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AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
CHAPTER 18
RENAISSANCE ART IN 16TH
CENTURY EUROPE
ANALYSIS PACKET
DIRECTIONS: Use attached worksheets to record information from reading homework
assignments. Add information from class discussion. Upon completion of the
chapter, place analysis packet into the turn-in drawer for a completed-packet
grade.
Architecture
Sculpture
Painting
Printmaking
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Directions: Read assigned pages. Collect data on the artworks listed below.
Mrs. Lawson
100 Points Total
ARCHITECTURE
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 1
CRITERIA:
Date / Time Period
/ Style
Site / Location /
Relationship to site
(geography,
climate, geology,
etc.)
Medium / Materials
/ Techniques /
Construction
Function / Purpose
Artistic Importance
/ Influences:
Formal Qualities:
Scale/ Size/
Proportion / Form /
Vertical / Horizontal
OrganizationInterior & Exterior:
Axis / Plane / Plan/
Vertical /Horizontal
Patron / Audience:
Relationship to
cultural belief
system (Religious):
Political / Social /
Economic / Power
& Authority:
Other Related
Artworks / with
relevant criteria
Bramante, Tempietto, pg 684
Michelangelo, St. Peter’s
Basilica, pg 687-88
Michelangelo, Palazzo del
Conservation, pg 684-86
Michelangelo, Piazza del
Campidoglio, pg 684-88
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
ARCHITECTURE
ANALYSIS/DATA
COLLECTION
WORKSHEET
Page 2
CRITERIA:
Date / Time Period
/ Style
Site / Location /
Relationship to site
(geography,
climate, geology,
etc.)
Medium / Materials
/ Techniques /
Construction
Function / Purpose
Artistic Importance
/ Influences:
Formal Qualities:
Scale/ Size/
Proportion / Form /
Vertical / Horizontal
OrganizationInterior & Exterior:
Axis / Plane / Plan/
Vertical /Horizontal
Patron / Audience:
Relationship to
cultural belief
system (Religious):
Political / Social /
Economic / Power
& Authority:
Other Related
Artworks / with
relevant criteria
Da Sangallo, the younger & Michelangelo,
Palazzo Farnese, pg. 689-90
Palladio, Church of San Giorgio Maggiore,
pg 712-14
Palladio, Villa Rotonda (Villa Capra), pg
712-14
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
SCULPTURE
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 3
CRITERIA:
Date / Time Period
/ Style
Site / Location /
Relationship to site
Medium / Materials
/ Method /
Technique
Function / Purpose
Content / Subject /
Message /
Iconography
Artistic Importance
/ Influence:
Formal Qualities:
Scale / Size /
Proportion /
Pictorial Space /
Composition /
Emphasis / Balance /
Volume / Mass /
Depth / Color /
Movement /
Treatment of the
Human Form
Patron / Audience
Relationship to
Cultural belief
system (Religious)
Relationship to
Political / Social /
Economic / Power
& Authority
Other artworks
from the period &
relevant criteria
Michelangelo, Pieta,
pg 697-704
Michelangelo, David,
pg 697-704
Michelangelo, Moses, Tomb of
Julius II, pg 697-704
Michelangelo, Tomb of G. de’
Medici, pg 697-704
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
PAINTING
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 4
CRITERIA:
Leonardo, The Last Supper,
pg 690-93
Leonardo, Mona Lisa, pg 690-93
Vitruvian Man
Virgin & St. Anne w/Christ
Raphael, The Small Cowper
Madonna, pg 694-97
Raphael, School of Athens, pg
694-97
Date / Time Period
/ Style
Site / Location /
Relationship to site
Medium / Materials
/ Method /
Technique
Function / Purpose
Content / Subject /
Message /
Iconography
Artistic Importance
/ Influence:
Formal Qualities:
Scale / Size /
Proportion /
Pictorial Space /
Composition /
Emphasis / Balance /
Volume / Mass /
Depth / Color /
Movement /
Treatment of the
Human Form
Patron / Audience
Relationship to
Cultural belief
System (Religious)
Relationship to
Political / Social /
Economic / Power
& Authority
Other artworks
from the period &
relevant criteria
Madonna with Goldfinch
Baldassare Castiglione
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
PAINTING
