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- Judgement of Paris
- Artist: Cranach
- Era: 16th Century Northern Renaissance, 1530
- Techniques:
- tempera and oil on wood
- Paris is in Northern European armor
- Mercury is an older man
- square face
- naive nudes - subtlety flirtatious
- pear-shaped physique
- Italian focus on idealism and musculature while north has pear-shaped physiques for females
- northern landscape setting
- northern renaissance landscape is more detailed
- detailed foliage
- Paris is holding an apple
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five temptations depicted as foolish creates attacking the saint
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- Four Horsemen from the Apocalypse
- Artist: Durer
- Era: 16th Century Northern Renaissance
- Techniques:
- wood cut - anything that is white has been cut away
- fourth print out of 14 from the series of the apocalypse
- death, famine, war, and pestilence
- pestilence carries bow and arrow
- war holds sword
- famine holds scales
- death is the skeleton
- death actually touches ground - no one can escape it - Christ over the Catholic Church
- death literally tramples over the Bishop
- direct connection to Christ
- archangel Micheal overhead
- head of famine is foreshortened
- figures are angular
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- Knight, Death, and the Devil
- Artist: Durer
- Era: 16th cenutry Northern Renaissance
- Techniques:
- engraving - anything that is black has been cut away
- idealization and naturalization
- etching requires a chemical reaction with the metal
- knight rides fearlessly through foreboding landscape
- northern landscape
- harsh nature
- accompanied by faithful retriever
- Chrsitian knight is a soldier of god
- only armed with faith
- death is holding an hour glass
- death has snakes in his hair
- devil on right
- the knight triumphs because he has put on the "whole armor of god that he may be able to stand against the whiles of the devil"
- strength, movement, and proportions from equestrian statues of Italian Renaissance
- intense detail
- hatching - in graving lines that are really close together and parallel - makes a deep shadow
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- Fall of Man
- Artist: Durer
- Era: 16th Century Northern Renaissance
- Techniques:
- engraving
- base bodies on Vitruvius' proportions
- smaller heads
- Eve has softer hair that is similar to Botticelli
- Eve is a combination of Italian and Northern Renaissance ideals
- northern European setting
- his version of Garden of Eden
- iconography - animals are symbols of four humors
- Greek - bodily fluids determines personality
- cat and mouse symbolize the relationship between Adam and Eve at the fall
- figures clearly outlined against dark background
- idealized form Classical statuary
- individualize features - human models
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- Four Apostles
- Artist: Durer
- Era: 16th Century Northern Renaissance
- Techniques:
- oil on panel
- Lutherean style
- made without a commission
- presented to city fathers of Nuremberg to be hung in the city hall
- John and Peter on left and Mark and Paul on right
- Mark was an evangelist
- compostitional layout is Lutheran based on the positioning of the figures
- St. Peter who holds keys to Vatican is placed behind John who is focused on the bible alone - Protestantism
- bible in front, open to a legible passage - in the beginning was the word and the word was god
- bottom of panels there are quotations from each the evangelist's gospels in Luther's translation
- individuality of faces, attire, and attributes
- communicates integrity and spirituality
- vivid color and bright lights
- symmetryical
- balanced figure
- soft folds of drapery
- deeply modeled
- each represents one of the four humors
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- The Great Piece of Turf
- Artist: Durer
- Era: 16th Century Northern Renaissance
- Techniques:
- watercolor
- observation leads to truth - sight is the noblest sense of man
- beauty lies in the most humble things
- everything is scientifically accurate
- dandelions, grape plantane, heath rush
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- Battle of Issus
- Artist: Altdorfer
- Era: 16th Century Northern Renaissance
- Techniques:
- oil on panel
- defeat of Darius by Alexander the Great at the town of Issus
- Duke of Bavaria commissioned this
- timing of the beginning for the campaign against the invading Turks
- past classical battle to represent current battle
- contemporary armor and alignment in extreme detail
- 50/50 composition of figures and landscape
- clash of craggy mountain peaks and still bodies of water
- cosmological setting
- eastern Mediterranean scene with a view of Greece and the Nile
- sun is setting over vicotrious Greeks
- small crescent moon, symbol of near east and it hovers over retreating Persians
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- French Ambassadors
- Artist: Holbbein
- Era: 16th Century Northern Renaissance
- Techniques:
- only one signed with his whole name
- artinant humanists are present
- open hymn book with Luther's version of the ten commandments
- double portrait
- man on left holds daggard - 29 years old
- wears necklace with a medallin of St. Micheal in the form of a dragon - chivalry
- resting near a globe with detailed image of France Jean Le Gambia
- George Thistle on right
- he is 25 years old
- he is not wearing a bishops attire - he had only been appointed
- elaborate still-life inbetweem figures
- globe also represents northwest passage
- book open to page eight of book three which teaches merchants how to divide and anticipates the decimal a century early
- arithmetic, geometry, music, and astronomy to be mastered
- chart of heavens on upper shelf represents astronomy
- broken lute symbolizes discord - religious strife of the time
- men at the core front of their careers and all learning at the time
- floor is a ornate mosaic design identical of floor in front of the high altar at West Minister Abbey
- standing before the altar of learning
- anamorphism - distortion of a form
- first example of anamorphic used in a prominent place in an art piece
- skull distorted in a way so that one has to stand to to one side to see it
- 16th century people pushing science forward that are in contrast with church doctrine
- Holbein sees death as an earthly gift
- aware of mortality
- crucifix in background
- importance of religion
- anamorphic skull is a transformed state of mind - old ideas into new ones - heliocentric world view
