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TEST 3 Review

Protestant Reformation

By 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.

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Martin Luther and his 95 Theses

A 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:

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• The Pope is a false authority. (“The Whore of Babylon”)

• 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.

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ICONOCLASM- Protestants criticize the cult of images to the point of destruction.

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Thirty Years’ WarThe Thirty Years' War (1618–1648) was fought primarily in what is now Germany, and at various points involved most countries in Europe. It was one of the longest and most destructive conflicts in European history. The conflict lasted, unceasing, for 30 years, making it the longest continuous war in modern history.

1648- Treaty of Westphalia grants religious freedom in Europe, conflicts subside.

The Counter Reformation

Attempts 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.

Council of Trent

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What is Baroque?Art produced from the end of the 16th to early 18th centuriesStresses emotional, rather than intellectual responses; likes drama-characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated expression.

Grew out of the tug-of-war between Protestant Reformation (Northern Europe) and Counter Reformation (Italy)

Catholic Artists tried to persuade to the faithful through dramatic worksUsed by “absolute” rulers (popes and kings) to overwhelm and awe

What is Baroque?The word “baroque” derives from the Portuguese and Spanish words for a large, irregularly-shaped pearl (“barroco” and “barrueco,” respectively).

Eighteenth century critics were the first to apply the term to the art of the 17th century. It was not a term of praise.

To the eyes of these critics, who favored the restraint and order of Neoclassicism, the works of Bernini, Borromini, and Pietro da Cortona appeared bizarre, absurd, even diseased—in other words, misshapen, like an imperfect pearl.  

Culture of Baroque Era

Science begins to challenge religion, Earth is not center of the universe (Copernicus)

Workshops begin to churn out copies of popular themesValue on the original work is a modern notion

Still lifes and genre paintings (everyday life) emerge (Northern Europe)

BerniniA child prodigy who the pope demanded an audience ofDeemed the “Michelangelo” of his generation

Master of stone-ability to transform into flesh, and dramatic action-decisive moments

First sculpture to “freeze” moments in time.

St. PetersCarlo Maderno adds façade to Bramante’s original design-and Bernini designed the courtyard extending in front of the basilica from Bramante’s original central plan.

Two curved porticoes extended like the “motherly arms of the Church”

Incorporates Egyptian obelisk as symbol of Christian triumph.

Colonnades are a dramatic gesture of embrace to all that enter the piazza. (welcoming arms of St. Peters).

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alternate view Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.

GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City.Baldacco-italian for “silk from baghdad”-for a cloth canopy

100 ft high (8 story building)

High altar and tomb of St. Peter

Bridges human scale to the lofty vaults and dome.

Dramatic presence at the crossing of the nave.

Decorative elements symbolize the power of the church. Spiral columns invoke Old St. Peters.

4 angels stand guard on canopy.

Orb of the earth and cross rise from the top (symbol of Christian triumph).

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Tremendous amount of bronze (much of it taken from the portico of the Pantheon)-ideologically appropriate.

Bernini contracted much of the project out-but took all the credit.

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19Divine Light

GIANLORENZO BERNINI, Scala Regia (Royal Stairway), Vatican City, Rome, Italy, 1663–1666.

The role of light as a symbol and design element in the Italian Baroque cannot be understated.

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GIANLORENZO BERNINI, Apollo and Daphne, 1623–1624. Marble, 8’ high. Galleria Borghese, Rome.

BerniniMaster of Dramatic action-decisive moments

First sculpture to “freeze” moments in time.

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Transformed into Laurel tree

Metaphor for sculpture-taking one material and turning it into another.

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GIANLORENZO BERNINI, Pluto and ProsperinaTerror, power, brutishnessEmotional sensitivityStone like skin

Another “decisive moment” captured in a 3-d snapshot.

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Intense emotion, highly dramatic, theatrical

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GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.

GIANLORENZO BERNINI, David

Modeled features after own face. Expression of intense concentration.

Different from earlier versions- incorporates action and time.

Most dramatic of an implied sequence of poses.

Time and space are united in an artistic theater.

Dynamic energy, cannot be confined in a niche-must be freestanding.

Baroque=theatricality and element of time.

After the Renaissance, an understanding of Progress and a new embrace of change began. Thus art began to demonstrate transience, rather than permanence and timeless ideals.