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 5
CRITERIA:
Michelangelo. Sistine
Chapel, pg 703-04
Giorgione, The Tempest, pg
706-08
Date / Time Period
/ Style
Site / Location /
Relationship to site
Medium / Materials
/ Method /
Technique
Function / Purpose
Content / Subject /
Message /
Iconography
Artistic Importance
/ Influence:
Formal Qualities:
Scale / Size /
Proportion /
Pictorial Space /
Composition /
Emphasis / Balance /
Volume / Mass /
Depth / Color /
Movement /
Treatment of the
Human Form
Patron / Audience
Relationship to
Cultural belief
System (Religious)
Relationship to
Political / Social /
Economic / Power
& Authority
Other artworks
from the period &
relevant criteria
Pastoral Symphony
Last Judgment
Titian, Pesaro Madonna,
pg 706-10
Titian, Venus of Urbino,
pg 706-10
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
PAINTING
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 6
CRITERIA:
Tintoretto, Last Supper, pg
710-12
Parmigianino, Madonna with the
Long Neck, pg 716-17
Date / Time Period
/ Style
Site / Location /
Relationship to site
Medium / Materials
/ Method /
Technique
Function / Purpose
Content / Subject /
Message /
Iconography
Artistic Importance
/ Influence:
Formal Qualities:
Scale / Size /
Proportion /
Pictorial Space /
Composition /
Emphasis / Balance /
Volume / Mass /
Depth / Color /
Movement /
Treatment of the
Human Form
Patron / Audience
Relationship to
Cultural belief
System (Religious)
Relationship to
Political / Social /
Economic / Power
& Authority
Other artworks
from the period &
relevant criteria
Fontana, Noi Me Tangere
Brueghel the Elder, Return of the
Hunters, pg 727-28
Bosch, Garden of Earthy
Delights, pg 726--27
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Directions: Read assigned pages. Collect data on the artworks listed below.
PAINTING
ANALYSIS/
DATA
COLLECTION
WORKSHEET
Page 7
CRITERIA:
Grunewald, Isenheim
Altarpiece, closed
pg 730-32
Durer, Adam & Eve, pg 732-335
Date / Time Period
/ Style
Site / Location /
Relationship to site
Medium / Materials
/ Method /
Technique
Function / Purpose
Content / Subject /
Message /
Iconography
Artistic Importance
/ Influence:
Formal Qualities:
Scale / Size /
Proportion /
Pictorial Space /
Composition /
Emphasis / Balance /
Volume / Mass /
Depth / Color /
Movement /
Treatment of the
Human Form
Patron / Audience
Relationship to
Cultural belief
System (Religious)
Relationship to
Political / Social /
Economic / Power
& Authority
Other artworks
from the period &
relevant criteria
Open
Melencolia I
4 Horsemen of the
Apocalypse
Holbein the Younger, Henry VIII,
pg 741-45
El Greco, Burial of Count Orgaz,
pg. 746-47
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
AP Test Strategy / Key Concepts:
 The effects of the Reformation and the Counter-Reformation (Council of Trent) on art of this period is an
important theme.
 The return of iconoclasm to Europe, as well as the laying down of strict religious guidelines for artists,
influenced much of the art of this period, from Michelangelo to Tintoretto. Students may be asked to explain
problems faced by Michelangelo in his design for the ceiling of the Sistine Chapel, or Tintoretto's difficulties with
the Council of Trent over religious iconography.
 Liberal vs. manual arts
The text notes the distinction between old and new ways of perceiving artists that developed in this period. "The
belief that artists were divinely inspired creative geniuses became a widespread myth" during the High
Renaissance, and an important influence when studying major artists such as Michelangelo and Leonardo (p.
683). The spread of humanism, noted in the previous chapter, led to a generation of "Renaissance men," not
only in Italy but in northern Europe as well—for example, Durer.
 Rise of oil painting
The shift during this period from fresco and tempera to oil painting marks a turning point in the history of art. The
technical possibilities presented by oils—for example, da Vinci's sfumato—are an important concepts to learn
and track through the remainder of the course.
