Renaissance and Reformation throughout 16 th Century Europe Map of Europe in 16 th century.
May 06, 2015
Renaissance and Reformation throughout 16th Century Europe
Map of Europe in 16th century.
SpainDates and Places: • 1500 to 1600 • Iberian Peninsula and
the Americas
People:• Pious, Catholic • Conservative
monarchs• Expanding empire• Italian influence Juan de Herrera and Juan Bautista de Toledo, El
Escorial, 1563–1584. (Detail of an anonymous 18th century painting).
Domenikos Theotokopoulos (1541-1614)Themes:• Life of Christ, Virgin Mary
and Saints • Portraits
Forms:• Selective application of
ideas from Italian Renaissance and Mannerism
• Exaggeration to support religious content
El Greco, The Burial of Count Orgaz, 1586. Oil on canvas, 16’ x 11’10.” Santo Tomé,
Toledo, Spain. Fig. 17.3.
Domenikos Theotokopoulos “El Greco” (1541-1614)
Example: • Secular and religious image • Venetian training evident in
vestments and color• Greek artist travels to Spain
via Italy• Expressive exaggeration,
unnatural color = Mannerist style
• Spiritual and emotional, not physical, properties
• Places viewer in scene• Saints Augustine and Stephen
El Greco, The Burial of Count Orgaz, 1586. Oil on canvas, 16’ x 11’10.”
Santo Tomé, Toledo, Spain. Fig. 17.3.
Domenikos Theotokopoulos “El Greco” (1541-1614)
Example: • Influence of Venetian painters
Titian and Tintoretto, and Italian masters Michelangelo, Raphael, and Mannerism
• Division of worlds—representational (earthly) and abstract (spiritual)
• Contemporary clothing and portraits
• Aligned with Roman Catholicism “good deeds” El Greco, The Burial of Count Orgaz, 1586.
Oil on canvas, 16’ x 11’10.” Santo Tomé, Toledo, Spain. Fig. 17.3.
Holy Roman EmpireExample: • Altarpiece for monastery
church with hospital • Triptych • Gruesome description of
wounds• Emphasize suffering• Catholic inclusion of
Lamb, Christ’s blood, plague saints
Matthias Grünewald, Isenheim Altarpiece, ca. 1510-1515. Oil on panel, main body 9’91/2”
x 10’9”; predella 2’51/2” x 11’2.” Musée d’Unterlinden, Colmar, France.
Matthias Grünewald (1470-1528)
Matthias Grünewald, Isenheim Altarpiece, ca. 1510-1515. Oil on panel, main body 9’91/2” x 10’9”; predella 2’51/2” x 11’2.” Musée d’Unterlinden, Colmar,
France. Fig. 17.4
Matthias Grünewald, Isenheim Altarpiece, (open) ca. 1510-1515. Oil on panel, central panel 8’ 10” x 11’2”; each wing 8’10” x 4’8.” Musée
d’Unterlinden, Colmar, France. Fig. 17.5
Matthias Grünewald, Isenheim Altarpiece, ca. 1510-1515. Oil on panel, main body 9’91/2” x 10’9”; predella 2’51/2” x 11’2.” Musée d’Unterlinden, Colmar,
France. Fig. 17.4
Holy Roman EmpireDates and Places: • 1500-1600• Germany
People:• Martin Luther• Protestant Reformation • Political change
Albrecht Dürer, The Four Apostles, 1526. Oil on panel, each 7’1” x 2’6.” Alte Pinakothek, Munich. Fig. 17-8.
Albrecht Dürer, Self Portrait, 1500. Oil on panel, 26” x 19.” Alte Pinakothek, Munich.
Albrecht Dürer, Self Portrait, 1498. Oil on panel, 26” x 19.” Alte Pinakothek, Munich.
Albrecht Dürer (1471-1528)
Holy Roman Empire
Example:• Woodcut, multiple prints• Not made for patron, sold on
open market• Theme reflects millennialism
of time• Two sizes available (small and
large)• War, Conquest, Feast, and
Famine from Book of Revelation
Albrecht Dürer, The Four Horseman of the Apocalypse,
1498. Woodcut, 15 ½” x 11 1/8.” Metropolitan Museum of Art, NY. Fig.
17-6.
The Spread of the Printing Press
Holy Roman EmpireExample: • Engraving• Interest in Renaissance
proportion of human body combined with northern European surface description and disguised medieval symbolism (animals and the humors)
Albrecht Dürer, Fall of Man (Adam and Eve), 1504.Engraving, 9 7/8” x 7 1/8.” Los Angeles County Museum of Art.
Fig. 17-7.