(Similar to the transition from High Classical to Hellenistic in Ancient Greece)

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Teresa of ÁvilaIn the cloister, she suffered greatly from illness. Early in her sickness, she experienced periods of religious ecstasy.

"... Beside me, on the left hand, appeared an angel in bodily form... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times ... and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul then content with anything but God. This is not a physical, but a spiritual pain, though the body has some share in it-even a considerable share ...”

GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria della vittoria, Rome, Italy, 1645-1652.

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GIANLORENZO BERNINI, Ecstasy of Saint Teresa.

• Makes use of theatrical techniques-architecture, sculpture, lighting.

• St. Teresa-nun of Carmelite order, “mystic”.

• Fell into a series of trances, visions, voices. Felt a persistent pain, attributed it to fire-tipped arrow of divine love an angel thrust repeatedly into her heart.

• Mingling of physical and spiritual passion.

• Differentiation in texture among the clouds, cloth, skin, and wings.

• Light from a hidden window with yellow glass shines down. Golden light of Heaven.

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Highly Suggestive eroticism

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37Cornaro family looks on from above.

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CaravaggioMichelangelo Merisi di Caravaggio

Outspoken disdain for Classical masters- the “anti-christ” of painting.

Recast biblical scenes or themes in new light

Used naturalism -did not idealize the narratives. Characters were common folk not idealized and angelic.

Accentuates the “sinner” or the lower classes in his works-harsh dingy settings. Figures that were relatable.

Strong use of light with deep pockets of shadow - tenebrism

Action very close to surface of painting-like a “shop window”.

Strong personality violent criminal-, thrived in Roman underground scene.

Enormous influence on subsequent generation of painters (Caravaggista)

Tenebrism

 

From the Italian tenebroso ("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.

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CARAVAGGIO, Calling of Saint Matthew.

One of 2 paintings honoring St, Mathew for the Contarelli Chapel.

Commonplace setting (dingy tavern). Group of tax collectors. Shady characters. No idealization-brings the Spiritual down to an everyday level.

Christ barely identifiable. Gestures Levi (later Mathew) with hand reminiscent of Michelangelo “Creation of Adam” (Christ is 2nd Adam).

Light is used to dramatic effect- shines from behind Christ towards Levi who gazes upwards.

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CARAVAGGIO, Conversion of Saint Paul.

Mysterious light pierces dark of a stable during moment of conversion.

Stable hand oblivious to mystical event.

Looks like stable accident. Large portion of the painting is horses ass.

Places figures in shallow space close to the viewer. Low Horizon line positioned at the line of sight of average viewer.

Dramatic tenebrism. Theatrical.

Light stands for Divinity and revelation. (Like Bernini)

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ARTEMISIA GENTILESCHI, Self-Portrait as the Allegory of Painting, ca. 1638–1639.

Most celebrated female artist of the era.

Taught by her father Orazio.

Both strongly influenced by Caravaggio.

Used tenebrism and combined with “dark” subject matter-often scenes of female empowerment.

Herself a victim of rape. Struggled with unequal treatment as a painter due to her gender.

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ARTEMISIA GENTILESCHI, Judith Slaying Holofernes.

Story from book of Judith (apocryphal text).

Judith seduces Assyrian general Holofernes, and then cuts his head of when he is sleeping, thus saving the Israelites.

Lots of blood, realistic spurts.

Tenebrism and shallow space of Caravaggio

Holofernes body foreshortened

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The Habsburgs

Charles V abdicates Holy Roman Empire throne in 1556

The Western portion (Spain, American colonies, Netherlands, Burgundy,Milan, Naples and Sicily) go to his son Phillip II

The Eastern portion (Germany and Austria) go to his brother Ferdinand

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Spain: Hapsburg Empire16th century: Hapsburg Empire is the dominant power in Europe-(Portugal, pt. Italy, Netherlands, New World)

Even as Spain’s gold imports lessen from New World, and eventual bankruptcy in 1692, this is known as Golden Age of Spain

17th Century: 1660 Hapsburg Empire has fallen

failure to capitalize on tradeCatholic and repressiveKing Philip

The artwork tends to support heavily the Catholic Church and the Habsburgs liked the use of strong dramatic effect and lighting

Religious scenes of death and MartyrdomReligious fanaticismRealistic details and tenebrism

DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip),

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JOSÉ DE RIBERA, Martyrdom of Saint Philip.