 Mannerism
Mannerism is one of the least clearly defined artistic styles. The text discusses the difficulties and pitfalls
associated with defining this movement on pp. 714–715. Evolved in Florence & Rome about 1520-1600 / artists
working in the style or “manner” of Raphael, da Vinci, & Michelangelo sought to develop a purely personal style
not based on the study of nature.
Context:
Italy After upheaval in Florence artist go to Rome to work for the popes
 Papacy = political power & leading patron of the arts / commissioned foremost architects, sculptors, & painters
for works that glorified the Vatican & Holy City / Strove to make the city the spiritual & artistic center of Europe /
Militaristic expansion under Pope Julius II/ Italy comes in conflict (foreign invasion) with Francis I of France &
Emperor Charles (sacked Rome 1527)
 The Reformation (1517) Martin Luther – spread rapidly = by mid century 1/4th of population in Europe is
Protestant
 Political & religious upheavals, economic decline, & social crises in Rome & Florence contribute to the complex
distorted forms of Mannerism (1520-90)
 By end of century Venetian artist created a colorful, dynamic, Early Baroque style that influenced 17 th century
art / Republican empire of Venice governed by successful merchants / grows prosperous from trade / Venetian
artists explored new dimensions in the arts
Northern Europe Italian Renaissance style crossed Alps through illustrated manuscripts & books / then Italian artists who worked
for kings & courts / Northern artist traveled to Italy to observe classical art
 Netherlands- revolt of the Netherlands & impact of the Reformation split into the Catholic south (Belgium) under
Spain & Protestant = independent north (Holland)
 Germany – controlled by clergy, powerful dukes & banking families / turn of century series of peasant revolts
raged throughout the century / printing press stimulated the use of graphic arts in printed texts / Durer created
equivalent of the Italian Renaissance style in Northern Europe / painting major form of art
 France – unified by powerful kings - influenced by Italian art = Francis I brought Renaissance & Mannerist artist
to court to glorify state & himself
VOCABULARY
cartouche classicism
engaged half columns
segmental pediments
picture plane
chateaux
cinquecento
piazza
arcade
hemicycles
cartoon
turreted
colossal order
stringcourses
pedestal
blind windows
chiaroscuro
iconoclastic
Mannerism
moldings
base
colonnades
sfumato
predella
Palladian style
motifs
brackets
shaft
capital
one-point perspective
contraposto
genre
balustrade
chiaroscuro
pyramid composition
sfumato
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
16th Century included 3 styles:
High Renaissance – ideals included order, unity, harmony of proportion, clarity, simplicity, balance, &
symmetry
Late Renaissance – artists continued above goals
Mannerism – negated all the rules
ARCHITECTURE
Italy- High & Late Renaissance buildings became lighter & more graceful than 15 th century works / continued same
basic principles / Central plan churches considered ideal / axial plans also built
Influential Architects: Bramante, Michelangelo & Palladio
- Mannerism – parodied Renaissance ideals & used classical elements in new ways for secular buildings
- Rome now center of art in Italy
PURPOSE & BUILDING TYPES
1. Religious: Most church building Rome was commissioned by the Vatican / Private patrons, & civic
commissions supported church construction elsewhere
2. Secular: Wealthy families built lavish palaces, libraries, office, etc.
MEDIA & TECHNIQUES
1.
Basic material & construction methods remain the same as 15th century
2.
Rome – marble often recycled from ancient Roman structures (originally imported from various
parts of the Empire) / came in many colors & patterns
3.
Rustication – not used as extensively / sometimes only corners of buildings
DESIGN
High Renaissance 1498-1520
1.
Ideals = order, clarity, simplicity, harmony, & proportion
2.
The circle, square & triangle were the preferred organizational elements.
3.
The central plan was the preferred design for churches
4.
High Renaissance architects, especially Bramante, perfected the ideals of 15 th century
5.
Balustrade = a series of short posts connected by a railing, was introduced above the entablature
Late Renaissance 1520-1600
1.
Design concepts established in the Early & High Renaissance continue
2.
New architectural elements introduced by
-Michelangelo
 Colossal Order: The use of columns & pilasters rising through more than one story of a
façade (originated by Alberti)
 Paired columns (often in colossal orders) used both decoratively & structurally
-Andrea Palladio
 Severely classical style, based on Roman architecture influenced building in England &
America
 Use of interlocking temple facades for the front of San Giorgio Maggiore was a unique solution
to the problem of exterior church decoration
-Giacomo della Porta’s façade for Il Gesu, designed in 1568, served as a prototype for Baroque
church facades throughout the Catholic world / consisted of two temple facades, one above the
other, united by scroll buttresses
Mannerism 1520-1600
1.
