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Prebles' Artforms
An Introduction to the Visual Arts
ELEVENTH EDITION
CHAPTER
17
Renaissance and
Baroque Europe
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
All Rights Reserved
Learning Objectives
1. Explain the concept of humanism and
its impact on Renaissance art and
culture.
2. Contrast the techniques, media, and
themes in Italian and Northern
European art of the Renaissance.
3. Describe how social and religious
events of the seventeenth century
shaped Baroque art.
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Learning Objectives
4. Compare stylistic characteristics of
Renaissance, Baroque, and Rococo art.
5. Recognize the relationship of Rococo
art to the French aristocracy.
6. Discuss examples of art that function
to persuade or influence the viewer.
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Introduction
• Renaissance
 Technical advances with profound
subject matter
• Baroque
 Expanded means of producing works
and darker subject matter
• Rococo
 More decorative and playful elaboration
of the Baroque
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• Literally "Rebirth"
• Humanism
 New philosophical, literary, and artistic
movement
 Focus on humans, not divine
• A time of achievement, exploration,
and rediscovery
• Renewed interest in the ideas of
classical Greece and Rome
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• Recovery of ancient works from Muslim
scholars
• Elevation of individual artists, not
anonymous Middle-Ages artists
• Realism
 Depictions of light, space, and mass
that emphasize physical reality
• Giotto di Bondone, Lamentation
 Physical and spiritual realism
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Closer Look: Technique:
Fresco
Giotto di Bondone. Lamentation. c.1305.
Fresco. 72" × 78".
Scrovegni Chapel, Padua, Italy. © Studio Fotografico
Quattrone, Florence. [Fig. 17.1]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Italy
 Wealth of merchants enabled
competition in form of art patronage
 Masaccio, The Holy Trinity
• First painting based on systematic use of
linear perspective
• Vanishing point below base of the cross
• Illusion of figures composed in threedimensional space
• Bodies and drapery realistic
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Masaccio. The Holy Trinity. 1425.
Fresco. 21' 10-1⁄2" × 10' 5".
Santa Maria Novella, Florence, Italy. © Studio Fotografico Quattrone, Florence.
[Fig. 17-2]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Italy
 Popularity of the nude subject
 Donatello, David
• First life-size, freestanding nude statue
since ancient Roman times
• Biblical figure
• Expressive pose
• Derived from contrapposto
• Likely commission for Cosimo de' Medici
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Donatello. David. c.1425–1430.
Bronze. Height 62-1⁄4".
Museo Nazionale del Bargello, Florence. © Studio Fotografico Quattrone, Florence.
[Fig. 17.3]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Italy
 Donatello, David
• Symbol of divine beauty
 Donatello, Mary Magdalene
• Haggard and withdrawn figure
• Painted wood
 Botticelli, Birth of Venus
• First large mythological painting since
antiquity
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Video: Students on Site:
Donatello, Penitent
Magdalen
Donatello. Mary Magdalene. c.1455.
Wood, partially gilded. Height 74".
Photo Scala, Florence/Fondo Edifici di Culto—Min. dell'Interno.
[Fig. 17-4]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Italy
 Botticelli, Birth of Venus
• Decorative and flat background makes
figures appear to be in relief
• "Pagan" goddess in a modest role
previously reserved for Mary
• Focus on classical mythology based on
Neoplatonist philosophy
• Preoccupation of business-oriented,
secular art patrons
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Sandro Botticelli. Birth of Venus. c.1480.
Tempera on canvas. 5' 8-7⁄8" × 9' 1-7⁄8".
Uffizi Gallery, Florence, Italy. © Studio Fotografico Quattrone, Florence. [Fig. 17-5]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The High Renaissance
 Between 1490–1530 in Florence, Rome,
and Venice
 Leonardo da Vinci
• Art and science as two means to the
same end, knowledge
• Studies of anatomy and ideas for
mechanical devices
• The Fetus in the Womb
- Much of the drawing is very accurate.
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Leonardo da Vinci. The Fetus in the Womb. c.1510.
Pen and ink. 11-7⁄8" × 8-3⁄8".
The Royal Collection © 2013 Her Majesty Queen Elizabeth II/The Bridgeman Art Library.