Ribera often embraced brutal themes reflecting harsh times of the Counter-Reformation.

Saint Philip’s martyrdom visually echoes Christ.

Swarthy plebian features- common man.

St Philip who was one of the first disciples to follow Jesus. He preached the Gospel in Phrygia and died at Hierapolis, first stoned then crucified. St Philip apostle was Philip IV's patron saint and presumably Ribera painted the canvas upon royal commission.

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FRANCISCO DE ZURBARÁN, Saint Serapion, 1628.

Primary patrons were rich Spanish monastic orders

Devotional image for the funerary chapel of the Order of Mercy in Seville (Mercedarians) who worked towards the rescue of captive and ransomed Christians at hands of Muslims

St. Serapion suffered martyrdom while preaching Gospel to Muslims

Tied to a tree, tortured and decapitated

Bright light brings attention to tragic death.

Two tree branches barely visible

Note identifies him as St. Serapion

Like Ribera, subject is depicted as common man

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Diego Velazquez

Leading artist in the court of King Phillip IV

Because of Velasquez' great skill in merging color, light, space, rhythm of line, and mass in such a way that all have equal value, he was known as "the painter's painter.”

Master realist, and few painters have surpassed him in the ability to seize essential features and fix them on canvas with a few broad, sure strokes.

DIEGO VELÁZQUEZ, Water Carrier of Seville.

Velazquez painted at age 20

Genre scene- a painting of mundane activities of everyday life (no religious purpose)

Influence of Caravaggio visible in plebian figures and deep shadow

3 ages of man

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DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick Collection, New York.

DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor).

Set in artists studio in palace

Hung in the kings private quarters

The Mystery of the visual world, several layers of visual reality

Canvas image ?Mirror image ?Open door in background

Dual themeFamily portrait

Genre sceneSelf portrait-The Artists studio

Wearing illustrious order of Santiago

Artist elevates status (paints himself as intimate with royal family)

Paintings by Rubens in background

A painting about painting

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Spanish Netherlands: Flemish painting under Spanish control(Modern Belgium-Flemish Baroque)

• Phillip II “Most Catholic King” of Spain repressive towards Protestants

• Netherlands splits between north (Protestant) and South-(Catholic)

• North is independent• South is ruled by Spanish

Empire

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Peter Paul Rubens

• Educated, looks, well-traveled, happy

• ENERGY – his life and art– Rose at 4am and worked until midnight– Great work ethic, over 2,000 paintings

• Influenced by Michelangelo and Caravaggio

• Unified the styles of northern and southern Europe– Became synonymous with Flemish Baroque

• Confident of Kings and Queens, dispatched on several diplomatic missions

Created thousands of sketches in his travels of famous artwork to study and use

• Built a house with a large studio that allowed his workshop and assistants to crank out hundreds of works

• Price of work was equivalent to how much he actually painted

Peter Paul Rubens“Rubenesque”

Applied to a woman who has similar proportions to those in paintings by the Flemish painter Peter Paul Ruben; attractively plump; a woman who is alluring or pretty but without the waif-like body or athletic build presently common in media.

"Our waitress is really hot, even if she has a few extra pounds on her, but it doesn't matter because I like my women rubenesque anyway."

PETER PAUL RUBENS, Elevation of the Cross• Commissioned for the church of Saint

Walburga in Antwerp

• Influence of Michelangelo and Caravagio evident

• Foreshortened anatomy and contortions of violent action

• Christ body cuts dynamically across picture plane

• Figures resonate with power of strenuous exertion

• Emotional and physical tension

• Movement-pushes out of the picture plane (Baroque)

• Theatricality and emotionalism characteristic of Italian Baroque

• Attention to detail represents the Northern Influence

• Rubens combines the two to form an international synthesis

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Peter Paul Rubens, The Presentation of the Portrait of Marie de’ Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Musée du Louvre)

PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles

• Marriage of French king Henry IV and italian Marei de’Medici

• Painted a series of 21 paintings (1622-26) to memorialize and glorify her life

• Her life was not very interesting, so Rubens added Mythical figures to give it a sense of grandeur and importance

• Over the top-huge ego

• Personification of France greets Marie

• Sea and sky rejoice at arrival• Neptune and the Nereids salute her• Decorative splendor holds

composition together

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Also includes events that were both quite recent and quite humiliating. After Henry was assassinated in 1610, Marie—acting as regent for their young son, Louis XIII—ruled the kingdom of France for seven years.