Appeared only in secular architecture
2.
Architects consciously negated every accepted Renaissance principle & parodied existing
structures
-Proportions & scale ambiguous
-Classical motifs used illogically = irregular spacing of columns, pilasters, doors, windows etc. /
keystones slipping from arches, triglyphs slipping from friezes / arches supported by columns, piers,
or both of varying proportions & number
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
France- Church construction continued in the Gothic manner / Palaces & chateaux built in a new French
Renaissance style (combined northern heritage with Italian elements) / First country north of the Alps to
adopt the Italian Renaissance style / Churches continued to be built in the Gothic manner
PUROPSES & BUILDING TYPES
Charles VII returned from Italian campaign c. 1490 / brought back Italian artist & architects to help transform his
heavily fortified castles into pleasure palaces in the Italian style / Francis I (successor) built several large
chateaux in the new French Renaissance style
MEDIA & TECHNIQUES
A variety of stone / slate for roofing & decoration
DESIGN
French style = blending of French elements with Italian Renaissance ideas
1.
Traditional French elements =
-Remnants of medieval castles – moats / rounded fortress-like towers / Gothic decorations
(pinnacles, towers & flying buttresses)
-Sloping roofs (to shed snow)
-Large windows (suitable for climate)
-Dormers (windows on the roof)
-Pavilions jutting from the wall
-Sculptured decoration
2.
Italian Renaissance elements
-Multi-tiered facades delineated with string courses
-Rounded arches
-Ground-floor arcades
-Pedimented windows (curved or triangular pediments)
-Open staircases
-Lozenge decorations in black slate (imitating marble)
-paired columns
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
SCULPTURE
Michelangelo was the most outstanding sculptor / spanned from High to Late renaissance style / inspired
Mannerism (Mannerists influenced French & Spanish artists)
High Renaissance 1498-1520
-Central Italy
PURPOSES & SUBJECT MATTER
Greatest sculptor of 16th century = Michelangelo / work was primarily religious because of Papal
commissions & his own faith
MEDIA & TECHNIQUES
Michelangelo felt that every piece of marble had a human figure imprisoned within in – artist needed only to
carve away the excess to get it out
DESIGN – influenced by the rediscovery of the Laocoon group in Rome in 1503
Michelangelo’s figures were
1.
heavily muscled
2.
Heroic
3.
Monumental
4.
Expressive of tightly controlled emotion
Late Renaissance 1520-1600
Michelangelo continued to dominate sculpture
DESIGN
Mannerism grew out of Michelangelo’s work / his later style exhibits many of the characteristics used by the
Mannerist
1. Tension- both in the uncertain balance & spatial relationships of this figures and in the anxiety created
in the viewer
2. Ambiguity- seen in the uncertain meanings of many of his works
Mannerism 1520-1600
PURPOSE & SUBJECT MATTER
Mannerist used mythological subject mater in the majority of their works (unlike Michelangelo) /
commissioned by private patrons
MEDIA & TECHNIQUES
1.
Stone & marble
2.
Bronze – cast
3.
Gold by Benvenuto Cellini / small works = minor arts
DESIGN
1. Influences from Michelangelo
-Tension in figures & relationships expressed in groups
-Ambiguity of meaning
2. Elements found in Mannerist painting
-Elongated torsos
-Extremely small heads
-Unusual poses
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
France
PURPOSES & SUBJECT MATTER
Italian sculptors invited to French court by Francis I / wanted to bring the Italian High Renaissance to
France / He got Italian Mannerism / secular themes prevailed among the Mannerist sculptors / French
sculptors used more religious subjects
MEDIA & TECHNIQUES
1.
Stone
2.
Bronze
3.
Stucco – combining stucco work with painting originated at Fontaine-bleau
DESIGN
As in architecture, French sculpture combined the Italian Mannerist style with native French elements
1.
Italian Mannerist elements
-small heads
-elongated torsos
-artificial poses
-sinuous figure contours
2.
