Art History 1/10/2012 8:00:00 AM

Period/Location: 14th Century Italy  Orsanmichele, Florence, Italy o Granary, part of the economic and social needs of Florence at the time o Distribution of alms for poor people o Interior important because granary has religious significance o Tabernacle designed by Andrea Orcagna, began 1355, completed around 1359 o Marble, mosaics o Tesserae: pieces used to make up a mosaic o Daddi: painted Madonna and Child 1346-47; made of tempera paint, gold, painted on wood o Why put a huge, expensive object in middle of granary? . Commissioned by group of city fathers . Supposed to be a sacred site and the painting had very special powers . Each successive Madonna and Child passed along special powers o Supposed to be a miracle, helped the poor. o Orsanmichele became a civic spot for the guilds of Florence . Guild: people that ruled Florence . Had to work way through system . Spot for niches was very competitive . Hire best sculptor available o Madonna and Child: . Madonna on a throne . Everyone has halos . Child reaching up and touching face of mother . Surrounded by various angels 1/12/12 Painters belonged to Pharmacy Guild  Patron saint was Luke because was a physician  Painted first painting of Mary Angels in “Madonna and Child” all have blonde hair  No reason for this, maybe an ideal of beauty at the time  Look for attributes or qualities  Child is holding a bird in left hand, common o Often is a goldfinch o Eat thistles and thorns o When Christ was crucified, had a crown of thorns and goldfinch started to try and remove the thorns from crown o Associated with the passions of Christ, crucifixion o Foreknowledge Carlo Crivelli, “Madonna and Child (with goldfinch) (1480)  Also has goldfinch Symbols are iconography Chris Ofili, “The Holy Virgin Mary” (1996)  8 x 6 ft  Ofili is Nigerian origin, Catholic  Controversy over painting  Used elephant dung in parts of the painting  Oil paint, acrylic paint, polyester resin, elephant dung, paper collage, glitter, matte pen  Blended African culture with English upbringing and combine interpretations together  Uses traditional African symbols o Dung has important uses: plastering homes, walls, roofs, floors, fuel o Fertilizer o Elephants are considered the king and queen of the beast in Africa, queen mother called “Lady Elephant” o Sex organs highly respected for females divinities (Virgin Mary) Two competing cities: Florence and Siena  Compete for religious dominance, economic Cimabue (Cenni di Pepi), “Virgin and Child Enthroned”  Made for high altar of Church of Santa Trinita  1280  Now in the Uffizi  Very strong gold background o Symbolize the heavenly/holy/sacred o Helps illuminate the figures, brighten up, brings light into very dark space o Gold is valuable  Mary and Child are big, most important o Mary on throne o Blue robe with red undergarment  Pointing to Christ child, here is the sacrifice  Lots of folding draperies  Has gold striations, left over from Byzantine style  Composition is confusing, depth doesn‟t make sense  Very symmetrical Art was believed to change and influence lives  People thought of art in more active terms o Art was path to the sacred o Helped in times of trouble Giotto di Bondone, “Virgin and Child Enthroned”:  For high altar for Church of the Ognissanti  1305  Problems with anatomical detail  Has much more organic three dimensional effect to it than his teacher Cimabue  Depicted as strong, full bodied person  Giotto is observing nature  Mary does not have humbleness seen in Cimabue‟s work  Most of gold striations have been taken out Giotto di Bondone goes to Padua and works for Scrovegni family  Scrovegni chapel or Arena Chapel  Scrovegni family had chapel built to save their souls and clean up their reputation and demonstrate their wealth  Family loaned money  usury, loaned money at exorbitant rates and was not allowed  Giotto painted chapel from head to toe o Lots of scenes from the life of Christ o Panels put in, unusual for the time  “Lamentation” o Simplified lengthy story to where people could read it and see emotions conveyed o Created stage like setting and brings all figures in, strips down and a very bare background o Withered tree of knowledge o Figures have weight and solidity to them, beginning to understand anatomy o John the Evangelist o Giotto has placed the figures in very natural places . “tableau vivant” o Theatrical gestures o Angels add drama  “Kiss of Judas” o Drapery on Judas o Very individualized images o Positioning of figures Duccio di Buoninsegna “Virgin and Child Enthroned”  Siena, Italy  1285  Large painting  Also called Rucellai Madonna  More influenced by Byzantine style  Brings in rich ornamental style Duccio di Buoninsegna “Virgin and Child in Majesty”  Long fingers Cimabue vs. Duccio  Baby is more baby-like  More three dimensional 1/17/12 Carlo Crivelli, “Madonna and Child” (1480)  Fly on the ledge  Fruit at the top  Lots of symbolism  Fly and apples symbolize evil or sin (apple = temptation)  Cucumber has various interpretations to it; symbolized lust, had negative meaning behind it. o Can also take on sign of redemption, resurrection of new life. o Retains water, which sustains life o Also positive sign. Duccio is premiere artist in 14th century  Commissioned by city fathers of Sienna to paint huge altarpiece  16.5‟ x 16.5‟  In the duomo, placed right at the crossing  Painted back and front.  Maesta altarpiece o Mary seated on throne o Artists in Sienna are more in the Italo-Byzantine tradition, like Cimabue o Mary surrounded by saints.  Duccio‟s altarpiece much more rounded; Cimabue‟s more angular  Duccio‟s signature at base of altarpiece  Duccio‟s Madonna more slender Duccio, “Raising of Lazarus”  Uses more figures, figures are taller, more slender  Figures more expressive  Naturalism of Giotto Simone Martini “Annunciation”  14th century Italian  1330  Commissioned by city fathers of Sienna to compliment Maesta  10‟ x 9‟  On panel/wood, in tempera paint  Gold background  Mary in blue with gold trim, undergarment is red.  Another drapery on throne, compliment Duccio‟s.  Angel bowing to Mary, nobility o Angel elegantly dressed o Plaid cloak. o Olive wreath around head. o Olive branch in hand, sign of peace.  Vase in between holding lilies. o Refers to Mary‟s purity.  Words written, Hail Mary, full of grace.  Mary looks disturbed, uncomfortable. Campo in Siena with the Palazzo Pubblico, Siena, Italy Ambrogio Lorenzetti  Painted frescos in the Palazzo Pubblico  “The Effects of Good Government in the City and the Country” o in the Sala della Pace  “The Effects of Bad Government in the City and the Country” o Also in the Sala della Pace o Everything just falls apart o Has been damaged o Tyranny ruling, justice bound at their feet  All personifications. o Justice, wisdom, various virtues.  Strong contour lines After plague, people were confronted with so many people dying. Buon fresco:  Painted pigments on wet surface  “True” fresco  Pigments bind instantly with wet wall so it preserves them  Downside: have to paint really fast Fresco secco:  Paint directly on dry wall  Gives more time, more precision, more control  Paint tends to flake off Pilazzo della Signoria or Pilazzo Veccio  Tower is tallest in Florence  True civic center of Florence  Where ruling families met  Used for protection  About status of city, power, wealth in a structure like this  “Good government”  Piazza Signoria is the square  Arnolfo di cambio designed it  Good comparison with where the guilds met at Orsanmichele Duomo  Spiritual center of the city  About status, wealth  Takes generations to build cathedral  Architects were di Cambia did the design of the cathedral; then Francesco Talenti picks it up.  Campanile: free standing bell tower that‟s part of the church complex but stands on its own. Architect of this was Giotto. St. John Baptistery  St. John is patron saint of Florence  Baptised in baptistery  When baptized, became a citizen of Florence  South doors: o Life of St. John the Baptist o Created by sculptor Andrea Pisano o Commissioned around 1336 o 28 separate panels o Each of the panels have a frame around them (quatrefoil) . Continuation of gothic style . Guilded o “The Baptism of the Multitude” . Created a scene Vesperbild (Roettgen, Pieta)  14th Century Northern Europe  Also called Pieta  Andachtsbilder: contemplation image  Wooden, painted  Nobility would have had them in their home  Son is an adult and he is dead  Heads are oversized  More graphic depiction

15th Century Art in Northern Europe or Renaissance Age of humanism Still a nobility but also a powerful merchant class 1420 Rebirth in the north is different from Italy Looking at nature itself in the North for inspiration Don‟t have classical sculptures  Painting exactly what they saw in the North exactly as it appeared in a very realistic style  Microscopic detail Style of painting/technique in oil  Gives them advantage of precise detail because oil paint takes much longer to dry  Able to blend colors  Luminosity  Subtle differences of light and shade that heightens illusion of real world  Atmospheric perspective Liked to use high horizon lines Detailed landscape and architecture structures Tilt perspective City centers for northern renaissance painting:  Bruges  Brussels  Ghent  Luvin  Turnai  Haarlem