The position suited her; but many French nobles begrudged her power. Divisions in the court, including tensions with her own son, led to Marie’s exile from the Paris in 1617.

The commission of the biographical cycle marked her reconciliation with Louis and her return to the capital city in 1620. It vindicated her reign as the queen of France. 

PETER PAUL RUBENS, Consequences of War• Rubens worked for many nations

so could not comment on conflict in direct way(use of allegorical figures)

• Door to temple of Janus is open (symbol to War)

• Venus attempts to prevent Mars from going to battle.

• Figure of Europe in black throws her arms up.

• Fury Alekto drags Mars forward, sword drawn, to trample the arts and music, symbols of family and fecundity. Monsters of Pestilence and Famine lurk in the back.

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The Dutch RepublicThe United Provinces of the NetherlandsNorth Region (Modern Holland)

Late 16th Century: Independence from SpainProtestant

1609 Bank of Amsterdam

Political power: urban merchants

Prosperous: wealthiest region of EuropeMoralisticNo King (no feudal land rights)

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The Golden Age of Dutch Art

• The Dutch Republic was based on commerce and trade; merchant class held power, wealth

• No royal court and officials and lacking Catholic church commissions, artists turned to merchant class for work

• Portraiture rose in popularity as did works showing their possessions and land

• Merchant patrons• Realism, Genre Scenes, still life,

Little religious art• Moralizing• Landscapes that showed work ethic• Bourgeoisie portraits showed status

without being ostentatious

HENDRICK TER BRUGGHEN, Calling of Saint Matthew• Selected them from Caravaggio• Softer tints, compressed space,

much more intimate effect

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Frans Hals

Brilliant portrait painterDifferent from Leonardo, Holbein, or Durer’s portraits of exactnessQuick brushstrokes capture the momentary smile and twinkle of an eye

Actually took a lot of time to capture spontaneity

Broke conventional ways of depictionPose, setting, attire, accessoriesTypical conventions did not apply to middle class portraiture

Hals produced lively and relaxed imagesExcelled at group portraits

FRANS HALS, Archers of Saint Hadrian• Popular group portraits reflect

participation in Dutch civic organizations

• Each member paid a fee

• Dutch Civic Militia groups claim credit for liberation from Spain

• Hals enlivens the troop, movements and moods vary markedly

• Spontaneity of gesture despite uniformity of attire

• Preservation of gesture and fleeting facial expressions evidence of careful planning but does not immediately appear so because of Hals vivacious brushwork

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GERRIT VAN HONTHORST, Supper Party• Genre Scene• Informal gathering of un-

idealized figures

• Inspired by Caravaggio’s use of light but adding his own ideas

• Lighthearted but Can be read in a moralistic way- could be warning against the sins of gluttony and lust

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Rembrandt

Born in Lieden, moved to Amsterdam, the financial center of Europe

Became the cities most-renowned portrait artist

Delved deeply into the psyche and personality of his sitters

Long career (40 years)

Without the Catholic Church in Holland to commission art, Rembrandt and his fellow Dutch artists were lavishly supported by a wealthy, Protestant, and expanding middle class. This group of patrons enthusiastically commissioned works of art with their increasing discretionary income-mostly portraits.

Rembrandt

He deviated even more from the traditional group portrait than Hals

Sitters not placed evenly across the picture planeUse of light is a key elementGradual transitions, no sharp edgesFine nuances of lights and darksUses for psychological effect

REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp,

• Rembrandt age 26• Deviates from traditional group

portraiture.• Poses and expressions suggest

varying degrees of intensity.• “spotlight” on each person- inner

light of the individual as opposed to outer light of the divine.

• Doctor is only person wearing a hat (signifies importance)

• The cadaver—a recently executed thief named Adriaen Adriaenszoon

• In actuality Dr. Tulp would be lecturing to larger audience while assistant dissected.

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The Catholic tenant of resurrection necessitated that dead bodies be interned in a state of wholeness, and this fact explains why Leonardo was forced to dissect human bodies in secret.

