Saturday, March 24, 2012 Course Outline Protestantism Caravaggio Velazquez Rubens Classical Vs. Baroque Key Notions -Tectonic/atectonic -Tenebrism 1
Proto Renaissance (1250-1400) Early Renaissance (1400-1480) High Renaissance (1480-1520) Late Renaissance (1520-1600) Baroque (1600-1750) Europe 17 th Century Lucas (the Elder) Cranach, Portrait of Martin Luther, 1543, Panel, Germanisches Nationalmuseum, Nuremberg Protestantism Rejection of traditional Church doctrine The papacy is the kingdom of the devil: the selling of indulgences Theological problem: only the rich could pay for these letters Art becomes the symbol of luxury, power and wealth Rejection of materialism On January 3, 1521, he was excommunicated = division of Church 2
Caravaggio, David, 1600, Oil on canvas, 110 x 91 cm, Museo del Prado, Madrid The Calling of Saint Matthew, 1599-1600, Oil on canvas, 322 x 340 cm, Contarelli Chapel, San Luigi dei Francesi, Rome The Incredulity of Saint Thomas, 1601-02, Oil on canvas, 107 x 146 cm, Sanssouci, Potsdam 3
Self-portrait, 1643 : Portrait?! (History; Genre scene) 4
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The Anatomy Lecture of Dr. Nicolaes Tulp, 1632, Oil on canvas, 169,5 x 216,5 cm, Mauritshuis, The Hague Rembrandt, Self-portrait, 1661 Peter Paul Rubens, Self-Portrait, 1628-30, Oil on canvas, Rubens House, Antwerp Born in 1577, Germany A painter and a diplomat: sees many forms of art and knows 8 languages In Italy, he will copy masters In 1621, Marie de Medici, queen-mother of France commissions Rubens He will settle his workshop in Antwerp, Belgium Knighted by Philip IV and Charles I He dies in 1640 of the gout 6
Raising of the Cross (detail), 1610, Oil on panel, 460 x 340 cm, O.-L. Vrouwekathedraal, Antwerp Comparison: Classical Vs. Baroque Heinrich Wölfflin (1864-1945; Switzerland) Principles of Art History 1) Linear (emphasis on line) Vs. painterly (or pictorial; choice of mass) 2) Planes Vs. depth 3) Tectonic (closed form) Vs. atectonic (open form) 4) Autonomous unity Vs. unification in overall unity 5) Absolute Vs. relative clarity Raphael, The Mond Crucifixion, 1502-03, Oil on wood, 281 x 165 cm, National Gallery, London Rubens, Christ on the Cross between the Two Thieves, 1619-20, Oil on panel, 429 x 311 cm, Koninklijk Museum, Antwerp Comparison: Classical Vs. Baroque 7
Raphael, The Miraculous Draught of Fishes, 1515, Tempera on paper, mounted on canvas, 360 x 400 cm, Victoria and Albert Museum, London Rubens, The Miraculous Draught of Fishes (detail), 1619, 55x85, London, National Gallery Comparison: Classical Vs. Baroque Raphael, Julius II, 1511-12, Oil on wood, 108 x 80,7 cm, National Gallery, London Velazquez, Portrait of Innocent X, c. 1650, Oil on canvas, 141 x 119 cm, Galleria Doria-Pamphilj, Rome Comparison: Classical Vs. Baroque Required reading -Gombrich, The Story of Art, p. 293-313; 320-335 Suggested readings -Adams, Exploring the Humanities, p. 425-463 -Cleaver, Art, an Introduction, p. 224-251 -Davies, Janson s Basic History of Western Art, p. 382-439 -Fiero, The Humanistic Tradition, vol. 4, p. 1-39; 60-93 -Kleiner, Gardner s Art through the Ages, p. 695-697; 708-713; 732-734 8
Bibliography and Sources 1. Adams, Exploring the Humanities 2. Cleaver, Art, an Introduction 3. Davies, Janson s Basic History of Western Art 4. Fiero, The Humanistic Tradition, vol. 4 5. Gombrich, The Story of Art 6. Kleiner, Gardner s Art through the Ages 7. www.wga.hu 8. www.wikipedia.com 9