-
Intro
- -mannerism-artists involved in protest against values of
- high renaissance art-artists were interested in pushing notions of balance,
- harmony and order relatively short lived style-artists predominately centered
- in city of rome-countering art of Rafael-intentionally distorted space
- proportion of figures-very artificial emotional content, erotic, confusing,
- ambiguous, convoluted, s curves
-
- Figure 15-2
- Parmigianino, Madonna dal Collo Longo, c. 1535
- -parmigianino-madonna dal collo longo-enormous in length
- extremely elongated-childf is also elongated don’t have same bond as in
- Rafael-sincere ideas out the window complex composition figures crowded,
- funny-space is confusing balance is confusing-all things quality of mannerism
-
- Figure 15-3
- Tintoretto, The Last Supper, 1594
- -tintoretto-counterreformation-effort
- of church in catholic countries response to reformation church utilized works
- of art, to try and engage audience make church seem alive well powerful dynamic
- diagonal light is supernatural
-
- Figure 15-4
- El Greco, Purification of the Temple, 1600
- -worked in spain-style in
- unmistakabale uses evident brushwork-usues very brilliant colors, seem to
- sparkle the purification of the temple
-
- Figure 15-7
- Caravaggio, The Conversion of St. Paul, c. 1601
- -caravvagio-tenebrism scene set in darkness at nighttime in
- which there is single light source revolutionized paintings in number of
- ways-use of foreshortening conversion of st paul, naturalism depict figures
- from bibilical stories
-
- Figure 15-8
- Artemisia Gentileschi, Judith and Maidservant with the Head of Holoferness, c. 1625
- -gentileschi-best known works judth and maidservant-depict
- women portrayed them as strong, capabale autonomous, very orginial in depicting
- stories that many artists have done before celebrated strength of woman
-
- Figure 15-10
- Gianlorenzo Bernini, The Ecstasy of Saint Theresa, 1645-1652
- -greatest sculptor during era-bernini-ecstasy of saint
- Theresa-depicting mystical vision of saint who is pierced in heart by
- arrow-swooning back in gesture-dynamism movement twirk in energy in
- work-clothing blown around all about emotion and vision
-
- Figure 15-17
- Diego Velazquez, Las Meninas, 1656
- -velazquez-las meninas-court painter to Philip the fourth did
- a lot of royal portraits-artist himself is there working on large canvas,
- ladies in waiting various attendants-means to show off all of his abilities0
- use of light, perspective
-
- Figure 15-22
- Peter Paul Rubens, Garden of Love, c. 1632-1634
- -peter paul ruben-garden of love-afternoon chubby cupids,
- cherubs, works were large-production of color, brushwork thickly, heavily-still
- seems cohesive, also a diplomat became royal of his time
-
- Figure 15-23
- Jan Vermeer, Young Woman with a Water Jug, c. 1655
-Jan Vermeer-foremost genre painter in Holland;
Holland-a republic instead of presided over by king dutchare protestant-not a lot of religious art, genre paintings scenes of everydaylife-very quiet, beautifully painted scenes-group portraits-all very importantsubject in Holland-still life, landscapes
-
- Figure 15-24
- Frans Hals, The Laughing Cavalier, 1624
- -Franz hals-the laughing cavalier-known for very spontaneous
- looking portraits-light feathery brushwork sense of animation to scenes robust
- lifelt quality
-
- Figure 15-26
- Judith Leyster, The Proposition, 1631
- -Judith leyster-the proposition-a moral man offering young
- lady coins ignores solicitation scene frequently depicted-usually scene in
- brothel awarenees of European styles in lighting, both did very similar kinds
- of paintings
-
- Figure 15-27
- Judith Leyster, The Jolly Toper, 1629
-
- Figure 15-29
- Rembrandt van Rijn, Sortie of Captain Banning Cocq's Company of the Civic Guard (Night Watch) 1642
- -Rembrandt-group portrait corporation portrait-most famous
- artist in Holland from period-best known for portraits corportation make a portrait of every
- single person in scene
-
- Figure 15-32
- Nicolas Poussin, Et in Arcadia Ego, c. 1655
- -poussin-different tendency that emereges in French painting
- sober restrained more classical styles more different than baroque
- -example classicizing influence-idealized landscape-obvious
- classical references manners in which shepherds are dressed lighting mood is
- subtle, academic classical style elevate artists mind intellect rather than
- just senses
-
- Figure 15-33
- Hyacinthe Rigaud, Louis XIV, 1701
- -louis XIV marks end final flourishing of
- baroque-responsible for eduation arts, education the sun king painted by
- hyacinthe
-
- Figure 15-38
- Antonine Watteau, Return from Cythera, 1717-1719
- -upon death in 1715 style changes dramatically changed to
- rococo style-light hearted, romanticm playful, figures toned down colors are
- pastel and pale-elegantly clad, aristocratic, playful activity
watteau-great example
-
- Figure 15-39
- Jean Honore Fragonard, The Swing 1766
- -fragonard-famous for intrigued paintings entitled the swing
- – artificial in keeping with taste of aristocracy avoid harsh realities of time
-
- Figure 15-40
- Marie Louise Elisabeth Vigee-Lebrun, The Artist and Her Daughter, C. 1785
-
- image of portrait of artist and daughter one of most famous portrait painters in
- france court painter to marie Antoinette- women shown
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