In Protestant Holland but 113 years after Leonardo’s death, however, human dissections were not only common practice, they were often public spectacles, complete with food and wine, music and conversation.

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Dead bodies usually Christ

Northern Baroque- science replaces the spiritual

REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch),

• Actually a day scene (has darkened considerably)

• Light used in amasterful way• One of many civic-guard portraits-

one if 6 paintings commissioned for the banquet hall of Amsterdams Musketeers Hall

• Painting trimmed on all sides in 1715

• Captures excitement and frenetic energy rather than dull staid poses

• 3 important stages of loading and firing a musket

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• Rembrandt interested in probing the states of the soul

• Psychological insight, sympathy for human affliction

• Light directs attention• Religious Protestant art vs.

Religious Catholic art• Piety vs. emotional drama• Human contemplation vs.

theology• Humanity of Jesus vs.

triumph of the church

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REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London (Iveagh Bequest).

Dutch relationship to the LandGenerally not idealized or classical

Specific identifiable scenes

An individual relationship with the land

No feudalismReclaimed landShow work at hand, historical

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, • Saint Bavo church in

background (Ghent Altarpiece)• Windmills refer to land

reclamation efforts• Foreground linen is being

stretched Dutch painters took pride in homeland and activities of life- specific landscape, not idealized

• Low horizon line, sky fills majority of composition

• Quiet serenity that is almost spiritual

• Movement if birds and clouds nmplied- Baroque all about movement

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Jan Vermeer • Small, luminous, and captivating

paintings

• Intimate Dutch interiors of insignificant events (in other words, not religious) Typical paintings have light coming from source on left side, uses yellows and blues, subjects tended to be women

• Classical serenity to his images

• Shadows are not colorless

• Only painted 53 works

• Ran a Inn/Tavern. Died in his forties, left his family in debt

• Believed to have used the camera obscura, an instrument that created an image through a hole set inside a dark box

JAN VERMEER, Woman Holding a Balance

• Girl is member of merchant class- new customers of secular paintings and “genre scenes”

• Light draws attention to balance• Scales are empty• Mirror refers to self-knowledge (or

sin of vanity)• Jewels represent vanity• Last Judgment painting on wall

emphasizes religious undertone• Matchless serenity and optical

realism• Shadows full of color• “circles of confusion”-slight areas

out of focus

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Camera Obscura

A 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.

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JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam.

JAN STEEN, The Feast of Saint Nicholas

• Whimsical scene of chaos and disruption

• Saint Nicholas (Santa)• Some children delighted-others

disappointed• Allegorical dimension-children’s

activities can be satirical commentary on foolish adult behavior

• sweet white bread, called a duivekater, was traditionally enjoyed at the Feast of St. Nicholas, as well as at Christmas, and on the Dutch New Year. 

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Saint Nicholas

The Christian Saint Nicholas, or as the Dutch call him, Sinterklaas, was a 4th century Bishop of Myra (a town located in modern day Turkey) who was known for his generosity and kindness especially to children.

He died on December 6th in 343 C.E., and it is this day that is commemorated. Although traditionally a Catholic holiday, the Feast of St. Nicholas survived in the Protestant Netherlands, although in a secularized form to be celebrated by all.  

Nevertheless, Sinterklaas continues to be shown wearing his customary bishop’s garb: a tall, pointed red mitre (hat) and long red robes. In the 18th century, when Dutch immigrants brought their traditions to America, the well-loved Saint Nicholas eventually developed into the figure known today as Santa Claus. 

PIETER CLAESZ, Vanitas Still Life,

vanitas: literally ‘worthlessness’ refers to death and the emptiness of life. Vanity of personal possessions-transience and ephemeral nature of existence.

Skull, glass tipped over, watch, half eaten food, musical instruments- all symbolic of ephermal nature of life

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WILLEM KALF, Still Life with a Late Ming Ginger Jar

• Reflects the wealth Dutch citizens had accrued through trade as well as painters exquisite skill

• Exotic items from far off lands• Inclusion of watch and peeled

lemon suggestive of Vanitas tradition

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Rachel RuyschExtremely successfulPaintings sold double of what Rembrandts sold forFather was famous botanist250 paintings over seven decades

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RACHEL RUYSCH, Flower Still Life, after 1700. Oil on canvas, 2’ 5 3/4” x 1’ 11 7/8”. The Toledo Museum of Art, Toledo

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A successful Dutch still life painting was highly valued for its degree of skillful realism.