1/19/12 Elongated taller figures sign of nobility Landscape and cityscapes are miniaturized Architecture opened up, cut open in the front to see inside and floor will be tilted up to see inside the house.  Horizon line  Figures will get smaller the further you go out in the distance. Philip the Bold, Duke of Burgundy  Lavish Patron of the arts  Capital city is Dijon  Gave money for the Carthusian monastery in Champmol  Lots of money needed to be placed in the Chartreuse because brothers spent time praying and meditating there which meant they weren‟t working; had to be supported. Melchior Broederlam, “Champmol Altarpiece”  Commissioned by Philip the Bold to create the outside wings  Altarpieces only opened up on special days  Annunciation and visitation o Go together often, combo deal.  Larger figures that fit into the landscape  Represents old law/old testament  Floor is tilted, doesn‟t recede naturally into space  Enclosed garden is symbol of Mary‟s purity.  Hidden symbols are typical of Renaissance.  Presentation: o At the temple o Simeon performs purification rite o On the way to avoid King Herod killing Christ Child. o Heading towards new law, new testament. Philip the Bold brings in artist Claus Sluter  Group of lifesize figures surrounding a well  “Well of Moses”, limestone  Consists of old testament prophets o Moses, David, Isaiah, Daniel, Zachariah, Jeremiah  Breaks away from realism  Many hold attributes, helps us identify who the particular saint or prophet is. o Moses holding ten commandments . Has lumps coming out of head . Was misinterpreted from beams of light to horns of light. . Horns have wrinkles on them . Robe on Moses would have been yellow o David with crown . Blues and yellows coming across his garments . Looks noble . Scrolls . Contraposto  Body shift o Jeremiah with gold rimmed spectacles o Zachariah . Break from international gothic style John Duke of Berry  “Very Sumptuous Hours”  Religious texts for everyday of the year for what you should be doing each day of the year.  Commissioned best known manuscript illuminator of the time to come and work for him in France from Holland, in Limbourg o Known as Limbourg brothers . Paul, Herman, Jean  For each month, had an illumination with seasonal tasks or seasonal activities  Integrates pagan motifs  Book of February o Peasant scene o Believed to be the first realistic winter scene in western art o Lots of detail o Cut away of houses to see in o Figures get smaller as you go back into distance. o Snow everywhere  Book of January o Still very cold o Looking at Duke of Berry himself o New years feast o Tapestry denotes duke of berry o Salt very important . Very expensive . People were paid in salt . Valuable commodity to have Flanders: Robert Campin “Merode Altarpiece”  Tribute to master of ?  In the Met  Center part is Annunciation  25” x 25”  Called triptych  Used in private, personal chapel  Inghelbrecht adds himself into it o Marries later on and then includes his wife and messenger  Annunciation panel: o Largest panel of triptych o Mary looks like she‟s ignoring the angel o Mary has a very nice red dress o First time angel has been higher than her o Mary is not on a throne, reading on the floor . Represents submissive Mary o International gothic style cutaway o Bench represents house of david, royalty. o Majolica . Florentine type of ceramics o Beam of light is Christ Child . How consummation took place o Fire represents God‟s divinity  Door panels: o Enclosed garden = mary‟s purity o Outside door is very prosperous city scape o Roses represent charity, violets represent humility, daisies represent innocence o See joseph on the right panel . Was a carpenter . Using all kinds of tools . Making mouse traps . Very unusual to see all these tools . Sword reference to Peter when slices off the ear . All instruments of passion, passion of Christ . Nails very precise

1/24/12 Jan van Eyck “Man in a Red Turban”, 1433  Eyck is Flemish artist  Brother named Hubert  Credited by Giorgio Vasari o Talked about lives of the artists  Van Eyck challenges nature itself because it was such an accurate representation  First time person in portrait is looking out at looker  Van Eyck was another artist for Phillip the Good Duke of Burgundy o Phillip the Good was lavish patron of the arts  Hangs in the National Gallery in London  13” x 10”  Still have original frame that went with painting  Occasionally signed his paintings  Motto at top of frame o Uses this motto again and again in other works o In Greek letters o Anagram of name  Reflects humanist spirit of the time o Being proud of what he has achieved  Dark background, nothing to distract  Figure emerges out of the dark  Very three dimensional  Dark outer garment  Is he looking at a mirror?  Can see the stubble  Blood shot eyes, wrinkly skin Jan Van Eyck, “Double Portrait of Giovanni Arnolfini and His Wife”  We know Arnolfini is from city of Luca  In clothing business, establishes his business in Bruges  Sells clothing to court, knows Philip the Good, Duke of Burgundy  Woman‟s name is Giovanna Cenami  Elegant clothing can show what business Arnofilni is in. o Sleeveless outer garment, stylist hat because of time period o Little dog called an affenpinscher o Means loyalty, fidelity  Red clogs, leather  Well to do household, “yuppi couple”  Is woman pregnant? o A lot of people think so, her posture shows it o More of fashion of time period  Convex mirror very expensive to have in home (in background of painting) o Detail o Medallions going around mirror . References to the passions of Christ . Piety of the couple  Prayer beads o Referring to purity of female in the picture  Saint Margaret on the high back chair o Patron saint of child bearing women  Signature unusual o Signed “Jan van Eyck was here”  Giovanni and Giovanna weren‟t married until 144? o Perspective portrait of the marriage so Giovanni could ensure a dowry from his future bride‟s family o Could be a different Giovanni Arnolfini o Was Giovanni‟s second marriage o First marriage was to a woman named Constanza Trenta, who died in 1433 o Is it a memorial to deceased first wife?  Elegant chandelier o Three dimensional, realism o Only one candle burning o Symbolism: supposed to be the all seeing eye of God . Why is God present in the scene?  Clogs in background with brass studs in them o Both shoes are off o Taking shoes off is symbol of standing on holy ground, idea that God is present  Giovanni‟s face o Eyes don‟t seem very focused  Holding hands o Detail of cuffs o She is not from same social class as he is  Oranges ripening in the window sill o Symbol of fertility o Expensive food products to get at the time o Symbol of their wealth Jan and Hubert Van Eyck, “Ghent Altarpiece”  Cathedral of St. Bavo, Ghent, Belgium  Polyptych  Wealthy couple paid for huge altarpiece  Sculptures in painting are very three dimensional  St. John the Baptist is patron saint of Ghent  St. John the Evangelist is patron saint of the church that the altarpiece is in.  Grisaille: creates image of statues  Above the sculptures is an annunciation  Windows are opened up, taking out to city of Ghent  Prophets on either side, Zacariah and Micah o In center are two sibyls (foretold coming of Christ)  Photographic realism  Opened altarpiece: o Microscopic detail o At the top is God the Father, has on triple crown representing the trinity o Mary on one side, John the Baptist on the other side o Incredibly articulated organic figures o At the top corners, Cain and Abel o About forgiveness, redemption o Scene is based on scripture (Revelation 22) o Bottom panels: four corners of the earth coming to Jerusalem o Good example of grisaille in one of the top panels o Landscape in background, churches in background o Naturalism o Tiny images of city scapes o Greyish blue background, atmospheric perspective Rogier van der Weyden, “Deposition”  Least well known of Flemish artists  Van der Weyden had very popular workshop  Was commissioned by crossbowmen‟s guild  Very popular subject (deposition)

1/26/12 Rogier van der Weyden, “Deposition” (cont.)  Unusual to have image this size on the altar  Figures are almost life size o In contemporary dress of the time

1/10/2012 8:00:00 AM

1/24/12 Jan van Eyck “Man in a Red Turban”, 1433  Eyck is Flemish artist  Brother named Hubert  Credited by Giorgio Vasari o Talked about lives of the artists  Van Eyck challenges nature itself because it was such an accurate representation  First time person in portrait is looking out at looker  Van Eyck was another artist for Phillip the Good Duke of Burgundy o Phillip the Good was lavish patron of the arts  Hangs in the National Gallery in London  13” x 10”  Still have original frame that went with painting  Occasionally signed his paintings  Motto at top of frame o Uses this motto again and again in other works o In Greek letters o Anagram of name  Reflects humanist spirit of the time  Being proud of what he has achieved  Dark background, nothing to distract  Figure emerges out of the dark  Very three dimensional  Dark outer garment  Is he looking at a mirror?  Can see the stubble  Blood shot eyes, wrinkly skin Jan Van Eyck, “Double Portrait of Giovanni Arnolfini and His Wife”  We know Arnolfini is from city of Luca  In clothing business, establishes his business in Bruges  Sells clothing to court, knows Philip the Good, Duke of Burgundy  Woman‟s name is Giovanna Cenami  Elegant clothing can show what business Arnofilni is in. o Sleeveless outer garment, stylist hat because of time period o Little dog called an affenpinscher o Means loyalty, fidelity  Red clogs, leather  Well to do household, “yuppi couple”  Is woman pregnant? o A lot of people think so, her posture shows it  More of fashion of time period  Convex mirror very expensive to have in home (in background of painting)  Detail  Medallions going around mirror o References to the passions of Christ o Piety of the couple o Prayer beads . Referring to purity of female in the picture  Saint Margaret on the high back chair o Patron saint of child bearing women  Signature unusual o Signed “Jan van Eyck was here”  Giovanni and Giovanna weren‟t married until 144?  Perspective portrait of the marriage so Giovanni could ensure a dowry from his future bride‟s family  Could be a different Giovanni Arnolfini  Was Giovanni‟s second marriage o First marriage was to a woman named Constanza Trenta, who died in 1433  Is it a memorial to deceased first wife?  Elegant chandelier o Three dimensional, realism o Only one candle burning o Symbolism: supposed to be the all seeing eye of God  Why is God present in the scene?  Clogs in background with brass studs in them  Both shoes are off o Taking shoes off is symbol of standing on holy ground, idea that God is present  Giovanni‟s face o Eyes don‟t seem very focused  Holding hands o Detail of cuffs o She is not from same social class as he is  Oranges ripening in the window sill o Symbol of fertility o Expensive food products to get at the time o Symbol of their wealth Jan and Hubert Van Eyck, “Ghent Altarpiece”  Cathedral of St. Bavo, Ghent, Belgium  Polyptych  Wealthy couple paid for huge altarpiece  Sculptures in painting are very three dimensional  St. John the Baptist is patron saint of Ghent  St. John the Evangelist is patron saint of the church that the altarpiece is in.  Grisaille: creates image of statues  Above the sculptures is an annunciation  Windows are opened up, taking out to city of Ghent  Prophets on either side, Zacariah and Micah  In center are two sibyls (foretold coming of Christ)  Photographic realism  Opened altarpiece: o Microscopic detail o At the top is God the Father, has on triple crown representing the trinity o Mary on one side, John the Baptist on the other side o Incredibly articulated organic figures o At the top corners, Cain and Abel . About forgiveness, redemption o Scene is based on scripture (Revelation 22) o Bottom panels: four corners of the earth coming to Jerusalem o Good example of grisaille in one of the top panels  Landscape in background, churches in background o Naturalism o Tiny images of city scapes o Greyish blue background, atmospheric perspective Rogier van der Weyden, “Deposition”  Least well known of Flemish artists  Van der Weyden had very popular workshop  Was commissioned by crossbowmen‟s guild  Very popular subject (deposition)

