Art history chap._23_a

Chapter 23 The Age of Reformation 16 th Century Art in Northern Europe and Spain Gardner’s Art Through the Ages,

The Age of Reformation ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-1 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British Museum, London. Catholicism Versus Protestantism Allegory – the practice of imbuing narratives, images or figures with symbolic meaning to convey moral principles or philosophical ideas ,[object Object],[object Object],[object Object],[object Object],[object Object]

[object Object],[object Object],[object Object],Christian Humanism ,[object Object],[object Object],Role of Visual Imagery during the Reformation ,[object Object],[object Object]

Figure 23-2 MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed), Crucifixion (center panel), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510–1515. Oil on panel, center panel 9' 9 1/2” x 10’ 9”, each wing 8’ 2 1/2” x 3’ 1/2”, predella 2’ 5 1/2” x 11’ 2”. Musée d’Unterlinden, Colmar. Holy Roman Empire – Grunewald – Isenheim Altarpiece ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-3 MATTHIAS GRÜNEWALD, Isenheim Altarpiece (open), center shrine carved by NIKOLAUS HAGENAUER in 1490, from the chapel of the Hospital of Saint Anthony, Isenheim, Germany,ca. 1510–1515. Shrine, painted and gilt limewood, 9’ 9 1/2” x 8’ 2 1/2” x 3’ 1/2” (center), 2’ 5 1/2” x 11’ 2” (predella). Each wing, oil on panel, 8’ 2 1/2” x 3’ 1/2”. Musée d’Unterlinden, Colmar. German – Isenheim Altarpiece – Catholic Doctrine ,[object Object],[object Object],[object Object]

Figure 23-4 ALBRECHT DÜRER, Last Supper, 1523. Woodcut, 8 3/8” x 11 13/16”. British Museum, London. Albrecht Durer – International Art Celebrity ,[object Object],[object Object],[object Object],[object Object]

Figure 23-5 ALBRECHT DÜRER, Four Apostles, 1526. Oil on panel, each panel 7’ 1” x 2’ 6”. Alte Pinakothek, Munich. Durer’s Personal Attitude Surfaces – Support for Lutheranism Produced without Commission! ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-6 ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston (centennial gift of Landon T. Clay). Durer – Fascinated by Classical Ideas from the Italians ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-7 ALBRECHT DÜRER, The Great Piece of Turf, 1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische Sammlung Albertina, Vienna. Durer – Beauty in Nature ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-8 ALBRECHT DÜRER, Knight, Death, and the Devil, 1513. Engraving, 9 5/8” x 7 3/8”. Metropolitan Museum of Art, New York. Durer – Master Engravings Idealization and Naturalism ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-9 ALBRECHT ALTDORFER, The Battle of Issus, 1529. Oil on panel, 4’ 4 1/4” x 3’ 11 1/4”. Alte Pinakothek, Munich. Commenting on History and Politics – The Battle of Issus ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-10 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on panel, approx. 6’ 8” x 6’ 9 1/2”. National Gallery, London . Hans Holbein the Younger - Portraitist French Ambassadors ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-11 JEAN CLOUET, Francis I, ca. 1525–1530. Tempera and oil on panel, approx. 3’ 2” x 2’ 5”. Louvre, Paris. France – Francis I ,[object Object],[object Object],[object Object]

Figure 23-12 ROSSO FIORENTINO and FRANCESCO PRIMATICCIO, ensemble of architecture, sculpture, and painting, Gallery of King Francis I, Fontainebleau, France, ca. 1530–1540. Italian Mannerist Artists Appealed to Francis I ,[object Object],[object Object]

Figure 23-13 Château de Chambord, Chambord, France, begun 1519. Francis I – Chateaux: Country House/Hunting Lodge for Royalty ,[object Object],[object Object],[object Object]

Figure 23-14 PIERRE LESCOT and JEAN GOUJON, west facade of the Square Court of the Louvre, Paris, France, begun 1546. Redesigning the Louvre ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-15 JEAN GOUJON, Nymphs, from the dismantled Fountain of the Innocents, Paris, France, 1548–1549. Marble reliefs. Each relief 6’ 4 3/4” ´ 2’ 4 3/4”. Louvre, Paris. Statues of the Louvre Courtyard Façade by Goujon Nymph Reliefs from the Fountain of the Innocents ,[object Object]

The Netherlands ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 23-17 QUINTEN MASSYS, Money-Changer and His Wife, 1514. Oil on panel, 2’ 3 3/4” x 2’ 2 3/8”. Louvre, Paris. Antwerp’s Wealthy Merchants Collect and Purchase Art ,[object Object],[object Object]

Figure 23-18 PIETER AERTSEN, Meat Still-Life, 1551. Oil on panel, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art Collection, Uppsala. Injecting Reminders About Spiritual Well-Being in Art ,[object Object]

Figure 23-19 CATERINA VAN HEMESSEN, Self-Portrait, 1548. Panel, 1’ 3/4” x 9 7/8”. Kunstmuseum, Öffentliche Kunstsammlung Basel. Figure 23-20 Attibuted to LEVINA TEERLINC. Elizabeth I as a Princess, c. 1559. Oil on oak panel, 3’ 6 3/4” x 2’ 8 1/4”. The Royal Collection, Windsor Castle, Windsor, England. Increased Wealth = Increased Popularity with Portraits ,[object Object],[object Object]

Figure 23-22 PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on panel, approx. 3’ 10” x 5’ 4”. Kunsthistorisches Museum, Vienna. Human Activity is Dominant Theme – Bruegel’s Wintry Landscape ,[object Object],[object Object],[object Object],[object Object]

Figure 23-23 PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on panel, 3’ 10” x 5’ 4 1/8”. Gemäldegalerie, Staatliche Museen, Berlin. Proverbial Wisdom ,[object Object]

Figure 23-24 PEDRO MACHUCA, courtyard of the palace of Charles V, Alhambra, Granada, Spain, ca. 1526–1568. Spain – Dominant European Power at End of 16 th Cen. ,[object Object]

Figure 23-25 Juan de Herrera and Juan Bautista de Toledo, aerial view of Escorial, near Madrid, Spain, ca. 1563–1584 (after an anonymous 18th-century painting). Escorial – Constructed for Philip II ,[object Object]

Figure 23-26 EL GRECO, The Burial of Count Orgaz, Santo Tomé, Toledo, Spain, 1586. Oil on canvas, approx. 16’ x 12’. A Spanish Mannerist – El Greco ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Art history chap._23_a

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Art history chap._23_a