Flowers Still Life depicts a profusion of scientifically accurate floral details. Each petal, stem, and leaf is minutely and precisely rendered.

Textures are remarkably realistic, from the delicate paper thin poppy petals to the crinkly, brittle leaves. Looking closer still, we see that Ruysch has also meticulously depicted tiny insects: a caterpillar crawls on a stem, a bee gathers pollen from the center of a poppy, a white butterfly alights on a marigold. 

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Flowers: A National PassionThe Netherlands became the largest importers of new and exotic plants and flowers from around the world.

Once valued primarily for their use as herbs or medicine, flowers became newly appreciated simply for their beauty and fragrance.

They became prized luxuries and desirable status symbols for the wealthy.

Botanists and gardeners sought the rarest specimens imported from overseas trade. The tulip, like the one featured prominently in Ruysch’s painting below, was the most exotic.

The Rise of France• France shifted the center of

European art and culture away from Italy

• Louis XIV took over in France in 1661, everything changes

• Reigns for 54 years, established France as the leading superpower

• From 1661-1789 French art took prominence

French Society 1600-1700King Louis XIV

Obsessive control determined the direction of society and cultureCreated the Royal Academy of Painting and Sculpture Largest and most powerful European country of 17th centuryNot as wealthy as Dutch society

After Reformation, Protestants challenged royal authority

1598 King Henry IV issued the Edict of Nantes

Granted religious freedom, but Protestants were still driven from the country

The “Sun King”

Louis XIV (1661-1715) defined his eraAll life “revolved” around him, he envisioned himself as ApolloOversaw the construction of Versailles – palace and gardens were unfortifiedStyle emphasized glory; lavish and luxuriousAt 63, most famous portrait not just for the opulence of his position, but also the vanity of his legs!

The “Sun King”• Louis XIV (1661-1715) defined his

era

• All life “revolved” around him, he envisioned himself as Apollo

• “l’etat, c’est moi” (“I am the state”)• le Roi Soleil

• ruled by divine right, receiving his authority directly from God. The concept of divine right allowed Louis to quash emerging rebellions while establishing legitimacy.

• Oversaw the construction of Versailles – palace and gardens were unfortified

• Style emphasized glory; lavish and luxurious

• At 63, most famous portrait not just for the opulence of his position, but also the vanity of his legs

French Baroque

• No motion or emotive gesture

• Calm, classical repose• Even Lighting• Lacking surface detail• Simplified body volumes• Organized picture plane• Grand Theme-no genre

scenes

NICOLAS POUSSIN, Et in Arcadia Ego• Even in Arcadia, I am

present• Precursors-Titian, Raphael• Female spirit of death• Classicizing through

Moderation orderly Grouping.

• Bodies: classical statuary• Reserved, thoughtful mood• Idealized landscape• Even lighting

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“The Arcadian Landscape”

• Landscape painting began with the backgrounds of Venetian paintings

CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629.GIORGIONE and/or TITIAN, Pastoral Symphony, 1508

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The Arcadian LandscapeArcadia is a mountainous region in the heart of the Peloponesse, Greece. Due to its inaccessibility, Arcadia was isolated in the ancient times and its people, away from civilization, were living a pastoral life.

The concept of a pure life in accordance to the nature was praised in the Hellenistic era poems of Theocritus and in the bucolic ones of Horatius and it became very popular among the elites during the late antiquity.Classicism in the 17th century revived this love towards nature.

CLAUDE LORRAIN, Landscape with Cattle and Peasants• Well defined foreground-middle-

background

• Serene orderliness

• Landscape dissolves into luminous mist

• Ideal classical world bathed in sunlight in infinite space

• “golden hour”

• Infusion of nature with human feelings

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LOUIS LE NAIN, Family of Country People,• Somber stillness of rural family

reflects the thinking of French social theorists who celebrated the natural virtue of peasants

• Grave dignity of peasant family, stoic-resigned to hardship with little reason for merriment

• Peasant life very miserable during Thirty Years War

• Docile calm family does not reflect the many uprisings and revolts, which possibly appealed to Le Nains Aristocratic patrons

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