1/26/12 Rogier van der Weyden, “Deposition” (cont.)  Unusual to have image this size on the altar  Figures are almost life size o In contemporary dress of the time  White is strategically placed, also done with red  Positioning of figures  Finger nails carefully done  John the Evangelist has tears coming out, eyes a little unfocused  Tears are translucent o Can only be done with oil paint

Renaissance Sculpture in the First Half of 15th Century Italy  Early Italian Renaissance Dome of Florence Cathedral (Duomo), Florence, Italy  Dome has so much meaning: piety, ambitious, status, wealth  Has been worked on for many years  Filippo Brunelleschi o Wins a competition to create the dome o Engineering feat and architectural o Dome itself is a double shelled structure . Eight ribs on outside that come up and meet on top . Cupola on top . Inner shell  Signoria wants to create another set of bronze doors o Competition between Ghiberti and Brunelleschi o Relief panels were originally sculpted for East Doors and then moved to northern doors. o Scene is “The Sacrifice of Isaac” . Ghiberti:  Crumpled cloth  Angel comes in at last minute to stop it  Ram comes out of bushes at the mountain  Classicism  Very graceful the way he poses his figures  Realistic figure of the body . Brunelleschi:  More focused on Isaac, dead center  Abraham has hand on son‟s neck  More angular  Emphasis on the horizontal o Ghiberti wins competition . Going back to the past . Choreographed feeling . Ghiberti‟s was cast in one piece, Brunelleschi‟s was cast in three different parts. . Lighter in weight, less e . expensive to make. o Takes Ghiberti 21 years to create the doors o Signoria gives Ghiberti another set of doors for San Giovanni Baptistery . Takes him 27 years. “The Four Crowned Martyrs”, Orsanmichele, Florence, Italy, by Nanni di Banco  di banco is a member of stone/wood cutter‟s guild  Enveloped in space, organic, three dimensional  Di Banco puts them in a semi circle  Feet are projected over the ledge, garments also over the ledge.  Looks as if they stepped out of antique world  Interacting with each other  Contrapposto: one leg is straight, the other is bent. o All the muscles shift naturally Donatello (donato di Niccolo di Betto Bardi)  Trained with Ghiberti  Lesser guilds gets him to work for them  Could work with any medium “St. George” (Donatello)  Perfect for armorers and sword makers guild.  6‟10  Contrapposto  St. George slayed the dragon  Looks like an ordinary person taking on a responsibility  Little bit of fear/apprehension in his face  Knotting of cloak over the armor.  Low relief o Schiacciato: flatten out surface “St. Mark” (Donatello)  Style was very influential on Michelangelo  Standing on a cushion/pillow  Has deep niche  Piercing eyes Zuccone (Donatello)  Sculpted for figure on campanile  Not as much detail  Simplified  Intention is to communicate message from God  At campanile David (Donatello)  Ended up with Medici‟s  Removed from niche  First life size nude since antiquity  Clothing is typical Tuscan shepherd‟s hat  Looks very feminine  Feminine hairstyle typical of men of the time period.  Looks pretty calm for just killing Goliath  Pose also feminizes figure (contrapposto) o Hand on hip (for us is feminizing gesture)  Laurel leaves are sign of victory o Also Medici‟s symbol  Wings coming off helmet of Goliath  Very provocative  People think it is homoerotic.  Goes back to antique world

1/31/12 David:  Florentine saw themselves as “David” against other “Goliaths” Donatello goes to city of Padua, near Venice  Venice was another powerful republic Donatello commissioned to create an equestrian monument of Erasmo da Narni (Gattamelata)  Still standing in same place  In Piazza del Santo in Padua  Condottieri wanted to commemorate the statue after his death  Gattamelata is nickname o Means honey eyed cat o Comes from his mother‟s name Melania Gatteli  Haven‟t had equestrian statue since Roman empire  First time a sculpture has been removed from religious context o Ties into new idea of humanism.  Fairly static, turning of the horse  Idea of man on the horse shows he‟s in charge and capable of handling this beast.  Looks powerful until you get up close o Doesn‟t look like a proud powerful warrior. “Mary Magdalene” (Donatello)  Long hair  Sculpture in the round.  Poplar wood  Originally stood in the San Giovanni Baptistery in Florence  Comes from medieval narrative of Mary Magdalene  Goes into desert and repents for her sins  Piety  Covered in her hair  Tan “Gates of Paradise” (East Doors) Ghiberti  10 squares  Trying to create a panel painting  Trying to create a natural more realistic setting  Isaac and his sons o Women are figures in the round o Figures will become less and less relieved o Laid out squares and blocks in the court yard  Ghiberti includes himself on the doors 2nd Half of 15th Century Italy Andrea del Verrocchio  Becomes official sculptor of the Medici family  Designs tournament trophies, parade gear, anything that needed to be done  Also a painter, scientifically minded artist “David” Verrocchio  Following in the footsteps of Donatello  49 inches high  Commissioned by the Medici family  Guilded  Little more movement than Donatello‟s  Donatello vs. Verrocchio: o Same context o Clothing is big difference (Verrocchio is clothed, Donatello is not) o Donatello‟s face is downcast, Verrocchio is looking forward o Long hair vs. short hair o Verrocchio more masculine “Equestrian Monument of Bartolommeo Colleoni” Verrocchio  Venice, Italy  13 feet  Commissioned by Colleoni  Left money to city of Venice if they would put bronze statue in the piazza  Put in front of scula san marco  Verrocchio vs. Donatello o Colleoni in full battle gear o More energy in Verrocchio Bust of Lorenzo de‟ Medici (Verrocchio)  Painted terra cotta.  Realistic, veristic style  Stern face, captured in thought  Nose is crooked  Captures strong personality Putto with a Dolphin (Verrocchio)  Would have been a garden ornament.  Baked clay, not bronze  Movement and balance Antonio del Pollaiuolo  Goldsmith “Hercules and Antaeus”  Captures the antique style “Battle of the Nudes”  Used to show his mastery of understanding of classical sculpture.  More or less an advertisement. Renaissance Painting in the First Half of 15th century Italy Masaccio  Masaccio means sloppy  Didn‟t care about his appearance  Masaccio made figures stand upon their feet  Achievements: o Monumental forms . Occupying irrationally defined space . Also a unified space . Understands classical culture o Aware of new architectural styles . Showing contemporary world “The Holy Trinity with the Virgin, St. John the Evangelist and Two Donors” (Masaccio)  Fresco is still where it was in Florence in Santa Maria Novella  Large, 21 feet by 10.5 ft  Lenzi family are the two donors  Created a niche  God the father present above Jesus, Dove is the holy ghost and Jesus the son.  Flat pieces called b o Very floral, lots of leaves o Corinthian order o Ionic order further back  Coffer ceiling  Vanishing point “The Tribute Money” Masaccio  Santa Maria de Carmine  Brancacci Chapel  Believed that Masaccio did not work alone on it  Was never finished by the two individuals  Most of it was planned and designed by Masaccio  “The Tribute Money” 8 ft by o Tax collector o Propriety of Christian paying taxes o Parallels contemporary event . Taxes were being levied at the time. 2/2/12 “The Tribute Money” (cont.)  At the time period, was cutting edge art  People would have been stunned o Grouping of figures would have seemed so alive o Comparable with seeing a virtual reality computer.  Continuous narrative  Linear perspective  Landscape: o Mountains help pull us down and focus on Christ at the center part  Real space: solid, weighty figures in space o Lightsource coming in on the right  Figures look like real people on solid ground  Foreshortened the halos of the figures o Confers the spirituality o Tax collector doesn‟t have a halo “The Expulsion of Adam and Eve from Paradise” Masaccio  Brancacci Chapel  People became more conservative with their ideas of anatomy  Anatomy still isn‟t exactly right  Figures are modeled on light and shade “Adam and Eve” Masolino  more casual  Serpent has woman‟s head  Little interaction between Adam and Eve  Look contemporary with haircuts  Lots of co-existing styles of the time period. Monastery of San Marco, Florence  Medicis were big patrons  Echoing antique Roman past  Ionic style Fra Angelico “brother angel”  Started out as artist then decided to become a Dominican monk  Spiritual person, contemplative  Excellent artist  Called to Rome by Pope to do work there  Turned down  All he wanted to do was paint  Spent rest of life in San Marco monastery “Anunciation” (Fra Angelico)  North corridor  7 ft x 10.5 ft  Lifesize figures at top of stairs  Looks like he‟s extended the monastery  Not painting in new fangled style o Much more traditional o Spiritual, meditative  Lines pull you back to doorway  Not perfect perspective o Door is a little small  Mary looks more accepting  Figures making eye contact o Faces look similar o Simplicity  Very spare setting o Cloister o Can meditate on their own imagery  Rounded halos  Enclosed space refers to virginity Paolo Uccello “Battle of San Romano”  6 ft x 10 ft.  Consolidating power over Florence  Man on white horse is focal point.  Condottieri: Nicolo Tolentino  Doesn‟t resemble a battle  Broken lances have been strategically placed o Like a grid  Horses are very stylized. o Looks like marble o Strongly outlined o Very lifeless Andrea del Castagno “The Last Supper”  Monastery of Saint Apollonia, Florence  Want a Last Supper placed in a specific place. o Placed in “refectory” of monks and nuns  Over the years, had been white washed and totally disappeared.  16 ft x 32 ft.  Takes artistic license o Looks like its taking place in a ground floor  Cutaway scene  Linear perspective  Pilasters.  Classical vocabulary being used.  Integrated the figures into architectural space comfortably.  Disciples very distinct, expressing different emotions.  Fresco for monastery “David” Andrea del Castagno  Shield.  Leather that has been mounted on wood.  David talks about God as his shield o Another reference  In action combined with the after math  Extreme contrapposto. Second half of 15th Century Italy Cassone (Marriage chest)  Part of the marriage dowry  Very valuable to commission something like this for a marriage Federico da Montefeltro  Studiolo  Urbino, Italy  All looks 3D  Woodwork is all flat  Possibly by Giuliano da Maiano  Intarsia: wood inline work “Battista Sforza and Federico da Montefeltro” Piero della Francesca  Pendant portraits  Marriages were arranged, linking power  Marriage between Federico and Battista was unusual marriage because they were happy with each other  Very strong profile portraits  Goes back to classical, medallions, coins from antiquity the way they have been cut  Profiles dominant the panel  Strong contour lines  Hairline on battista isn‟t quite right o No eyebrows o Typical of women to pluck the hair out of the forehead. “Triumph of Federico and Battista” Piero della Francesca  Back side of pendant portraits  Unicorns pulling chariots o Implies chastity and purity.

