. It is a creation
and damnation triptych,
starting with Adam and
Eve and ending with a
highly imaginative
through-the-looking
glass kind of Hell. No
one really knows why
Bosch imagined the
world in this particular
way.
• The painting was first described in 1517 by the Italian chronicler
Antonio de Beatis, who saw it in the palace of the counts of Nassau in
Brussels. It can therefore be considered a commissioned work. The
fact that the counts were powerful political players in the Burgundian
Netherlands made the palace a stage for important diplomatic
receptions and the work must have caused something of a sensation
with its viewing audience, since it was copied, both in painting and
tapestry, after Bosch’s death in 1516.
Paradise:
Hell
God as Christ
Presents Eve to
Adam
•Translations:
-triptych-religious
-secular-wedding
(familiar theme)
-warning of fate (secular)
(originally)
-learned audience (alchemy
– study of seemingly
magical chemical changes)
-visionary world of
Fantasy and intrigue vs.
15th c.
Life
-surrealism (400 years
later)
-
Alchemy
Prominent
theme
•Oversized fruit – fertility symbols
•Celebrates procreation
Imaginative variations on chemical
apparatus of the day
HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2 5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo
Figure 23-1
del Prado, Madrid.
14
Spiritual death is gaining on
the Tree-Man. His trunk
contains
a tavern scene. Does he look
at us?
Or at the dissolution of his
humanness?
The disk on his head
supports fanciful,
unnatural creatures and a
bagpipe, an
instrument with sexual
connotations.
Here it is shaped like a
womb, the source
of carnal desire.
closed
In the Christian tradition, the
crescent moon (seen here atop
the
harp) has different and
contradictory meanings. Here, in
Hell, it may like the owl,
symbolize
nighttime, when copulation, the
making of sweet music,
traditionally
takes place.
He was skating on thin ice, now he’s
going down with the ship. Bosch
depicted a number of proverbial
phrases, which added to the viewers’
pleasure of discovery as they explored
his fantasy world.
Closed•Reflects Catholic beliefs
•References Catholic doctrine:
- lamb – symbol of the son of God
•Crucifixion scene (top)
•Saint Sebastian (left), Saint Anthony
Abbot (right) (legend afflicter and
healer)
(saints associated with the plaque and
miraculous cures)
•Lamentation (predella)
• imagery dictated by location
• Served as warnings for increased
devotion and hope for the afflicted
•Amputation: Predella opens of Christ’s
legs, arm due to off centered opening
in the center panel
Figure 23-2a MATTHIAS GRÜNEWALD, Isenheim
Altarpiece (closed), from the chapel of the Hospital of
Saint Anthony, Isenheim, Germany, ca.1510–1515. Oil on
wood, 9' 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’
1/2” (each wing), 2’ 5 1/2” x 11’ 2” (predella). Painted
and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée
d’Unterlinden, Colmar.
17
Open:
•Christ and the 12 disciples (predella)
•Polychromed statues of Saint Anthony
Abbot and Jerome
•Temptation of Saint Anthony: ghoulish
creatures in a dark landscape
(symptoms of a feared disease)
•Iconography:
•Interior- balance of horrors of disease
and punishment – those who do not
repent with scenes of healthy and aged
conversing peacefully
•Exterior- Christ pain and suffering – act
redeemed mankind –
•Themes: pain, illness and death with
hope, comfort and salvation
Figure 23-2b MATTHIAS GRÜNEWALD, Isenheim Altarpiece (open), from the chapel of the Hospital of Saint
Anthony, Isenheim, Germany, ca.1510–1515. Oil on wood, 9' 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2”
(each wing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood,
9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar.
18
• Handout
• Class Quiz
• https://www.khanacademy.org/humanities/renaissancereformation/northern-renaissance1/england-france-tyrol/e/isenheimaltarpiece-quiz
Annotate Handout
•On the back of the handout, answer the
following questions (more later):
1. Why is Saint Anthony prominently featured
in the Isenheim Altarpiece?
2. How does the Isenheim Altarpiece represent
suffering and salvation?
