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AP Art History Unit Sheet #19 Chapter 25: Northern Baroque

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AP Art History Unit Sheet #19 Chapter 25: Northern Baroque AP Art History Unit Sheet #19 Chapter 25: Northern Baroque Northern Baroque Amsterdam and the Netherlands France, England, & Austria (c. 1650) Works of Art Artist Medium Date Page # 25‐1: Vanitas Still Life Claesz Painting 1630 694 25‐2: Elevation of the Cross Rubens Painting 1610 698 25‐3: Arrival of Maria de’Medici at Marseilles Rubens Painting 1622‐1625 699 25‐5: Charles I Dismounted Van Dyck Painting 1635 701 25‐9: The Archers of Saint Hadrian Hals Painting 1633 704 25‐11: Self‐Portrait Judith Leyster Painting 1630 705 25‐12: Dr. Tulip’s Anatomy Lesson Rembrandt Painting 1632 706 25‐13: Night Watch Rembrandt Painting 1642 707 25‐15: Self‐Portrait Rembrandt Painting 1659‐1660 708 25‐16: Hundred‐Guilder Print Rembrandt Painting 1649 709 25‐19: Women Holiday a Balance Vermeer Painting ca. 1666 712 25‐24: Louis XIV Riguad Painting 1701 714 25‐26: Versailles Mansart amd Lebrun Architecture Begun 1669 715 25‐31: Et in Arcadio Ego Poussin Painting 1655 719 25‐34: Family of Country People Le Nain Painting 1640 721 25‐37: Banqueting House Inigo Jones Architecture 1619‐1622 723 25‐38: St. Paul’s Cathedral Wren Architecture 1675‐1710 724 France, England, & Austria (c. 1650) Preview: This chapter surveys art in the Netherlands, Flanders, France and England produced in the 17th century. Catholic Flanders remained under Spanish control in this period, and its art is close in spirit to the Baroque art of Italy. The leading Flemish Baroque painter is Peter Paul Rubens, who executed commissions for an international clientele. The Treaty of Westphalia granted the Dutch Republic independence from Spain in 1648, and its predominantly Protestant citizens, including a growing middle class, commissioned portraits, genre scenes, still lifes and landscapes. Frans Hals specialized in lively, inventive portrait arrangements, while Rembrandt van Rijn, who is regarded as the greatest Dutch artist of the era, treated a wide range of subjects in paintings and prints. In France, Louis XIV was the major patron, commissioning artworks for the enormous palace complex he built at Versailles, which exhibits a blend of Italian Baroque and French classical styles. Nicolas Poussin and Claude Lorraine were widely recognized for classical paintings. In England, architects Inigo Jones and Christopher Wren enjoyed international fame for buildings such as Wren’s Saint Paul’s in London, which blend Italian Renaissance, Baroque, and French classical styles. CONTEXT: History: 17th Century in Northern Europe: 1648> French monarchy under Louis 14th consolidated absolute power French culture, language, fashion dominates tastes throughout Europe France becomes the largest and most powerful country in Europe Various Royal Academies (architecture, painting, science, arts, & letters, etc.) established in England & France Context: 1. Divine Rights of Kings/ Absolutism: “I am the state” Louis XIV = reality and fiction combine to mythologize ruler and divine right to power 2. Art is the service of royal power—“le grand siècle”—art functions as: = propaganda = nostalgia for another time/place = myth and landscape make Arcadian dream 3. Royal Academies established for arts/sciences (England/France) Rationalism = official tastes through patronage of the king and aristocracy 4. Baroque Classicism in architecture = power and authority of king/state asserted through grandiose architectural projects Content­ Painting: New Subject Matter and new Patronage Religious genre Kings AP Art History Unit Sheet #19 Chapter 25: Northern Baroque Mythological genre Aristocracy Allegorical histories Church Academic classicalism Royal portraits & Portraiture Vocabulary: Rationalism Terms/Techniques: impasto Absolutism glazes Academies camera obscura Ideas/Concepts related to Northern Baroque Art: 1. Explain “Baroque Classicalism” as is relates to the work of Perrault and Le Vau and Poussin. 2. What is the significance of Versailles and why is it the quintessential Northern Baroque masterpiece? 3. What is the significance of the gardens by Le Notre at Versailles? Amsterdam and the Netherlands Context – History: 17th Century in Northern Europe 1566 Revolt of the Netherlands against Spanish rule began – split: Flanders remains Catholic/Holland is Protestant 1600 Politically & economically, Spain controlled all major Italian regions and the “low countries” of the Netherlands 1601 Holland & Flanders given independence from Spain. Thirty Years War ends – Netherlands independence 1648 Context 1. Amsterdam a center of trade and commerce – middle class prosperity, world view 2. Holland a Republic with an egalitarian society – the democratization of painting 3. Protestant church is not a patron of the arts – very little religious art commissioned 4. Freedom from Spanish occupation – new sense of nationalism and pride in land 5. Merchant/middle class prosperity – New Patrons of the arts/new subject matter Genre, Still life, Landscape, Portraiture, Self portraiture, Group portraiture 6. No sculpture – Why? 7. No innovations in architecture – why? Vocabulary: Rationalism Terms/Techniques: Mercantile trade painting: impasto, glazes, camera obscura “psychology of light” printmaking: etching/intaglio, editions – “slates” (relating to printmaking production) Vanitas Basic Ideas/Concepts related to Northern Baroque Art: 1. List reasons for Amsterdam’s unique position as a center of commerce and the arts in the 17th century. 2. What are the essential differences between Southern Baroque art and Northern Baroque painting? 3. List the general characteristics of Northern Baroque painting. 4. What is the significance and symbolism of Dutch landscape painting and Dutch still life to the culture? 5. Explain the different uses (depictions) of light by Rembranddt, Vemeer, de la Tour, and van Honthrost. Baroque Painting Comparisons .
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