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2/7/12 Renaissance Painting in the Second Half of 15th Century Italy Piero della Francesca “Baptism of Christ”  One of earliest commissions  One part of polyptych  Balance; asymmetrical  Christ echoes the tree next to him  Slight contrapposto  Christ depicted as simple individual  Angels linked together, joined hands o In Florence, were trying to bring together eastern and western churches Andrea Mantegna “Camera Picta”  Ducal Palace  Belonged to Marquis of Mantua: Ludovico Gonzaga o Also condottieri  Everything is painted o Allusionism  “di sotto in su”: from below upwards  Scenes from the life of the Gonzaga family  Commemorating young son who became a cardinal  Oculus: circular window  Around oculus, cast of characters Perugino “The Delivery of the Keys to Saint Peter”  Sistine chapel  Established Rome as the true heart  Fresco  1481  Pope Sistus asked Perugino to paint this fresco because  Ideal space.  Uses paving stones in the piazza as orthogonals to move viewer back into space  Figures standing in contrapposto  Casting of shadows  Effeminate John the Evangelist  Figures are larger  Atmospheric perspective  Allusion to antiquity  Perugino separated out the disciples from some of the town folks  Some figures have very delicate foreshortened halos Domenico di Tommaso Bigordi “Ghirlandaio”  Garland maker  “An Old Man and a Young Boy”  Juxtapose of age  Humanism coming through of the time  Older man is disfigured  Serpentine roadway that leads out into space. Botticelli “Primavera”  Allegory of spring  Figures look more like a fresco  Botticelli painted lots of works for Medici family  Lots of mythology integrated in his works.  Was commissioned for a Medici wedding  Venus in center of painting o Goddess of love  Spirituality of earthliness, real life on Earth  Venus seen as reflection of Virgin Mary  On Venus‟ head is a wreath  Orange trees in background o Oranges were symbol of medicis o Fertility  Pale blue o Minor god: Zephyr  Botticelli trying to create idea of woman fertility, spiritual love to sustain the family. Botticelli “Birth of Venus”  Medici family  Very strong S curve  Figures on separate ground levels  Goes to back to vase paintings.

2/9/12 Botticelli “Primavera”  138 flowers have been identified Girolamo Savonarola  Dominican priest who wanted to do away with secular work  Wanted art and culture to be focused on spiritualism and religion  Gets people so excited that books are burned, art is burned, anything related to antiquity is destroyed  Antagonism against Medicis, Medicis have to leave Florence.  Many artists are going to follow their patrons.  Florence will never go back to its high culture prominence.  Botticelli becomes so distraught that he stops painting all together.  1498, burned at the stake by Florentines. Venice starts taking over in many ways  Oil painting is one of the technical advances o Versatility. o Oil painting on panels will increase longevity. Gentile Bellini “Procession of the Relic of the True Cross Before the Church of Saint Mark”  Oil on canvas  12 ft x 24.5 ft  Presents an amazing urban space.  Piazza san marco.  Tells something about religious and civic life of the community.  Political figure to the far right participating in the procession. “Virgin and Child Enthroned with S.S Francis, John the Baptist, Job, Dominic, Seastian and Louis of Toulouse” by Giovanni Bellini  Originally for Hospital of San Giobhe, Venice, Italy  Oil on wooden panel  15 ft 4 in x 18 ft 4 in  “sacra conversazione” sacred conversation o Meditative communion taking place.  John the Baptist is holding a very small wooden cross  Completely flat

16th Century Art in Italy: The High Renaissance 1495-1520 Harmony and balance is emphasized that hasn‟t been achieved before. Monumentality based on classical ideals. Have created a dynamic and synthetic hole/whole? Big Three:  Leonardo da Vinci  Michelangelo  Raphael Artists have become celebrities  Divine genius that guides their creativity. Art coming out of this period is calm and balanced. Instability throughout Italy  Turks coming in threatening to expand  French coming in and taking over parts of Italy  Savanorola  Medici will return and be kicked out again.  Church is now being challenged by Protestants because church had been levying high taxes on people.  People are realizing the world is not flat. (misconception) Leonardo da Vinci  Embodies concept of Renaissance man  Radiated wisdom  Was intellectual  Ends up in Florence in Verrocchio‟s workshop  Leonardo rejects humanist tradition being practiced at the time.  Wanted to do first hand observation, constantly experiment o Leads him to the Sforza family in Milan  Played the lute Design for a tank Drawings of water-lifting devices Studies of water Studies of embryos Studies of human skull Vitruvian Man  13 x 9 inches  Venice  Vetruvius from Ancient Rome  Mathematical proportions to create ideal man “Madonna and Child and Saint Anne with the Christ Child and the Young John the Baptist”  Cartoon  Chiaroscuro: light-dark “Virgin of the Rocks”  Oil painting on wood  6 ft 3 in x 4 ft  In the Louvre  Monumental figures  Chiaroscuro  Sfumato: no harsh outlines.  Worked for the confraternity of the immaculate conception  For church of san Francesco grande in Milan.  Balance and harmony  Mysterious setting  Has arranged the figures in a pyramid formation. Mona Lisa”  Chiaroscuro  Sfumato (smokiness)  Early 16th century  Oil on panel o Gives artist versatility  30 x 21 inches  Icon of France  Contraction for “Madonna”  Was wife of Florentine merchant  Lisa di Antonio Maria Gherardini  Calm and detached  No eyebrows, hair on forehead.  Hair is down, which was unusual for the time.  Leonardo has elongated the body

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2/28/12 Marcel Duchamp “L.H.O.O.Q”  King of “Dada movement” o Non sensical art movement o Turns all traditions upside down  Little postcard  Added a moustache and goatee.  Ready made from 1919 Yasumasa Morimura  Post modernist, photographer, assemblage art, multicultural  “Mona Lisa in its Origin”  “Mona Lisa in Pregnancy”  “Mona Lisa in the Third Place”  Could be called neo-Dada  Turning traditions upside down  Cross-dressing Leonardo, “The Last Supper”  Goes into refectory  In Milan, Santa Maria delle Grazie  Ludovico Sforza o Sforza family was big patron family in Milan o Commissioned this.  1495-1498  Mixes oil and tempera paint together, painted on plaster o Very moist and humid in Milan o Not very long after he finishes, painting starts to flake and crack on the wall.  Captures range of human feeling o Psychological portraits; depth; people responding to works  Jesus is dead center o Very peaceful o Calmness that pervades over all the disciples  Right over Christ‟s head is a kind of halo without actually painting one.  Judas is the one pulling back o Cast in shadow o Clutching his bag of silver o Has pointed nose, bigger ears, disfigured face that sets him apart. High Renaissance about real figures, real space  Creating balance and harmony  Poetic quality to much of work being created by Leonardo, Raphael and Michelangelo. Raphael  Beloved by everyone  Apprentice to Perrogino.  At age 17, becomes an independent master  Pope calls him to Rome to work on Vatican (26 years old)  Died young.  People grieved over his death. “The Small Cowper Madonna” Raphael  Influences of Leonardo  Figure more full  Expression of the virgin o Lost in her own thought o Calm, disconnected “Agnelo Doni” and “Maddalena Strozzi” Raphael  Marriage between the two  Figures very much like Leonardo o Half length figures  Very traditional “Marriage of the Virgin”  Figures more full, more graceful.  More naturally grouped.  Perugino was big into linear perspective. Pope Julius II asks Raphael to paint Stanza della Segnatura (Room of the Signature) in Vatican, Rome.  About Pope Julius II‟s cultured knowledge  Combine cultured knowledge with his ordained religious authority  Summing up western learning  “School of Athens” o Grouping of philosophers from all periods of time o Ideal world that has been created o Plato‟s face based on Leonardo‟s face. o Poetics in the niche o Apollo

