AF chapter16c
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This document provides an overview of European art from the 15th through 17th centuries, covering major artistic periods and styles including the Renaissance, Baroque, and Rococo. It discusses influential Northern European artists like Jan van Eyck who pioneered oil painting techniques to achieve brilliant color. It also covers major works by artists such as Robert Campin, Jan van Eyck, Rogier van der Weyden, and others that advanced realism and secular subjects in painting during this period.
AF chapter16c
- 2. 2Europe in the 15th Century
- 3. Northern European artists concerned with depicting life in the real world.Artists like Jan van Eyck used linseed oil paint to achieve a brilliance and transparency of color that were previously unattainable.3
- 11. 11LIMBOURG BROTHERS (POL, JEAN, HERMAN), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 7/8" X 5 3/8". Musée Condé, Chantilly.
- 12. 12LIMBOURG BROTHERS (POL, JEAN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, 8 7/8" X 5 3/8”. Musée Condé, Chantilly.
- 13. Glazing An oil painting technique by which thin, transparent layers of oil paint are applied over an opaque layer to modify that layer's color. It is sometimes difficult to determine exactly the glazes used by the Old Masters because of previous restoration or cleaning, and also because of the similarity between the appearance of a glazed paint layer and varnish.13
- 14. Altarpieces placed at the front of a churchSeries of Wood Panels with religious stories
- 15. ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956). 15
- 16. Annunciation Theme – Angel Gabriel comes to visit Virgin MaryTriptych – painting with three panels (altarpiece)Northern European Style architecture, human figures look EuropeanSymbolism – extinguished candle, lillies, white towel – symbols of Virgin Mary’s purityLeft panel – Peter Engelbrect and wife – patrons (painting commissioned for private use) and artist (Campin) in background in doorwayRight panel – Joseph (Virgin Mary’s husband) working in his wood shop Robert Campin, Merode Altarpiece, 1425 – 1428, Oil on Wood
- 23. 23JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11’ 6" X 7’ 6".
- 26. 26JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11’ 5" X 15’ 1”.
- 27. 27HANS MEMLING, Virgin with Saints and Angels, center panel of the Saint John Altarpiece, HospitaalSint Jan, Bruges, Belgium, 1479. Oil on wood, 5’ 7 3/4" X 5’ 7 3/4" (center panel), 5’ 7 3/4" X 2’ 7 1/8" (each wing).
- 28. 28JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 9" X 1’ 10 1/2". National Gallery, London.
- 32. 32PETRUS CHRISTUS, A Goldsmith in His Shop, 1449. Oil on wood, approx. 3’ 3" X 2’ 10". Metropolitan Museum of Art, New York (the Robert Lehman Collection, 1975).
- 33. Subject is Couple buying Wedding RingsGoldsmith weighing gemstones – symbol of Last Judgement of Christ (weighing good and evil)Mirror in Foreground – participation of the viewer – we are part of paintingPetrusChristus, A Goldsmith in His Shop, 1449, Oil on Wood
- 34. 34JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, 1’ 1 1/8” X 10 1/4". National Gallery, London.
- 35. 35ROGIER VAN DER WEYDEN, Portrait of a Lady, ca. 1460. Oil on panel, 1’ 1 3/8" X 10 1/16". National Gallery, Washington, D.C. (Andrew W. Mellon Collection).
- 36. 36Europe in the 16th Century
- 37. 37PIETER AERTSEN, Butcher’s Stall, 1551. Oil on wood, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art Collection, Uppsala.
- 38. 38JOACHIM PATINIR, Landscape with Saint Jerome, ca. 1520–1524. Oil on wood, 2’ 5 1/8” x 2’ 11 7/8”. Museo del Prado, Madrid.
- 39. 39PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on wood, 3’ 10” x 5’ 4 1/8”. Gemäldegalerie, Staatliche Museen, Berlin.
- 40. 40PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”. Kunsthistorisches Museum, Vienna.
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- 43. 43Europe in the 17th Century
- 44. Protestant ReformationBy the early 1500s, many people in Western Europe were growing increasingly dissatisfied with the Christian Church. Many found the Pope too involved with secular (worldly) matters, rather than with his flocks spiritual well-being. Lower church officials were poorly educated and broke vows by living richly and keeping mistresses. Some officials practiced simony, or passing down their title as priest or bishop to their illegitimate sons. In keeping with the many social changes of the Renaissance people began to boldly challenge the authority of the Christian Church.44
- 45. Martin Luther45
- 46. Lucas Cranach, Allegory of Law and Grace.46
- 47. Martin Luther and his 95 ThesesA German monk by the name of Martin Luther was particularly bothered by the selling of indulgences. An indulgence, a religious pardon that released a sinner from performing specific penalties, could be bought from a church official for various fees. Martin Luther was especially troubled because some church officials gave people the impression that they could buy their way into heaven. To express his growing concern of church corruption, Martin Luther wrote his famous 95 Theses, which called for a full reform of the Christian Church. In it, he stressed the following points:47
- 48. The Pope is a false authority. The bible was the one true authority.All people with faith in Christ were equal. People did not need priest and bishops to interpret the bible for them. They could read it themselves and make up their own minds.People could only win salvation by faith in God's forgiveness. The Church taught that faith, along with good works was needed for salvation.48
- 49. ICONOCLASM49
- 50. BaroqueThe seventeenth-century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated expression.50
- 51. 51GIANLORENZO BERNINI, ScalaRegia (Royal Stairway), Vatican City, Rome, Italy, 1663–1666.