Northern elements
-composition in the manner of Van der Weyden
-more sincere emotions (than in Italian painting)
Spain
PURPOSES & SUBJECT MATTER
Berruguete (father & son artists) credited with bringing the Italian Renaissance & Mannerist styles to Spain /
Alonzo spent 1504-1517 in Italy / Art was religious in Spain
MEDIA & TECHNIQUES
1.
stone
2.
wood
3.
alabaster
DESIGN
1.
2.
3.
4.
elongated figures
small heads
otherworldly expressions
angular poses
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
PAINTING
Italy -Central Italy
-High Renaissance 1498-1520
In painting, the High Renaissance revolved around the work of three artists: Leonardo, Raphael &
Michelangelo perfected the use of pyramidal compositions, massive monumental figures, harmonious color
schemes, simplified groups of calm figures. Portraits projected psychological insight.
PURPOSES & SUBJECT MATTER
1. Religious painting was dominant
-Raphael specialized in Madonna & Child depictions
-Michelangelo decorated the Sistine Ceiling with a complicated Biblical program
2. Themes from mythology increased in importance
3. Interest in real landscapes & real people increased
4. Portraits gave a psychological insight into the personality of the sitter
MEDIA & TECHNIQUES
1.
Tempera continued to be sued on wood panels
2.
Oil began to be used, sometimes in combination with tempera on wood panels, or alone on wood or
canvas
3.
Fresco remained important
4.
Leonardo experimented unsuccessfully with painting in an oil & tempera emulsion on dry plaster
DESIGN
1.
Pyramidal (replacing triangular) composition
2.
Stately, monumental figures, with a more mature appearance than 15 th century types
3.
Modeling with light & dark, consisting of chiaroscuro (modeling from dark to light) &
sfumato (modeling from dark to light) used only by Leonardo. The effect is a smoky haze
4.
Two-point (replacing one-point) linear perspective
-The Late Renaissance 1520-1600
Maintained High Renaissance standards. Venice developed a unique style that placed more emphasis on
color than on sculptural forms.
PURPOSES & SUBJECT MATTER
Michelangelo out lived Leonardo & Raphael, but his work took on a new pessimism after the Sack of Rome
in 1527. Other artists carried on the Renaissance ideals, and dealt with both Christianity & mythology in
their work.
MEDIA & TECHNIQUES
1.
Oil on canvas increased in use
2.
Tempera & fresco continued in importance
DESIGN
1. Correggio experimented with lighting
2. Correggio painted illusionistic dome – direct ancestor of subsequent 17th century Baroque ceiling
paintings
3. Michelangelo’s style approached the grotesque
4. Otherwise, Renaissance values continued
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
-Mannerist 1520-1600
Artists reacted against the calm of the High Renaissance. Their disturbing style was achieved through
clashing colors, ambiguity, asymmetry, frantic action, contrived poses, & elongated figures.
PURPOSE & SUBJECT MATTER
Style developed in reaction to the absolute perfection of the High Renaissance. The subject matter
included religious themes & mythology, but the treatment of traditional subject was often bizarre. Subjects
with personal rather than universal symbolism were often represented.
MEDIA & TECHNIQUES
Oil & tempera paintings on wood or canvas were typical
DESIGN
In opposition to the High Renaissance ideals, the Mannerist developed a style of chaos, disunity, discord,
obscurity, imbalance, & asymmetry
1.
Spatial ambiguity – figures the wrong size for the space they occupy
2.
Dissonant colors – acid pinks & greens, clashing with orange. This is completely different
from the clear reds and blues of the High Renaissance
3.
Frantic action – nervous gestures & expressions
4.
Exaggeration- bodily proportions elongated
5.
Disunity- figures gazing off in all directions
6.
Incongruity- classical elements of architecture used in odd ways / as stage props
Venice
PURPOSES & SUBJECT MATTER
1.
Religious & mythological
2.
Bellini specialized in Madonnas
3.
Titian’s = portraits with psychological insight
4.
The female nude was introduced into painting by the Venetians (for pleasure)
MEDIA & TECHNIQUES
1.
Oil on canvas – (tempera & fresco could not survive in damp climate)
2.