3/1/12 “School of Athens” Raphael  Harmony and balance  Monumentality based on classical ideals  Creation of dynamic and synthetic whole  Richness and color  Cohesive design Michelangelo  High Italian Renaissance  Painter, sculptor, architect, poet.  At odds with himself  Comes from impoverished noble family.  Exposed early on to the arts.  Obsessed with drawing, carving o Family beat him to discourage him from getting involved with the arts.  At 15, goes to live in Florentine court of Medici family.  Wants to transcend physical desire, physical body o Trapped in an imperfect world of material o Want to transcend to spiritual/ethereal ideal “Pieta” Michelangelo  Life size  Typically associated with the North  In Italy, more of lamentation: group of figures, Mary and followers gathered around Christ  Michelangelo borrows this from the North and introduces it to the South.  Supposed to be seen at eye level so you could look at face of Christ.  Proportions are slightly off, but unnoticeable. “David” Michelangelo  17 ft tall  First colossal nude since antiquity  In Academia  More masculine, older  More defined features.  Waiting for Goliath (context of the narrative)  Chiseled  Standing in contrapposto  Irises are deeply carved.  Strong turned head.  More energy “Tomb of Pope Julius II” Michelangelo  St. Peter‟s Basilica  Two story, free standing sculptor  Moses  Julius II was known as “Papa Terrabilita” “Dying Slave”  Contropposto  Slipping away from material world  Unfinished Sistine Chapel (Michelangelo)  All fresco  Theme is creation, fall, and redemption of man “Creation of Adam” Sistine Chapel Ceiling

3/13/12 “Creation of Adam”  Focuses on male beauty Michelangelo has problem with painting female form Ignudi: youthful male nudes “Creation of the Sun, Moon, and Plants” Sistine Chapel  Fresco  Pink garments  Powerful, strong figure surrounded by putti  Bare feet sticking out in space. o Seen as uncultured o Considered offensive “Separation of Light from Dark” Sistine Chapel  God fills up entire panel  Whirlwind effect “Separation of the Earth from the Waters” Sistine Chapel  Looking down  Putti trying to hold God Ignudi  Michelangelo took pleasure in drawing this  Masculine beauty  Emphasis on turning  Powerful bodies Old testament prophets who foretold the coming of Christ (Sistine Chapel)  Joel  Jeremiah Sibyls:  Pre-Christian figures who foretold coming of Christ  Prophets  Ceiling was cleaned  Counterpart to the male prophets  “Delphic Sibyl” o Holding scroll o Turning as if she was interrupted o Right arm looks strong/muscular.  “Libyan Sibyl” o Powerful woman o On tiptoe; balance o Holding huge book o Masculine woman  “Cumaean Sibyl” o Oppressive with her bulk/weight o Strong contour lines o Vivid colors o Smaller head “The Last Judgment” Sistine Chapel  Behind the altar  Painted it 25 years after he finished the ceiling  48 feet high  Horrific last judgment  Mary is turning away o Usually intercessor  Lots of action  Horrible side of humanity  Did not set well with much of clergy/people at the time  St. Bartholomew o Skinned alive o Martyrdom o Supposedly a self portrait  Smaller heads  Lots of butts o Would have been offensive at the time  Over time, the colors get dark and muddy

Venice in the Sixteenth Century (Venetian Renaissance) More secular In 16th century, Venice saw themselves as superior to rest of Italy  Powerful commercial sea power  Taken on Muslim Turks and won  Able to control eastern Mediterranean  People becoming wealthy through their trade Giorgione  Reintroduces sensual nude female form  Goes back to ancient world  Female form is ideal form of beauty  Female form is equated with nature “Sleeping Venus” Giorgione  OK to paint a nude woman if she‟s a religious figure or mythological figure  In mythological guise  Can‟t see us looking  Curves, echos of nature of hills “The Tempest” Giogione  Idea of creating poems in paint  Poesie o Painted poems o Lyrical image taking place  Storm breaking out in backdrop Titian  One of Giorgione‟s pupils  Absorbed G‟s styles  Known for rich colors o Creation of ideal female body seen in his works “Pastoral Concert” Titian  Also about poesie o Just like Giorgione, figures are set in a landscape but don‟t know what is really going on.  Two nude figures, two fully dressed men, figures in back, pouring water in the fountain, well dressed noble playing a lute  Women are muses inspiring them to play music, write poetry, elevate them to a higher level  Ideal form of women is heavier than in our time period.  Flesh of women is warmer, looks like real human flesh. “Man with Blue Sleeve” Titian  Turned away but looking at painter  Arrogance “Isabella D‟Este” Titian  Oil on canvas  Comes from noble family  Marries Francesco Gonzaga  Becomes marquesa of Mantua  Involved in politics  Collects manuscripts, books, art works, brings in best artists  Like Medici family in Mantua with work that she does.  Was in 60s when she asked Titian to paint her.  Idea of vanity (does a kind of facelift in painting)  Woman art patron in a very male dominated society o Was competitive with all the men in the particular time period. “Pesaro Madonna” Titian  1519-1526  Oil on canvas  16ft by 9ft.  Pesaro family connected with church  Bending forward  Naturalism  Realism of biblical figures  Huge columns in background o Have been cut off  Asymmetrical painting “Venus of Urbino” Titian  1538  Oil on canvas  4ft by 5.5 ft  Comparison with Giorgione‟s “Sleeping Venus”  Can‟t figure out who the woman is or why she was painted  Very bold for time period.  Pushed out in foreground.  Inside a home.  Creamy, warm flesh.  Okay to look at her because she is a Venus  People think this is Duke of Urbino‟s mistress “Bacchanal” Titian  Commissioned by Duke of Ferrara  Based on ancient Roman painting  Living on island called Island of Andros  Drunken fun Veronese  Always in trouble “The Feast in the House of Levi” Veronese  Hard to tell it‟s a last supper  Commissioned by Giovanni e Paolo, Venice  Monks were offended at first  Then changed name to Christ in House of Levi  Sumptuous setting o What people didn‟t like.

3/15/12 Tintoretto  Jacopo Robusti  Painted really fast, but huge canvases  Goal was to be able to color like Titian but draw like Michaelangelo “The Last Supper” Tintoretto  Church of San Giorgio Maggiore  Ghostly drama  Angle a lot different than normal last suppers o Table is right on the diagonal that is pushing viewer into back room  So many other figures other than disciples filling up space  Christ has largest glow o Other disciples also have smaller halos Mannerism  Late Renaissance  1530-1590  Aimed at a cultured elite class that will understand the work  Going to do so with contrived images o About elegance, beauty o Looking at court life Jacopo da Pontormo  Lived in world of perversion  Favored by Medici family  Ambiguity typical of manneristic work “The Entombment” Pontormo  Becomes very confusing with what viewer is seeing  Two hands that are beautifully executed but confusing as to who they belong to.  Ambiguous  Chiaroscuro Parmigianino “The Madonna with the Long Neck”  Regal Mary  Looks as if she‟s too regal  Very provocatively dressed.  Fingers have too may joints, very long o Don‟t have any bones o Working on elegance, not anatomical accuracy.  Ambiguity: don‟t have something that we can clearly see (don‟t know what Mary is seated on)  Very bare long  A lot of work in this period is very sensual and provocative  Very tiny St. Jerome in background (maybe)  Unfinished column in background Bronzino “Portrait of a Young Man”  Don‟t know who young man is. o Haven‟t been able to identify him.  Very polished “Allegory with Venus and Cupid”  Given to King Francis  Perfect for an erotic loving king  Ambiguity as to what is going on.  Masks in the corner

Italian Baroque Art A lot of Baroque art is about every day life. Word baroque is from Italian word “barrocco” Counter reformation  Catholic church striking back against protestant church  Bring people back into Catholic church What really comes through with Italian baroque art is to invoke an emotional response  Renaissance invoked an intellectual response Multimedia pieces Gianlorenzo Bernini  Architect, painter, playwright, composer, theater designer, could carve anything  Not so nice o Brutal with his lover Saint Peter‟s Basilica and Piazza  Designed it to be like the “motherly arms of the church”  Mixed two different styles  Curved walkways Baldacchino, Corssing, St. Peter‟s Basilica  About 100 ft high  Guilded bronze  Weighs 8 tons  Various angelic figures at the top  At top, orb with cross on it.  Twisting turning columns from old testament Chair of Peter  Important to papacy because Peter was first bishop  Embellished with gold and ornate work  Over the top  Ostentatious “David” Bernini  5ft 8in  For Borghese family  David getting ready to throw something  1/10/2012 8:00:00 AM

