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HISTORY OF EUROPEAN PAINTING
The history of painting represents a continuous, though disrupted, tradition
from Antiquity. Across cultures, and spanning continents and millennia,
the history of painting is an ongoing river of creativity that continues intothe 21st century. Until the early 20th century it relied primarily on
- Representational: representing humans, heroes with their
characteristics of the age, social status, trades, etc.
- Religious/Sacred art: imagery intended to uplift the mind to the
spiritual; objects to be venerated not for what it is but for what it
represents; properly calledsacramentals. The use of art in religion is
essential, as it symbolizes understanding and feelings that words simplycan't describe.
- Classical: broad term for a long period of cultural history centered on
the Mediterranean Sea, comprising the interlocking civilizations of
Ancient Greece and Ancient Rome. "Classical antiquity"typically
refers to an idealized vision of later people of what was, in Edgar Allen
Poe's words, "the glory that was Greece, the grandeur that was Rome!"
o Immensely influential on the language, politics, educational
systems, philosophy, science, artand architecture of the
Renaissance and again during various neo-classical revivals in
the 18th and 19th centuries.
- Abstract: a visual language of form, color and line to create a
composition which exists independently of visual references to the
world.
o By the end of the 19th century many artists felt a need to create
a 'new kind of art' which would encompass the fundamental
changes taking place in technology, science and philosophy.
- Conceptual: art in which the concept(s) or ideas(s) involved in thework take precedence over traditional aesthetics and material concerns.
MEDIEVAL AGE
Byzantine art:
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- the 6th century, placed great emphasis on traditional iconography and
style,
- continued traditions in the Greek, Romanian and Russian orthodox icon
painting
o icons = a reflection of the divineo a particularly hieratic feeling and
- wall-paintings infresco,
- mosaics.
- flatness and highly stylized depictions of figures and landscape
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BYZANTINE PAINTING ART
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BYZANTINE MOSAIC
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ANDREJ RUBLIOV: continuation of the Byzantine art in Orthodox
icon painting
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Illuminated manuscripts: the text is supplemented by decorated initials,
borders and miniature with gold or silver.
- the term is now used to refer to any decorated or illustrated manuscript
from the Western or Islamic traditions.
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The Book of Kelles
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ROMANESQUE ART
- Panel painting becomes more common under the heavy influence
of Byzantine icons
- the middle of the 13th century, painting became more realistic,
o interest in the depiction ofvolume and perspective
o more realistic and dramatic approach
o a new innovative and free composition approach
in Italy with Cimabue and then his pupil Giotto:considered to be the two great medieval masters of
painting in western culture; pioneers in the move
towards naturalism.
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CIMABUE
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GIOTTO
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RENAISSANCE AND MANERISM (XIV-XVII)
Fra Angelico
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Filippo Lippi
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Andrea Mantegna
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Paolo Ucello: Nicolo Mauruzi da Tolentino at the Battle of San
Romano (National Gallery)
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Leonardo da Vinci: Mona Lisa, La Gioconda, Luvre, Paris
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Raphael: Madona et Banbino
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Giovani Bellini: Saint Francisc in the Dessert
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Titian - Self Portrait: Museo del Prado,Madrid
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Leonardo da Vinci: The Last Supper (1498) Convent of Sta. Maria
Delle Grazie, Milan
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GIORGIONE: Gallerie dellAccademia, Venice
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TINTORETTO: Finding of the Body of St. Mark (1548)
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SANDRO BOTICELLI: The Birth of Venice (Uffizi, Florence)
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Rogier van den Weyden: Saint Ivo. Oil on Panel (National Gallery)
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Hieronymus Bosh: The Garden of Earthly Delights (Tryptich)
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Pieter Breugel: Babel Tower, Brussels
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HIGH RENAIISANCE MANNERISM
The early Mannerists in Florence
- Andrea del Sarto
- Jacopo da Pontormo and
- Roso Fiorentino
- Parmigianino
- Corregio
- El Greco
o elongated forms, precariously balanced poses, irrational
settings, and theatrical lighting
Outside of Italy, mannerism continued into the seventeenth century.
o France - Rosso traveled to work for the court at Fontainebleau,
Henry II style)
o Prague court Rudolf II, as well as
o Haarlem and Antwerp.
o Great Britain expressed by the local categories of Elizabethan
and Jacobean art of painting
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Jacopo Pontormo: Joseph in Egypt. Oil on Wood, (National Gallery)
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El Greco: The Assumption of the Virgin. Art Institute of Chicago
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Hans Holbein the Younger: Portrait of Sir Thomas More. The Frick
Collection, New York
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Hans Holbein: The Ambassadors, National Gallery
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Anthony van Dyck: Susana and the Elders
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Anthony van Dyck: Self Potrait