Individual techniques
-Titian = used a quick-setting emulsion of oil & tempera for his under-painting, then built up his
colors with many coats, or glazes of very thin paint
-Tintoretto= arranged a stage with wax figures & using a grid, enlarged them directly onto the
canvas. He primed his canvas with dark tones of gray or brown, then painted the light areas over
them. He used diluted oils & painted with a wide, square-ended brush
-Veronese= painted an area of color in a single flat tone, then modeled highlights & shadows with
lighter or darker paint of the same hue.
DESIGN
1.
2.
3.
Color = most important element (golden light of Venice is unique)
Relaxed style = emotional impact was more important than mathematical precision of design
Mannerism – not part of Venetian style (exception = Tintoretto occasionally use Mannerist
devices)
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
Germany, the Netherlands & England
-Italian High Renaissance art significantly affected the styles of these countries. Durer & Holbein
were the most successful at combining the Italian & northern traditions. Engravings & woodcuts
continued to be produce throughout Europe. Durer is the best-known printmaker. Greatest
painters German painters = Durer & Grunewald.
Germany
PURPOSES & SUBJECT MATTER
The Italian High Renaissance became known to German painters through engravings that reproduced
works of the great painters. German artists assimilated the Italian advances in their own work.
1.
Religious & mythological
2.
Landscape – in which man was reduced in size to inconsequential proportions, acknowledged
man’s smallness in relation to God & Nature
3.
History painting, the depiction of real events, gained in importance
4.
Portraiture was important
MEDIA & TECHNIQUES
1. The German painting style was in transition. By heritage, the northern style was linear, but the Italian
method of depicting masses & volumes was regarded as ideal. Durer achieved the greatest success.
2. Portraiture was concerned with psychological insight
-Durer & Holbein are the best known
3. Perspective used correctly
4. The Danube Style of landscape painting – based on the immersion of man into the vastness of nature
5. Proto-Expressionism – seen in the detailed depiction of suffering
6. Figures types typically northern
7. Symbolism continued to be important (not necessarily religious). Durer’s work continually referred to
the four humors of man – choleric, melancholic, sanguine, & phlegmatic.
The Netherlands
PURPOSES & SUBJECT MATTER
Due to religious & political strife, painters were interested in developing non-religious subject matter.
1.
Landscape – with human figures insignificant in size, followed the German trend.
2.
Still life – formerly used in other paintings as disguised symbolism, gained an independence of its
own
3.
Genre painting – depicted the life of the peasants & sometimes pointed out moral lessons.
MEDIA & TECHNIQUES
1.
Oil on panel
2.
Oil & tempera on panel
3.
Tempera on canvas
DESIGN
1. Attempts made to follow the Italian High Renaissance style (from Durer) = results were northern
2. Figures often bundled in bulky clothing
3. The northern love of detain still important
AP ART HISTORY
Chapter 18 – Comparative Analysis Assignment
Mrs. Lawson
100 Points Total
England
PURPOSES & SUBJECT MATTER
Portraiture – the most important form of painting in the court of Henry VIII (mostly done by foreign artists).
Holbein (German) set example for British style.
MEDIA & TECHNIQUES
1.
Panels painted in oil & tempera
2.
Miniatures done on parchment
DESIGN
1. Holbein – achieved the Italian Renaissance style. His portraits are solid & monumental.
2. Hilliard– native English painter – influenced by Mannerist style
France
- Mannerism had a strong influence on the School of Fontaine-bleau, especially in the combination of
stucco & painting.
PURPOSES & SUBJECT MATTER
Italian masters brought to France by Francis I to help decorate his castles. Subjects were secular, in the
form of
1.
Portraiture
2.
Mythological subjects
3.
Historical subjects
MEDIA & TECHNIQUES
1.
Panels painted with oil & tempera
2.
Mixing of media – Painting, fresco, imitation mosaic, & stucco sculpture were all mixed together in a
single composition, a technique that later became a great favorite of the Baroque & Rococo Periods
in the 17th & 18th centuries.
DESIGN
1.
2.
The native style was stiff, formal, linear, & flat
Italian Mannerist & others developed the School of Fontainebleau. Painting emphasized the
following characteristics:
-Abrupt changes in scale & texture
-Elongated figures
-Figures in artificial poses