3/22/12 Italian Baroque Art “Apollo and Daphne” Bernini  For Borghese family  When Apollo touches her, she starts turning into a tree  What makes this baroque? o Drama, theatricality o Movement o Diagonals  Garment discreetly covers Apollo  All one piece of marble “Cornaro Chapel” Bernini  Church of Santa Maria della Vittoria, Rome  Whole piece is by Bernini  Main focus is on sculpture, “St. Teresa of Avila in Ecstacy”  Federigo Cornaro is patron  Multi media o Colored marbles o Guild bronze o Stucco o Tinted glass  St. Teresa was a real life person o Writes autobiography that has her visions of God  Textures o Rough cloud she‟s floating on  Diagonals  Drama, theatricality  Her garment looks much heavier than angel‟s garment Caravaggio  Likes to push boundaries  Egotistical “Still Life with Fruit” Caravaggio  Dying leaves  Some rotting fruit “The Musicians” Caravaggio  Lifesize figures that are more natural and realistic “Bacchus” Caravaggio  About as real and natural as you can get  Extreme chiaroscuro  Called tenebrism o Dramatic illumination  Face and hands are darker o Model was painted just as Caravaggio saw him o Rarely ever used drawings  More rotting fruit  About decadence  Consider what is going to happen to you o Pleasure is transitory here o What is he saying?  Ambiguity  Paints the dirt under the model‟s finger nails  Bacchus‟ face is reflected in the wine glass Contarelli Chapel, San Luigi dei Fancesi, Rome  Matteo Contarelli paid for this  All about Contarelli‟s patron saint, Saint… “The Calling of St. Matthew” Caravaggio  Filippo Neri  Looks like an everyday scene  Idea of tenebrism o Beam of light, spotlight effect  Various diagonals  Religious figures o Christ is the one pointing  little hint of thin, thin halo o Some people think the other man pointing is Matthew or the one counting his money o Ambiguity “The Entombment” Caravaggio  Tenebrism o Spot light effect  Originally for a chapel, now in the Vatican  10ft by 6.5 ft  Barefeet o Uncouth  Jesus looks like a homeless person  Quoting Michelangelo‟s “Pieta”  Body is different than the emaciated figures seen before “Death of the Virgin” Caravaggio  12ft by 8ft  In the Louvre  Tenebrism  Mary laid out on slab with barefeet “Conversion of St. Paul” Caravaggio  In Santa Maria del Popolo, Rome  Horse‟s butt is sticking out at us  More barefeet  Was considered offensive to some individuals  Pushing the envelope “David with the Head of Goliath” Caravaggio  David‟s face looks grossed out  Called it “My little Caravaggio” o Don‟t know who this is o Could be Caravaggio as a young man Artemisia Gentileschi  Some people think of her as one of first feminist painter  So few women artists  “caravaggisti” o Follower of Caravaggio  Father was working with a man named Agostino Tassi  Travels all over “Self Portrait as the Allegory of Painting” Gentileschi  or La Pittura  Spot light effect  Very elegantly dressed  At the end of linked chain is a mask o Symbolism of this is about history of art o Says she is part of art tradition “Judith Slaying Holofernes” Gentileschi  Shows heroic act of woman  Tenebrism, dark background, spotlight

3/27/12 Spanish Baroque art Spain is going through really bad time  Politically downhill  In this time of turmoil, golden age for artists o Not just painting and sculpting, but for writers as well Juan Sanchez Cotan “Still Life with Quince, Cabbage, Melon, and Cucumber”  Think of Caravaggio  Very geometric precision, simplified forms  Photo realism of the objects  About texture Jusepe de Ribera  Studied Caravaggio‟s work “The Club-Footed Boy” de Ribera  Poverty  Seems like a more positive image  Is it condescending to depict this?  Popular in this time period to collect images of the poor.  Other artists were very critical saying that people give thousands of dollars to art but don‟t give anything to what they are depicting.  Holding a note that says “Give me alms for the love of God” o Begging because he can‟t find work o Relying on people to support him  Ribera is looking for a reaction “Martyrdom of Saint Bartholomew” de Ribera  Dramatic, typical Baroque  About sacrifice  Bartholomew was skinned alive Diego Velazquez  Looks like he paints very tightly but it‟s actually very loose brush strokes of color “Water Carrier of Seville” Velazquez  About 20 years old when he painted this  Texture of water on the jug  Water cellar  Everyone had a way to distinguish their water  Use of light to create the forms “Las Meninas” Velazquez  1656  Velazquez is shown actually painting it  10.5ft by 9.5ft  Royal family portrait, but very informal royal family portrait  Could be about court life o Also about Velazquez himself o About the art of painting  Man adjusting drapery in background o Is Velazquez saying there isn‟t enough lighting or too much? “Juan de Pareja” Velazquez  Painting of a servant  Was a big hit  Capturing what‟s really there even though if it‟s not pretty or elevated people Francisco de Zurbaran “Saint Serapion”  Wishing him rest “Agnus Dei” Zurbaran  Photo realistic style “Still Life with Lemons, Oranges and a Rose” Zurbaran  Oranges are about virginity  Blossoms about being fertile  Arranged in three geometric groupings: trinity

Dutch Baroque Holland is independent, democratic, protestant country Religious art was not tolerated Democratizing of art in both ownership and subject matter Artists are left to mercy of market place Dutch middle class loved art  Hung art in homes and workshops Frans Hals  About fleeting expression  Capturing moment in time of personality of sitters  Portrait painter “Catharina Hooft and Her Nurse” Hals  Mischievous quality about little girl  Everyday life  Dutch liked paintings of themselves, their landscape, their home  Liked to show things they had accumulated “Claes Duyst van Voorhout” Hals  Slashing brush strokes “Gypsy Girl” Hals  Bar maid  Very revealing  Not very pretty or elegant Judith Leyster  Everyone thought someone else was painting her paintings  Was an outstanding artist of her day  Apprentice with Hals  Member of Painters Guild of St. Luke  Had own workshop  Very popular  Works got confused was because styles were so similar  Close relationship between her and Hals “Self Portrait” Leyster  Elegantly dressed  Very expensive furniture  Statement about her being successful

4/3/12 Jan Vermeer  From Delft, Holland  Often called Sphinx of Delft o Know very little about him  Tower keeper  Art dealer, but not very successful  Dies at 43 bankrupt  35-40 surviving paintings  Painted very slowly  Defines light in terms of forms  Works are small, very intimate o Usually are of women “Girl with a Pearl Earring” Vermeer “Woman Holding a Balance” Vermeer  Involved in an everyday task  Asymmetrical  Pregnant; wife?  Weighing pearls  Last judgment scene  Metaphor for weighing souls  Called a vanitas piece o Transience of life o Life is fleeting “Young Woman with a Water Jug” Vermeer  Modest space  Asymmetrical work  Defining of objects  Tapestry on the table o Very expensive at the time Rachel Ruysch  Known for flower pieces  Dutch tradition to paint flowers o Highly prized paintings in the period  Got higher prices for her pieces than Rembrandt  Ends up with 11 children “Flower Still Life” Ruysch  Vanitas piece  Flowers were a commodity at the time period  People invested in tulip bulbs

18th and early 19th century art in Europe and North America Versailles  Isolated area  French Baroque style  Very ornate  Hall of Mirrors o Over the top o Light coming in from windows o Opens it up, makes it bigger and grander Rococo (18th century) Age of Enlightenment If you were an educated man, you would know to do the moral/ethical right thing. Romanticism 1780-1850  More spontaneous  Emotions, imagination  Intuition Realism  Rebels against Romanticism  1848-1875  Revealing what life is like Hotel  Pastels  Scenes of frivolity  Salon Jean-Antoine Watteau  Rejects grand style of painting and prefers to depict scenes like picnics or costume parties o Reflects frivolous lifestyle of the aristocracy  Got to know guards at Luxembourg Palace  Studied Venetian painters “Pilgrimage to the Island of Cythera” Watteau  Lighter, more pastels  Brush strokes are very loose  Fete galante o Emulating escapism of aristocracy  Puttis flying everywhere Francois Boucher  Takes up next stage in Rococo period  Mythological love of nude women “Triumph of Venus” Boucher  Putti all around  Lighter in style “Madame du Pompadour” Boucher  One of his big patrons  Lover of Louis XV  Helps dictate Rococo style  Promotes Boucher  Very intelligent, educated “Girl Reclining: Louise O‟Murphy” Boucher  Back view Jean-Honore Fragonard  Paints frilly light hearted pieces “The Swing” Fragonard  Lush setting  Intrigue  Man in background is member of clergy Not everyone liked the Rococo style Later on in 18th century, people reacted against style of painting Denis Diderot  Art should inspire manners  Promotes a new artist: Jean-Simeon Chardin “The Governess” Jean-Simeon Chardin  Creates moralizing pictures that are supposed to be more uplifting and inspiring  Paintings were about doing the right things, being honest, accepting responsibility  Appealing to people of the time period.  About textures “La Brioche” Chardin  One of greatest still life painters of the day  About texture, arrangement of the form  Selecting for shapes, textures, colors  Calm and simple world Elisabeth Louise Vigee LeBrun “Marie Antoinette and Her Children”  Supposed to be uplifting Adelaide Labille-Guiard “Self Portrait with Two Pupils”  Silky shimmery clothes  About seriousness  A woman who has perfected her profession/trade  Asserting herself as a woman artist.  Pupils looking at her work while she is working  Only male present is the bust: her father o Inspires her o Flip flop (usually woman is the muse)  Also for Adelaide Labille-Guiard o Women weren‟t supposed to paint like that (huge size) o Painted it to say it was her doing it herself o Lots of rumors floating around to discredit her Vigee-LeBrun and Labille-Guiard were both students at Academy of Art Hierarchy of what you should paint  Still life‟s were at the bottom Johann Zoffany “Academicians of the Royal Academy”  Studying nude figures, all men  When British Royal Academy was founded, they allowed two members to be female.  One becomes good painter by studying nude figures o Women were not allowed to take these types of studies o Puts them in a difficult position because they aren‟t able to learn how to paint and compete with those who can Neoclassicism Angelica Kaufmann  Part of British Royal Academy  Goes to Rome to continue studies o How neoclassical movement starts to take more shape “Johann Joachim Winckelmann” Kaufmann  Loathed the Rococo style  Must model all painting on works of the past “Cornelia Presenting Her Children as Her Treasures” Kaufmann  Architecture  People dressed in togas o Classical drapery  Story from classical past  Morally uplifting, how you should conduct your life  One woman is showing off jewelry, other woman is pointing to her children as her treasures John Henry Fuseli “The Nightmare”  Ideas of a fantastic world  Appealed to Freud  Studied ancients as well as renaissance  Mannerist  Incubus sitting on top of her