- 53. 53GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.
- 54. GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria dellavittoria, Rome, Italy, 1645-1652.54
- 55. 55GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria dellaVittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
- 56. The Counter ReformationAttempts by the Catholic church and secular Catholic authorities to stem the flow of Protestantism and reform some of the worst excesses of medieval Catholicism.Art was used as a tool of persuasion.56
- 57. 57CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
- 58. 58CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi deiFrancesi, Rome
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- 61. TenebrismFrom the Italiantenebroso ("murky"), (also called dramatic illumination) is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and darkness becomes a dominating feature of the image. Spanish painters in the early seventeenth century who were influenced by the work of Caravaggio have been called Tenebrists, although they did not form a distinct group. 61
- 62. 62CARAVAGGIO, Entombment, from the chapel of PietroVittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7 15/16”. MuseiVaticani, Rome.
- 63. 63ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
- 64. 64JOSÉ DE RIBERA, Martyrdom of Saint Bartholomew, ca. 1639. Oil on canvas, 7’ 8” x 7’ 8”. Museo del Prado, Madrid.
- 65. 65FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3’ 11 1/2” x 3’ 4 3/4”. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).
- 66. 66DIEGO VELÁZQUEZ, Water Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Victoria & Albert Museum, London.
- 67. 67DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip),
- 68. 68DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.
- 69. 69PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.
- 70. 70PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.
- 71. 71PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..
- 72. 72CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
- 73. 73PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. GermanischesNationalmuseum, Nuremberg.
- 74. 74WILLEM KALF, Still Life with a Late Ming Ginger Jar, 1669. Oil on canvas, 2’ 6” x 2’ 1 3/4”. Indianapolis Museum of Art, Indianapolis. (gift in commemoration of the 60th anniversary of the Art Association of Indianapolis, in memory of Daniel W. and Elizabeth C. Marmon).
- 75. 75RACHEL RUYSCH, Flower Still Life, after 1700. Oil on canvas, 2’ 5 3/4” x 1’ 11 7/8”. The Toledo Museum of Art, Toledo (purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey).
- 76. 76HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.
- 77. 77CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi deiFrancesi, Rome
- 78. Genre PaintingA term used to loosely categorize paintings depicting scenes of everyday life, including domestic interiors, merry companies, inn scenes, and street scenes.78
- 79. 79JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas, 2’ 8 1/4” x 2’ 3 3/4”. Rijksmuseum, Amsterdam.
- 80. 80GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.
- 81. 81GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
- 82. 82LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, 3’ 8” x 5’ 2”. Louvre, Paris.
- 83. 83FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. FransHalsmuseum, Haarlem.
- 84. 84FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. FransHalsmuseum, Haarlem.
- 85. 85REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London (Iveagh Bequest).
- 86. 86REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.
- 87. 87REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
- 88. 88REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg.
- 89. 89REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
- 90. JAN VERMEER, The Kitchen Maid90
- 91. 91JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.
- 92. Camera ObscuraA technical aid, widelv used in the seventeenth and eighteenth centuries, which consisted of a darkened box or tent containing lenses and a mirror. The artist could project the image of an object or landscape onto the oil painting surface and then trace it out in charcoal or graphite.92
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- 94. JAN VERMEER, The Girl With the Red Hat94
- 95. 95JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam.
- 96. 96HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.
- 97. RococoFrom the French “rocaille” meaning “rock work.” This late Baroque style used in interior decoration and painting was characteristically playful, pretty, romantic, and visually loose or soft; it used small scale and ornate decoration, pastel colors, and asymmetrical arrangement of curves. Rococo was popular in France and southern Germany in the eighteenth century.97
- 98. 98JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.
- 99. 99GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.
- 100. 100FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.
- 101. Fete Galante A term first used in. the eighteenth centurv to describe an oil painting of a dreamlike pastoral setting which shows people, often in extravagant costume, amusing themselves with dancing, music-making and courtship. Watteau is referred to as a painter of 'fetes galantes'.101
- 102. 102ANTOINE WATTEAU, Return from Cythera, 1717. Oil on canvas, 4’ 3” x 6’ 4 1/2”. Louvre, Paris.
- 103. 103FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.
- 104. 104JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.
- 105. CLODION, Satyr Crowning a Bacchante, 1770. Terracotta, 1’ 5/8” high. Louvre, Paris. 105