[Fig. 17-6]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The High Renaissance
 Leonardo da Vinci
• Mona Lisa
• Intriguing expression
• Soft blurring of edges around figure
• The Last Supper
• Jesus as an accessible person who reveals
his divinity in an earthly setting
• Hidden geometry strengthens symbolism
- Pediment suggesting halo
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Closer Look: Leonardo da
Vinci, Mona Lisa
Leonardo da Vinci. Mona Lisa. c.1503–1506.
Oil on wood. 30-1⁄4" × 21".
Musée du Louvre, Paris, France. RMN/Michel Urtado.
[Fig. 17-7]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Leonardo da Vinci. The Last Supper: Perspective lines as both organizing structure and
symbol of content.
Santa Maria delle Grazie, Milan, Italy. [Fig. 17-8a]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Leonardo da Vinci. The Last Supper: Christ's figure as stable triangle, contrasting with
active turmoil of the disciples.
Santa Maria delle Grazie, Milan, Italy. [Fig. 17-8b]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Video: Church and
Dominican Convent of
Santa Maria delle Grazie
with The Last Supper
Leonardo da Vinci. The Last Supper. c. 1495–1498.
Experimental paint on plaster. 14' 5" × 28' 1⁄4".
Santa Maria delle Grazie, Milan, Italy. © Studio Fotografico
Quattrone, Florence.
[Fig. 17-8c]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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The Renaissance
• The High Renaissance
 Michelangelo
• David
• Most powerful depiction of David as hero,
defender of just cause
• Three years to finish large sculpture
• Stance in contrapposto
• Sense of anxiety and readiness for conflict
• Changes in proportion and depiction of
inner feeling
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Podcast: David vs. David
Michelangelo Buonarroti. David. 1501–1504.
Marble. Height of figure 14' 3".
Accademia, Florence. Photograph © Studio Fotografico
Quattrone, Florence.
[Fig. 17-9]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The High Renaissance
 Michelangelo
• Sistine Chapel ceiling
• Genesis scene, The Creation of Adam
- Expression of God as idealized, rational man
with interest in humans
• Prophets and sibyls, and Old Testament
figures on other levels
• The Last Judgment on the end wall above
altar
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Architectural Panorama:
Sistine Chapel Ceiling
Michelangelo Buonarroti. Frescoes on the ceiling of the Sistine
Chapel. 1508–1512.
The Sistine Chapel. Vatican Museums, Rome, Italy. ©
Reuters/Corbis. [Fig. 17-10a]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Michelangelo Buonarroti.
Frescoes on the ceiling of the Sistine Chapel: The Creation of Adam. 1508–1512.
Vatican Museums, Rome, Italy. [Fig. 17-10b]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The High Renaissance
 Raphael
• Warmth and gentleness emphasized
• The School of Athens
• Complex composition with symmetrical
sub-groups
• Central figures of Plato and Aristotle
• Paul Preaching at Athens
• Commission for Pope Leo X
• Reason transmits religious truth
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Raphael. Paul Preaching at Athens. 1515–1516.
Watercolor on paper mounted on canvas. 11' 5-1⁄2" × 14' 6-3⁄4".
Victoria and Albert Museum, London © V&A Images/The Royal Collection, on loan from
HM The Queen. [Fig. 17-11]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Northern Europe
 Preoccupation with depicting life in the
real world
 Jan van Eyck of Flanders
• First to use oil as painting medium
• Detail and depth believable
• The Arnolfini Portrait
• Significant, symbolic objects indicate
fidelity, fertility in a marriage
• Accurate figures and space
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Closer Look: Jan van Eyck,
Double Portrait of Giovanni
Arnolfini and His Wife
Jan van Eyck. The Arnolfini Portrait. 1434.
Oil on panel. 33-1⁄2" × 23-1⁄2".
© 2013. Copyright The National Gallery, London/Scala,
Florence. [Fig. 17-12]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• The Renaissance in Northern Europe
 Albrecht Dürer
• The Knight, Death, and the Devil
 Pieter Bruegel
• Lives and surroundings of common
people with rich landscapes
• Referred to as genre paintings
• Hunters in the Snow
• Mood scene of January utilizing illusion of
deep space
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Closer Look: Pieter Bruegel
the Elder, The Return of
the Hunters
Pieter Bruegel. Hunters in the Snow. 1565.
Oil on panel. 46-1⁄2" × 63-3⁄4".
