Download 15th Century Northern European Art Renaissance

ARTISTS: JAN VAN EYCK, ROBERT CAMPIN
VOCABUALRY: TEMPERA, GESSO, OIL PAINTS
Background
 HISTORY: 100 YEARS WAR
 3 MINUTES ON 100 YEARS WAR
 INVENTIONS
 Oil Painting
 Gutenberg’s Printing Press
 DaVinci designed the first parachute
 The Genuis of DaVinci
 Muzzle-loaded rifles
 Spectacles (glasses) for near-sightedness
 Golf balls
 Spinet (first piano) invented
 TEMPERA, OIL, AND GESSO
 Painting in DaVinci's Day
 Oil Painting
 Difference between oil and tempera
 First to use oil paints
 Famous for Merode Altarpiece
 Merode Altarpiece
 The Arnolfini Portrait
 Famous Painting
 VOCABUALARY
 Painterly
 ARTISTS: Giorgione da Castelfranco AND Titian
 INFLUENCES
 Byzantine m
 Best of the Renaissance and Byzantine
 The Concert
 Venus of Urbino
 Artist: Titian
 Date: 1538
 Location: Uffizi Gallery,
Florence, Italy
 Size: 3’11” x 5’5”
 Medium: Oil
 MANNERISM
 Artists such as Giorgione and Titian made Venice a great art center that rivaled and then surpassed Florence
and Rome. In Rome, artists were challenged to find new avenues of expression in the vacuum left by the
passing of Leonardo, Michelangelo, and Raphael while facing a world filled with increasing unrest and
uncertainty. It was that unrest and uncertainty that contributed to a style of art known as Mannerism.
 Mannerism is considered a deliberate revolt by artists against the goals of the Renaissance.
 The Protestant Reformation, a movement in which a group of Christians led by Martin Luther left the Church in
revolt to form their own religion, began in 1517. This movement, along with the French invasion of Italy in 1524
and the French defeat of Rome in 1527, brought about an era of tension and disorder. It was in this setting
that Mannerist art was born and matured.
 Mannerism was a nervous art, created to mirror a world filled with confu- sion. Its artists painted the human
figure in impossible poses and with unreal proportions. Mannerist artists preferred figures that were slender,
elegant, and graceful. Gradually, these figures began to look less natural and more supernatural.
 Highly emotional religious pictures by Mannerists like Tintoretto were
welcomed by the Church during this troubled period. The Church was
placing a renewed emphasis on the spiritual in order to counter the
Reformation.
 The most remarkable of the Mannerist artists, El Greco (el greh-koh). El
Greco was born on the Greek island of Crete and chris- tened Domeniko
Theotocopoulos. He received the nickname El Greco (the Greek) after settling in Toledo, Spain in 1577.
 The Burial of the Count of Orgaz (Spanish: El Entierro del Conde de
Orgaz) is a painting by El Greco, a Greek painter, sculptor, and architect of
the Spanish Renaissance. Widely considered among his finest works, it illustrates
a popular local legend of his time. An exceptionally large painting, it is very
clearly divided into two sections, heavenly above and terrestrial below, but it gives
little impression of duality. The upper and lower sections are brought together
compositionally.
 The theme of the painting is inspired from a legend of the beginning of the 14th
century. In 1312, a certain Don Gonzalo Ruíz, native of Toledo, and Señor of the
town of Orgaz, died (his family later received the title of Count, by which he is
generally and posthumously known). The Count of Orgaz was a pious man who,
among other charitable acts, left a sum of money for the enlargement and
adornment of the church of Santo Tomé (El Greco's parish church).[1] He was also
a philanthropist and a right-thinking Knight. According to the legend, at the time
he was buried, Saint Stephen and Saint Augustine descended in person from the
heavens and buried him by their own hands in front of the dazzled eyes of those
present.
HISTORY OF THE PAINTING
THE VIEW OF TOLEDO
 El Greco carried Mannerist ideas as far as they could go. His intense
emotionalism and strong sense of movement could not be imi- tated or
developed further. Thus, the final chapter in the development of the
Mannerist style was written in Spain. In Italy, the new Baroque style was
already developing, and in northern Europe, conflicts arose between Late
Gothic and Italian Renaissance styles.