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- Francis I
- Artist: Clouet
- Era: 16th Century Northern Renaissance
- Techniques:
- painted background made to look like satin material
- oppulently dressed
- sense of a worldy prince dressed in silk and brocades wearing a gold chain
- medallion on chain which is the order of St. Micheal founded by Louis XI
- looking down on the viewer
- long nose and small eyes
- sneaky or sly look
- open relaxed hand position on dagger
- hero of hundreds of gallant situations and a great lover
- portrudes outside the frame, showing his greatness
- flat lighting suppresses any sort of modeling - lack of realism
- small head and wide neck
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- Money Changer and HisWife
- Artist: Massys
- Era: 16th Century Northern Renaissance
- Techniques:
- checking the weight of the gold
- detailed rendering of figures and scenery
- insight into the developing merchantile practices of the time
- Netherlandish values
- mores and values
- part of secular life
- material world with reference to a moral and spiritual life
- more important to lead a moral life than gain materialistic value
- candle is allusion to Holy Spirit
- couple establishes balance
- vignettes represent idleness and gossip
- "let the balance be just and the weights equal"
- represents eventually last judgement
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- Meat Still-Life
- Artist: Pieter Aertsen
- Era: 16th Century Northern Renaissance
- Techniques:
- genre scene - portrayal of everyday life
- fish, pretzels, cheese, and butter along with meat
- strategically placed religious images
- background scenes
- - Joseph leading a donkey carrying Mary and the Christ child in background
- - Joseph stoops to offer olms to a beggar and his son
- - group of people going off to church
- fish on platter symbolizes Christ and crucifixion
- wine hanging in the rafters and pretzels are served as bread during lent
- fish, pretzels, and wine are spiritual food
- contrasts allusions to opposites
- depicts gluttony, lust, and sloth
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- Hunters in the Snow
- Artist: Bruegel
- Era: 16th Century Northern Renaissance
- Techniques:
- high horizon
- cosmographical landscape
- avoids classical elements
- peasants are honest and true because they don't have excess
- social comments
- originally set of six, only five left
- colors set the mood
- realistic landscape with diagonal composition for recession into space
- inspired by Chinese landscapes
- orange browns guide eye through the painting - manipulative device that sets the mood
- minaturistic and detailed
- one bird overhead is symbolic of hope on its way because spring is coming
- allusion to Holland escaping oppression
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- Netherlandish Proverbs
- Artist: Bruegel
- Era: 16th Century Northern Renaissance
- Techniques:
- detailed and clever imagery
- over 100 proverbs
- birds eye view, perspective
- reminiscent of Bosch
- study of human nature
- complexity of layout within landscape setting
- teaching morality
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- Peasant Dance
- Artist: Bruegel
- Era: 16th Century Northern Renaissance
- Techniques:
- color to manipulate the eye throughout the picture
- no focus
- strong but simplified modelling of figures
- solidly drawn silhouettes
- figures are robust
- not complete birds eye view but one point perspective
- peasants demonstrating a sinful lifestyle
- peacock feather is a symbol of vanity
- music is sinful
- supposed to be a festival of a saint
- jest, anger, and gluttony
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- Escorial
- Artist: Juan de Herrera
- Era: 16th Century Northern Renaissance
- Location: near Madrid, Spain
- Techniques:
- constructed for Philip II
- rugged terrain and barren mountains
- royal mausoleum, church, monastery, and palace
- grid like plan - grit iron where St Laurence was martyred, part of St. Escorial - represented Philip II's character, austere and conciencious, passionate catholic, pride in dynasties, stern determination to impose his will on the world
- 625 feet wide 520 feet deep
- simplistic in form
- very severe
- noble without arrogance
- majestic without austentation
- result is the Doric order severity from Classicism
- three entrances with a dominant central portal framed by super imposed orders, topped by a pediment in the Italian fashion
- central portico breaks the severely planar focus of the horizontal facade
- four massive square towers that punctuate the corners of the complex
- stress on the central axis
- tied to Baroque palace facade
- constructed of granite, very difficult stone to work with - conveys a feeling of starkness and gravity
- strictly geometry
- blocky walls and rounded arches
- overwhelming strength and weight
- monument to the collaboration between a great king and a remarkably understanding architect
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- Burial of Count Orgaz
- Artist: El Greco
- Era: 16th Century Northern Renaissance
- Techniques:
- oil on canvas
- 300 years after the death of Count Orgaz
- buried by St. Augustine and St. Stephen but they were alive at the same time as him - miraculously descended from heaven to bury the count
- figures in 16th century attire
- background filled with conquisatadors wearing black, brought Spain to the New World
- they also lead the great armada against England and Holland after the peace two years
- black primer creates grayish tones
- no focus, manneristic
- all figures are elongated and distorted
- dramatic fluttering drapery
- everyone on earth is static with heavy drapery
- realism in earth with portrait painting of conquistadors
- dynamic swirls of unearthly light and color
- mystical, spiritual, and ecstatic devotion
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- Fray Hortensio Felix Paravincio
- Artist: El Greco
- Era: 16th Century Northern Renaissance
- Techniques:
- a theologian, poet and a Trinitarian priest
- studied a lot
- elongated form especially in hands
- grey tone - gives him a dark smoldering look
- more like an apparition, spiritual type
- surrendered body and soul to church
- not realistic portrait of body but the spiritual side
- seated shows his high rank
- book represent his intellectual dedication
- contrasting black and white garment which contrasts with square back leather chair
- chair highlighted with gilt bronze, studs, and finials
- pale face that is accented by his dark hair, eyebrows, and beard
- austere because of dedication to church
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