Holy Roman EmpireExample: • Dürer under influence of
Luther works become more austere
• Nuremberg—Lutheran • Represented are Luther’s
favorite authors of scripture• Inscriptions warn city about
behavior • Raphael-like figures
Albrecht Dürer, The Four Apostles, 1526. Oil on panel, each 7’1” x 2’6.” Alte Pinakothek, Munich. Fig. 17-8.
Holy Roman EmpireThemes:• Life of Christ, Virgin Mary,
Saints • Portraits• Momento mori
Forms:• Renaissance illusionism (
anamorphosis)• Surface description• Naturalism
Hans Holbein, The French Ambassadors, 1533. Oil on panel, 81” 82 ½.” National
Gallery, London.
EnglandExample:• Tudor court emphasizes
portraiture• Dürer major influence• Combines Italian
composition with Netherlandish realism
• Self-confidence of by then an old, ill, and overweight monarch
• Public image conveyed, not truthful
Hans Holbein, Henry VIII, 1540. Oil on panel, 32 ½” x 29.” Galleria Nazionalw
d’Arte, Rome. Fig. 17.11.
The NetherlandsDates and Places: • 1500 to 1600 • Holland, Belgium,
Luxembourg• Northern Netherlands
declares independence 1579
People:• Protestants• Merchant class and peasants• Seek independence from
Spain• Center for international trade• Developing art market
Pieter Aersten, The Meat Stall/Butcher’s Stall, 1551. Oil on panel, 48 ½” x 59.” University Art
Collection, Uppsala University, Sweden. Fig. 17-13.
The NetherlandsExample: • Protestant scene • Moralizing lesson for
greedy • Subtle religious symbols• Study of domestic interiors
and daily life• Replaces art in churches to
instruct faithfulQuinten Massys,The Moneylender and His Wife, 1514. Oil on panel, 28” x 27.” Musée
du Louvre, Paris.
Quinten Massys, details The Moneylender and His Wife, 1514. Oil on panel, 28” x 27.” Musée du Louvre, Paris.
Pieter Aersten (1507/08-1575)Themes:• Scenes of everyday
with subtle religious content
• Peasant life• Fewer altarpieces• Genre
Forms:• Naturalism • Surface description• Illusionistic space
Pieter Aersten, The Meat Stall/Butcher’s Stall, 1551. Oil on panel, 48 ½” x 59.” University Art
Collection, Uppsala University, Sweden. Fig. 17-13.
The Netherlands
Pieter Bruegel the Elder, Hunters in the Snow, 1565. Oil on panel, 46 ½” x 63 ¾.” Kunsthistoriches Museum, Vienna, Austria. Fig. 17-14.
Pieter Bruegel the Elder (1525/30-1569)
Example: • Secular subject• Netherlandish tradition
despite Italian introduction
• Especially influenced by Bosch
• Artist interested in relation of man and nature
• Illusionistic rendering of genre scene from daily life
Pieter Bruegel the Elder, Hunters in the Snow, 1565. Oil on panel, 46 ½” x 63 ¾.”
Kunsthistoriches Museum, Vienna, Austria. Fig. 17-14.
Pieter Bruegel the Elder (1525/30-1569)
Example: • Clients were educated,
wealthy class• Series of landscapes
symbolizing the months
• Dynamic designs often with secretive criticism of Phillip II
• People in communion with nature
Pieter Bruegel the Elder, Hunters in the Snow, 1565. Oil on panel, 46 ½” x 63 ¾.”
Kunsthistoriches Museum, Vienna, Austria. Fig. 17-14.
Limbourg Brothers, Les Trés Riches Heires du Duc de Berry, calendar miniature for
July, 1413-1416. Illumination on vellum, 8 7/8” x 5 3/8.” Musée Condé, Chantilly,
France. Fig. 13.2
Pieter Bruegel the Elder, Hunters in the Snow, 1565. Oil on panel, 46 ½” x 63 ¾.” Kunsthistoriches
Museum, Vienna, Austria. Fig. 17-14.
The Netherlands
Pieter Bruegel the Elder, details Hunters in the Snow, 1565. Oil on panel, 46 ½” x 63 ¾.” Kunsthistoriches Museum, Vienna, Austria. Fig. 17-14.
The NetherlandsExample: • Focus on simple
people—barn wedding• All walks represented
with dignity, all men important
• Interest in folk customs and humility
• Mastery of Italian linear perspective and detail of Flemish precursors
Pieter Bruegel the Elder, Peasant Wedding, 1568. Oil on panel, 44 7/8” x 64.” Kunsthistoriches Museum,
Vienna, Austria. Fig. 17-15.
The NetherlandsExample: • Dutch proverbs– Popular in Flemish
“Books of Hours”• Original title The Blue
Cloak or The Folly of the World– Aim is to capture
human behavior– “world turned upside
down”Pieter Bruegel the Elder,
Netherlandish/Dutch Proverbs, 1559. Oil on oak, 46” x 64.” Gemäldegalerie, Berlin.