Kunsthistorisches Museum, Vienna, Austria. akg images/Erich
Lessing. [Fig. 17-13]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• Late Renaissance in Italy
 Andrea Palladio, Villa Rotonda
•
•
•
•
Free interpretation of Roman Pantheon
Architectural goal not livability
Four identical sides surround domed hall
Inspired motifs that appear in
postmodern building design
 Venetian painting more lavish than
inland Italian artists
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Video: Students on Site:
Villa Rotonda
Andrea Palladio. Villa Rotonda. 1567–1570.
Vicenza, Italy. Cameraphoto/AKG images. [Fig. 17-14]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Renaissance
• Late Renaissance in Italy
 Veronese, Feast in the House of Levi
• Depicts sumptuous banquet from New
Testament but originally intended to be a
Last Supper depiction
• Led to accusations of heresy by
Inquisition
• Important trial for artistic freedom
• Defense that artist should be free to
interpret subjects as he wishes
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Closer Look: Veronese,
Fest in the House of Levi
Video: Students on Site:
Veronese, House of Levi
Paolo Veronese. Feast in the House of Levi. 1573.
Oil on canvas. 18' 4" × 16' 7".
Accademia Gallery, Venice/© Cameraphoto Arte, Venice
[Fig. 17-15]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Baroque
• About 1600–1750
• Art moved in the direction of drama,
emotion, and splendor.
• Set aside balanced harmony of
Renaissance artists in favor of
innovative use of space
• Foreshortening and sharp diagonals
• Counter-Reformation of Roman Catholic
Church
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Baroque
• Caravaggio
 Used directed light and strong contrasts
• Chiaroscuro
 The Conversion of Saint Paul
• Foreshortened figure of Paul realistic to
viewer
• Emotional realism perceived by some as
too strong for those accustomed to
images representing piety
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Michelangelo Merisi da Caravaggio. The Conversion of Saint Paul. 1600–1601.
Oil on canvas. 100-1⁄2" × 69".
Santa Maria del Popolo, Rome, Italy. © Vincenzo Pirozzi, Rome. [Fig. 17-16]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Baroque
• Artemisia Gentileschi, Judith...
 Influence of Caravaggio
• Dramatic lighting
• Off-balance composition
 Scene from Old Testament where Judith
beheaded Assyrian general Holofernes
• Gianlorenzo Bernini, David
 Life-size, not monumental
 Twisted body depicts drama of struggle
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Web Resource:
Artemesia Gentileschi
Artemisia Gentileschi. Judith and the Maidservant with the
Head of Holofernes. c.1625.
Oil on canvas. 6' 1⁄2" × 4' 7-3⁄4".
Detroit Institute of Art Gift of Mrs. Leslie H. Green. Photograph
© The Detroit Institute of Arts/The Bridgeman Art Library.
[Fig. 17-17]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Gianlorenzo Bernini. David. 1623.
Marble. Life-size.
Galleria Borghese, Rome. Photograph: Scala. [Fig. 17-18]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Baroque
• Bernini, The Ecstasy of Saint Teresa
 Portrayal of a vision from her diary
 Skylight adds light to drama of the
sculpture
 Moment of greatest emotional impact
• Peter Paul Rubens
 Highly demanded European artist
 The Raising of the Cross
• Sensual, well-muscled figures
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Architectural Simulation:
Cornaro Chapel
Web Resource: Gianlorenzo
Bernini
Video: Students on Site:
Cornaro Chapel
Gianlorenzo Bernini. The Ecstasy of Saint Teresa. 1645–1652.
Detail of the altar. Marble. Life-size.
Cornaro Chapel, Santa Maria Della Vittoria, Rome, Italy.
Photograph: © Canali Photobank. [Fig. 17-19]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Peter Paul Rubens. The Raising of the Cross. 1610–1611.
Oil on panel. One part of a three-part work. 15' 2" × 11' 2".
Onze Lieve Vrouwkerk, Antwerp Cathedral, Belgium. Photograph: Peter Willi/Bridgeman
Art Library. [Fig. 17-20]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Baroque
• Diego Velázquez
 Painted for Philip IV, King of Spain
 The Maids of Honor
• Unclear subject becomes a riddle
• Artist stares out from behind a canvas
• King's daughter in the middle
• King and Queen in the mirror at the back
• Art in both religious and secular
subjects reflecting new patrons
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Closer Look: Diego
Velázquez, Las Meninas
Diego Velázquez. Las Meninas (The Maids of Honor). 1665.
Oil on canvas. 10' 5" × 9'.