4/5/12 Francisco Goya  Difficult to categorize  Early on paints in a Rococo style  Becomes a court painter  Brilliant print maker “The Sleep of Reason Produces Monsters” Goya  Bats and owls are symbols of folly o Represent ignorance  Goya is a romantic painter o Imagination, emotion o Paints from his psyche “Family of Charles IV” Goya  Family portrait  Referring himself to Velazquez  Has painter included in it  Family looks very uptight “Third of May, 1808” Goya  Ordinary people  Focusing on Spanish o Light is on the Spanish  Idea of sacrifice  Stigmata “Great Courage! Against the Dead!” Goya  Bodies are unidentifiable  Graphic images, couldn‟t publish it until after his death  Death, despair “Saturn Devouring One of his Children” Goya  Painted this in his dying room  Great example of romanticism  How would this express what Goya was feeling at the time? o Betrayal of the government, the people o His world had gone mad Jacques-Louis David  Part of the French Revolution “Madame Recamier” Jacques-Louis David  Neoclassicism  Everyone wanted to come to her salon “perspective: Madame recamier by Jacques-Louis David” Rene Magritte  Surrealism  Copied but modified the work of Madame Recamier “Napoleon Crossing the Saint-Bernard” Jacques-Louis David  Very romanticized o Napoleon crossed the Alps on a donkey, not a horse  Emphasis of contour lines, crispness of drawing Antonio Canova “Napoleon as Mars the Peacemaker”  Not Napoleon‟s body Antonio Canova “Pauline Borghese as Venus” Antoine-Jean Gros “Napoleon in the Plague House at Jaffa”  For damage control  In Palestine  Lots of nude bodies  Romantic painting Jean-Auguste-Dominique Ingres, Neoclassical  Considered champion of neoclassicism after David. “Grande Odalisque” Ingres  Neoclassical because emphasis is on contour line, precise drawing o Can‟t see a brushstroke o Stage like setting  Orientalist painting  Exaggerated her body o Too many vertabrates o Arm is too long “Madame Moitessier” Ingres  Will not see one brush stroke  Every little detail is precisely done  Elegance of the figure. Theodore Gericault “Raft of Medusa”  Very unusual  History painting  Nude figures  Universal symbol of man against nature “Study of Hands and Feet” Gericault  Gory Eugene Delacroix “Self-Portrait”  Romantic flare  Next person to pick up the Romantic torch “Scenes from the Massacre at Chios” Delacroix “Liberty Leading the People, July 28” Delacroix “Death of Sardanapalus” Delacroix  Romanticism  Orientalism

4/10/12 J. M. W. Turner  Entire wing in the Tate of his paintings  Child of very poor London barber  Would skip school to sketch some of dad‟s customers  By 12, selling water colors  At 15, exhibited at Royal Academy of Art  Style starts out traditional, detailed style  After becomes financially successful, starts to travel more o No longer calm scenes o Man struggle against nature  Wants color to stand on its own “The Fighting „Temeraire‟, Tugged to her Last Berth to be Broke Up” Turner  Romanticism  35 x 48 inches  Saw image in glow of sunset  Turner liked new technologies because he liked to travel and it made life much easier o Still nostalgia for the past  Felt paintings were unfinished for the time because they didn‟t have the polished detailed look. “Slavers Throwing Overboard, the Dead and the Dying: Typhoon Coming On” Turner  Can see a little bit of ship in background  Can relate turmoil to Gericault‟s “Raft of Medusa”  Anticipating 20th century modern art  Drove people crazy with this kind of painting “Sunset over a Lake” Turner  Romanticism  Abstraction  Drama, emotive color “Rue Transnonain, Le 15 Avril 1834” Honore Daumier  Starting to see printing of various magazines and newspapers that include pictures in them. o Daumier was working at the time for some of more radical magazines and journals of the day  Journalistic report

Mid to Late 19th century Art in Europe and the United States Realism Gustave Courbet  Rebel in all ways  Likes publicity  Brought a new way of painting into middle half of 19th century “Burial at Ornans” Courbet  1849-50  Over 10 ft by 22 ft  History painting  Average every day people o Not idealized  Loosely brushed  Everyone is stretched out in long panoramic view  Put a lot of emphasis on dog as much as various individuals o Members of the clergy o Everyone seems distracted “The Stone Breakers” Courbet  Big painting  5ft 3 in by 8ft 6 in  Breaking rules  Painting was destroyed in WWII in bombings of Dresden  Caused an uproar  Bleak mountains in background  Lifecycle where there‟s no escape for people from the class of life represented  Wooden clogs, tattered clothes  Has rhythm to it, up and down motion of work they were doing.  Can‟t see the paint o Very thick, rough paint Rosa Bonheur  Known for painting animal pictures o Became very popular works because of what she was doing  Wearing pants in some images, which was illegal for women  Studied anatomy of bugs, but would go to zoos  Became so popular that she received France‟s highest award: First women to be part of legion of honor. “Plowing in the Nivernais: The Dressing of the Vines” Bonheur  Large painting, even though women weren‟t supposed to paint such large canvases  Governor had given her commission to paint life in the country painting  Glamorized view of the countryside o Very clean o No flies, dirty peasants, everybody looks pretty clean  Can‟t see peasants‟ faces  Animals are more important than the individuals  Peasant is nondescript “The Horse Fair” Bonheur  One of most famous works  Captures magnificent animals  Bought by Cornelius Vanderbilt o Gave the painting to the Met Jean-Francois Millet “The Gleaners”  Comes from the countryside  Goes to Paris to study art o Gets involved in Revolution of 1848 o Starts painting peasant life o Given a grant to live in countryside o Focuses on rural life  About poverty of the time period  Two women picking up the grain  Nobility about the figures Ilya Repin “Bargehaulers on the Volga”  Wanted to paint “socially useful realism”, didn‟t want to paint art for art sake  Rebelling against western culture  Long line, strong diagonal going in the opposite direction  People performing work  Everyone is very dark; working outside makes you tan  Boy in the middle is the focal point o Can‟t let what has happened to the men happen to young boy Thomas Eakins “The Gross Clinic”  Thomas Eakins is American realist  From Pennsylvania  Goes to Paris to study there and studies at Ecole Beaux Arts  Goes to Spain  Back to Philadelphia in 1870  Studied at Jefferson Medical School and dissect cadavers  Painting commissioned by Dr. Samuel gross  Modern day depiction of operating theater  Rembrandt is antecedent to this piece  Everyone is a man, except one woman o Recoiling in horror from what is taking place  No gloves, no masks, not very sterile, in their street clothes  Considered the most advanced techniques of the day depicted in this particular work  Wanted to show this at Philadelphia World Fair but since it was so graphic, the committee rejected it and was put in the hospital tent  Introduces the nude model to his male students while teaching Edouard Manet  Affected the course of modernist painting  Came from well-to-do family. o Had financial cushion  His paintings were not accepted by the academy “Le Dejeuner sur l‟Herbe” Manet  Real life identifiable parisians  Nude women sitting with fully dressed men in the park  In background, partially undressed woman

4/12/12 “Le Dejeuner sur l‟Herbe” Manet  Why was this rejected? o Actual Parisians o Not a historical or mythological veil o One of favorite models: . Victorine Neurend o Perspective is off . No open window to take back into background o Very loosely brushed o Model‟s body is way too bright o Not using typical chiaroscuro o Partially undressed woman in the background . Totally disconnected with each other  People saw this as a parody. Adolphe-William Bourguereau “Nymphs and a Satyr” (French Academic Art)  Mythology  Women look very contemporary for the time period  Was approved of at the time “Olympia” Edouard Manet  Bright flesh  People took offense of the black servant  Ready for sex.  Doesn‟t go back into space  People would have recognized the name o Olympia was a slang name given to prostitutes. o Comes from novel that was very popular at the time . Alexander Dumas  Compared to “Venus of Urbino” (Titian)  Black cat in the corner Alexandre Cabanel “The Birth of Venus” (French Academic Art)  So popular that Napoleon III buys it for own private collection  Acceptable work of art  Timeless beauty of classical legend Manet “Bunch of Asparagus” Manet “Asparagus”  Painted single asparagus and said it was missing from the bunch he gave the person who bought the painting.  No sense of perspective “A Bar at the Folies-Bergere” Manet  Last major work  Night club, café concert  Popular place  Big room and bars that go all the way around the room.  Mirror in background reflecting some of the people. o Watching all types of acts o Someone on a trapeze  Still life‟s were way to demonstrate skill and ability Group rebels against salon system  Manet never joins this group  More traditional than he seems  Societe Anonyme des Artistes, Peintres, Sculpteurs, Graveurs, etc  Hold their own exhibition  30 artists  Pierre Bureau  Emilien Mulot-Durivage  Small group out of first exhibition gaining notoriety. o Met with more of public outrage Impressionism is subset of realism  Very diverse styles in terms of subject matter and technique Big artist of this society was Claude Monet “Impression: Sunrise, 1872” Monet  Captures fleeting moment in time o Aspect of modern life  Interested in affects of light on color  If it was shown as a sketch, there wouldn‟t have been a problem with it.  Reason he didn‟t give it a title, then people would expect a conventional picture  Jules Castagnary came to his defense saying that Monet was not trying to render a landscape, but trying to show the sensation produced by a landscape. Tended to paint urban life  Leisure activities going about the city  Upper class  Snapshots  Sometimes in the countryside “Boulevard des Capucines, Paris” Monet  New apartment buildings  Captures modern sensation of buildings, crowds, people “La Gare, Saint Lazare” Monet  Would go during different times of day to see what it looked like  Instantaneous moment in time  Snap shot of modern life at a modern structure “Rouen Cathedral: The Portal” Monet  Would set up 30 canvases and would paint them at different times of the day, different seasons, different weather conditions o Interested in how light affects color and objects o Painting exactly what he sees in that instant moment in time.  Gothic style “Japanese Bridge at Giverny” Monet  Becomes more abstract “Water Lilies and Willows” Monet “Water Lilies” Monet “Water Lilies, Green Reflections” Monet