Albrecht Durer: “Leonardo of the North”
• Travelled widely through Europe and became an
international celebrity
• Took trips to Italy to study Renaissance art
• First artist to synthesize Northern European stylistic
features (intricate detail, realistic rendering of objects,
symbols hidden as everyday objects) and blend them
with Italian features (classical body types, linear
perspective) --- admired the work of Leonardo
• First artist to keep a thorough record of his life (selfportraits, treatises on his thoughts, and a diary)
• Important graphic artist --- best known for his
engravings
• Influenced significantly by Martin Luther and
Protestant Reformation
21
Albrecht Durer (1471-1528)
German – Northern Renaissance
•1 of 18 kids (3 survived)
•Made his $ on engravings
•In the thick of the
Protestant Reformation
• Albrecht Dürer is the indisputable rock star of the German Renaissance.
In addition to being a successful painter, Dürer built his reputation on his
prints, both woodcut and engravings. Because prints can be made in
multiples, he had an unusually broad audience. Mechanically
reproducible media such as woodcuts and engraving not only helped
Dürer disperse his ideas, they also made it possible for Northern artists to
see Italian art without traveling. Dürer likely had his first exposure to
Italian art in Germany, in woodcut or engraved copies of Italian works.
Looking at an Italian work of art in Germany may seem unremarkable to
us. However, until prints were available all works of art were one of a
kind, and the only way to see a new work of art was to travel. Prints were
typically far less expensive than paintings and much lighter and therefore
more portable. The switch from one-of-a-kind works of art to prints is in
some ways comparable to the switch from buying or borrowing picture
books to searching for images on Google.
Dürer.
Adam and Eve
Engraving
c. 1504
Eve receives the
apple from the
serpent, while
Adam stretches
his hand out to
take it.
•Book illustrations and single sheet prints –
affordable – exposure
•Businessman: 1506 – lawsuit against artist for
selling his prints
(considered the first over artistic copyright)
•Aggressively marketed his prints (agent, wife,
mother)
•Studies of Vitruvian theory of human
proportions (arithmetic ratios)
•Idealized figures
•Poses – classical statues (Greek-contrapposto)
•Ideal with naturalism (accurate and detailed
rendering of the forest)
•Symbolism: cat and mouse tension – Adam and
Eve, cat, elk, ox, and rabbit – humanities
temperaments
Figure 23-5 ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, 9
7/8” x 7 5/8”. Museum of Fine Arts, Boston (centennial gift of Landon T. Clay).
25
Questions
3. What was Durer the first artist to do, on Adam and
Eve?
4. What medium did Durer use for his Adam and Eve?
Briefly explain the process of making it.
5. List one element of Durer’s Adam and Eve that
demonstrates his Northern commitment to Naturalism.
6. Why is Dürer compared to Leonardo? How is he
different?
Judgment day
•Doctrinal differences between Protestantism
(God’s grace) and Catholicism (old testament
law)
Regarding how to achieve salvation
•1520’s violent waves of iconoclastic
(characterized by attack on cherished beliefs or
institutions) “Great Iconoclasm”– Germany –
John Calvin
•1566 Calvinists – Netherland Churches damage to art work
•Religious fervor and power of art
Figure 23-8
LUCAS
CRANACH THE
ELDER, Allegory
of Law and
Grace, ca.
1530.
Woodcut, 10
5/8” x 1’ 3/4”.
British
Museum,
London.
27
Question
7. What is allegory and how is it used in art?
https://www.khanacademy.org/
humanities/renaissancereformation/northernrenaissance1/antwerpbruges/v/bruegel-hunters
5 min.
class quiz
Bruegel, Return of the Hunters. 1565, oil on wood panel
•Series of 6 illustrating seasonal
changes (some believe there
were 12)
•Based on the tradition from
the Books of Hours
•Depicts severe winter of 1565
•Illusionistic techniques
•Color/tonal values
•Detail
• everyday scene in a realistic
setting
•Diagonal – draws viewer into
the work
Figure 23-22 PIETER BRUEGEL THE ELDER, Hunters in the
Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”.
Kunsthistorisches Museum, Vienna.
30