Museo del Prado, Madrid, Spain. Photograph: akgimages/Erich Lessing. [Fig. 17-21]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Baroque
• Rembrandt, Return of the Prodigal Son
 Biblical scene of disobedient son
returning after wasting inheritance
• Portrays miraculous restoration of
affection between estranged people, not
vision of a saint
• Jan Vermeer, The Kitchen Maid
 Limited use of color
 Mystical qualities of light on details
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Rembrandt van Rijn. Return of the Prodigal Son. c.1668–1669.
Oil on canvas. 8' 8" × 6' 8".
The State Hermitage Museum, St. Petersburg, Russia. [Fig. 17-22]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Web Resource:
Essential Vermeer
Jan Vermeer. The Kitchen Maid. c.1658.
Oil on canvas. 18" × 16-1⁄8".
Rijksmuseum, Amsterdam. [Fig. 17-23]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Baroque
• Still life flourishes
 Fruits or flowers as subject arranged by
artist, often including other domestic
and/or food items
 Netherlands
• Celebrated bounty of nature
 Spain
• Isolation of a few items in dramatic light
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Baroque
• Still Life with Sweets and Pottery
 Mix of still life schools' styles
 Exercise in composition
• French aristocratic splendor
 Palace of Versailles built for King Louis
XIV
 Hall of Mirrors
• Expensive glassworks
• Visual spectacle reflecting status
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Juan van der Hamen. Still Life with Sweets and Pottery. 1627.
Oil on canvas. 33-1⁄4" × 44-3⁄8".
National Gallery of Art, Washington D.C. Samuel H. Kress Collection 1961.9.75.
[Fig. 17-24]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Video: Palace and Park of
Versailles
Video: Students on Site:
Versailles
Jules Hardouin-Mansart. The Hall of Mirrors. Begun 1678.
Length approx. 240'.
Versailles. © Corbis. [Fig. 17-25]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Art Forms Us: Persuasion
• Inspiration
 Progress as positive
 Wright, Philosopher Gives a Lecture...
• Propaganda for a scientific worldview
• Orrery
• Model of the solar system with the sun at
its center
• Symbolic of scientific enlightenment
• Virtues of inquiry and knowledge
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Joseph Wright of Derby. A Philosopher Gives a Lecture on the Orrery. 1766.
Oil on canvas. 58" × 80".
Derby Museum and Art Gallery. akg-images/Erich Lessing. [Fig. 17-26]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Art Forms Us: Persuasion
• Inspiration
 Westward the Course of Empire Takes
Its Way
• Expansion of the United States
• "Manifest Destiny"
• Aimed to represent expansion as
peaceful although this was not the case
• Larger version commissioned for
government in Washington, D.C.
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Emanuel Leutze. Westward the Course of Empire Takes its Way. 1860.
Mural study. 33-1⁄4" × 43-3⁄8".
Smithsonian American Art Museum Washington, D.C. © 2013. Photo Smithsonian
American Art Museum/Art Resource/Scala, Florence. [Fig. 17-27]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Art Forms Us: Persuasion
• Inspiration
 Monument to the Third International
• Third International party founded by
Lenin to spread Communism
• Conceptual structure intended to
symbolize technological prowess of
Communist Russia
• Designed to compete with Eiffel Tower
• Impossible to build during a time of
shortage and political unrest
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Vladimir Tatlin. Model for Monument to the Third International. 1919.
Photograph. The Bridgeman Art Library. [Fig. 17-28]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Rococo
• Lighter, more playful version of
Baroque
 Enthusiastic sensuality
• Imitation of curved shapes of shells
• Arts moved from marble halls to
fashionable town houses
 Hôtel de Soubise
• Romantic visions of life free from
hardship
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Germain Boffrand. Salon de la Princesse. Begun 1732.
Hôtel de Soubise, Paris. Hirmer Fotoarchiv, Munich, Germany. [Fig. 17-29]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Rococo
• Fragonard's Happy Accidents of the
Swing
 Well-dressed, idle young woman
admired by a hiding youth
 Storyline provided by flying shoe that
may reveal the young man
 Contrasts of light and dark and offbalance composition learned from
Baroque
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Closer Look: Jean-Honoré
Fragonard, The Swing
Jean-Honoré Fragonard. Happy Accidents of the Swing. 1767.
Oil on canvas. 31-7⁄8" × 25-1⁄4".
The Wallace Collection, London. The Bridgeman Art Library.
[Fig. 17-30]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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