4/17/12 Pierre-Auguste Renoir  Comes from working class, wants to become an artist  Starts out as porcelin painter  Becomes good friend of Monet  As he got older, he was plagued with numerous physical problems  1910, partially paralyzed and paints from wheelchair Metal tubes of paint were a major innovation “Gabrielle with a Rose” Renoir  Liked to paint human figure  Gabrielle was sister in law o Helped take care of son Jean o Stayed even after wife died and took care of Renoir “Gabrielle with Jean” Renoir  1895  Son Jean  Brightly colored  Son grows up to be film producer/director  Recognized in France for his ability “Moulin de la Galette” Renoir  At the time, was not famous  For working class people  In Mont Martre o Cheaper to live  Mill ground iris roots  Changes going on in Paris o Workers would have Sunday off o Go into country side  Full of impressionist color  Carefree  Interest in figures  Fugitive effects of light  Children included in the painting  Painted outdoors  Gas lights in place “Steps in Algiers 1882” Renoir  Few figures  Captures snap shot Edgar Degas  Didn‟t like women  Family wanted him to study law  Didn‟t have to worry about making a living  Went to New Orleans for a while because of French connection  Didn‟t care about changing light and atmosphere  Didn‟t like painting outdoors  About lines, paintings are tighter “The Rehearsal of the Ballet on Stage” Degas  Ugly side of ballet “Ballet Rehearsal (Adagio)” Degas  Gives impression of instantaneous moment in time  Big open space  No focal point  Diagonals help move across ballet studio  Photography influenced him “L‟Absinthe (The Absinthe Drinker/Glass of Absinthe)” Degas  Next to guy is an actress  Guy is a drinker who gambled away his castle  Contemporary scene of the individuals  Snapshot of life o Together but not together o Don‟t see them interacting with each other “Young Dancer, Fourteen Years Old” Degas  Against the rules of sculpture  Not a beautiful young woman performing some precise ballet step o She‟s stretching  Radical for the time period “Portrait of Mary Cassatt” Degas  Depicts her as intelligent Mary Cassatt  American o Only American in group of impressionists  Comes from well-to-do family just outside Philadelphia  Able to have life atypical of women of time period  Did not like studying at the Academy “Woman in Black at the Opera” Cassatt “Woman in a Loge, Wearing a Pearl Necklace” Cassatt  Wonderful comment about the opera  Going to opera was about being seen  Paints more empowered women  Images are tighter  Painted primarily in her studio “Maternal Caress” Cassatt  Emphasis on pattern and decorative detail  Flattened out the background, not going back into space  Little girl looks almost Asian “Mother and Child” Cassatt  Very intimate scene between mother and child  Flattened backdrop  Face and body more tightly painted than clothing  Tilted and decorative perspective Berthe Morisot  Other woman part of impressionist group  Became good friends with Manet  Encouraged him to lighten up his palette.  Marries Eugene Manet, Manet‟s brother  Was restricted to what she could paint.  Continues to paint throughout her career.  Similar to Monet in style  Likes to paint outdoors “At the Ball” Morisot  Fan, gloves  Quick slashed out brush strokes  Doesn‟t seem as happy “In the Dining Room” Morisot  Can see brushstrokes  Dissolving of the form “Summer‟s Day” Morisot  Upper class women  Bois de Boulogne

4/19/12 Camille Pissarro  Teacher also  Almost anarchist  Typically lived in the countryside “Wooded Landscape at L‟Hermitage, Pontoise” Pissarro  Lightening of palette.  Painting outside where he lived  Very loose brushstrokes  Little splotches of color “Women Planting Pea Stakes” Pissarro  Festive appearance to it “Boulevard Montmartre on a Winter Morning” Pissarro  Spent some time in Paris  Spectacle of urban life at the time.  Brushstrokes are a little more defined. “Self portrait” Gustave Caillebotte  Loosely brushed for his style Wasn‟t out to sell his work Became very good friends with the impressionists  Very big patron of them  Without his aid, some of them may not have survived.  Paid Monet‟s rent for a while  Acquires a huge collection of impressionists‟ works.  Relatively young when he died. “Paris Street, Rainy Day” Caillebotte  Paints like Degas  Tighter brushstrokes  Tries to show snapshot effect  Giving cropped view of everyday life. Post Impressionism Coined by British critic Roger Fry All of post impressionists moved through impressionist stage with their work but became dissatisfied with it  Wanted art to be more substantial  Interested in creating art in a more formal structure  Weren‟t just interested in capturing real world, interested in psychological, internal, imagination o Breaking away from capturing reality. Paul Cezanne was part of this group About emotions, sensations through color and through light See surrealism coming out Post impressionists do not dissolve their forms  Outline, strong contour lines around forms  Very distinct planes of color that are separated out. Cezanne  From Aix in Provence  Many impressionists thought Cezanne was too extreme “A Modern Olympia” Cezanne  Tilted top of the table  Starting to explore different ways of seeing “Still Life with Apples” Cezanne  So slow in painting that flowers would die and fruit would rot o Apples lasted longer  What makes it post impressionist? o Apples strongly outlined o Brushstrokes are really defined o Patches of color o Not using chiaroscuro o Cool colors recede, light colors bring forward o Very non descript background o No linear perspective o Getting to essence of object o Getting multiple views “Still Life with Basket of Apples” Cezanne  Table doesn‟t look like it‟s built right  Not using chiaroscuro to create 3D forms o Patches of colors to create tension and sense of movement “Mont Sainte-Victoire” Cezanne  Used outline  Simplified forms  Cool and red colors  Patchwork design  Cropped image  Branches go out Another “Mont Sainte-Victoire” Cezanne  Simplified forms  Looks like foreground, middle ground and background are stacked on top of each other  Geometric shapes to get to essence of objects. “The Large Bathers” Cezanne  One of last great works  Very balanced, very geometric  Built up with planes of color, parallel brushstrokes  Cezanne‟s interpretation  Figures are androgynous  Heavily outlined Georges Seurat  Known for pointillism  Uses little tiny dots of color the size of confetti “A Sunday Afternoon on the Island of La Grande Jatte” Seurat  two years of people he saw in the park  Very formal style, contemporary subject  Stillness, quietness  Very stapled design based on geometric shapes  Had theory about lines o Warm colors make you feel happy o Cool colors make feel neutral o Lines that go up make you feel happy o Lines that go down make you feel sad, depressed o If horizontal, stasis?  Grande Jatte is an area where more working class people would go  Inspired broadway musical “A Bathing Place (Asnieres)” Seurat  Right before he starts working completely with the dots  Working class, can see factories in the background  Frozen in time with work  Working with various geometric shapes Vincent van Gogh  Goes through various styles  Dutch  Very troubled man  Wanted to become minister like his dad

4/24/12 “The Potato Eaters” van Gogh  Grinding poverty, not enough to eat  Living conditions are miserable  Realist style o Expressing feelings and emotions about people being seen  Dark work  Influence of Rembrandt with darks and lights, strong chiaroscuro  Claustrophobic space  Figures look like caricatures  Ritualistic o Compare to Eucharist o Solemnly sitting at dining scene  All they have is religion to sustain them Palette lightens when he goes to Paris  Very visible choppy brushstrokes “The Sower with the Setting Sun” van Gogh  Another peasant image  Very influenced by Millet  Brighter and lighter  Sun radiates life o Spiritual significance to it  Conveys feelings and emotions of this lifestyle. Goes to Provence where he is most productive, Arles  Sunlight changes his work in this region Gauguin has relationship with van Gogh  Gauguin was very aggressive, big ego, dominary personality  Clashes with van Gogh  Live in yellow house the van Gogh rented in Arles “Gauguin‟s Chair” van Gogh  Tilted perspective  Diversity of color o Complementary colors o Richer palette  Very simple setting  Japonism  Very elaborate rug on the floor  Expensive upholstered chair o Gauguin is more sophisticated  Night scene vs. day scene  Empty chairs alluded to departure of a loved one “Van Gogh‟s Bedroom” van Gogh  In Arles  Liked to be outside in nature o Inspired him  Japanese prints  Pairing o Two pillows, two chairs, two pictures o Longing for companionship  Basic simplified setting  Most intimate objects in his possession that he painted  One of most important rooms in the house “Night Café” van Gogh  Where you can start to see van Gogh emotional problems  Tilted perspective  Very visible brushstrokes  Devil‟s den  Pool room  Trying to show terrible passions of humanity with red and green o Atmosphere was like devil‟s furnace  Using real life, real places, but distorting that to convey emotion that he is feeling from what he is seeing “The Starry Night” van Gogh  Just outside of Arles, had been committed to an asylum  Looking out from his cell in asylum one night  Simplified forms  Van Gogh had hope of universal religion o Peace and understanding to human kind “Sunflowers” van Gogh  Influence of Japanese art  Very thick application of paint “Japonaiserie: Flowering Plum Tree” van Gogh  Didn‟t blindly copy, added own feelings  His is flattened even more  Distorting colors to express his emotions Paul Gauguin  Lived in Peru for a while as a child  Later spends 6 years sailing  Finally settles down in Paris  Becomes stock broker  Becomes middle class father of 5 children  Takes up painting as a hobby that he does on Sunday afternoons  Gets to know Pissarro  After market collapses, devotes his life to painting “The Vision after the Sermon” Gauguin  Did not actually take place  Japonisme  Flattened space  Distortion of color  Brittany “Yellow Christ” Gauguin  Looks like it could be self portrait of Gauguin o Saw himself as Christ like figure o Had message but rejected by the people  Three women are reminder of three women at crucifixion  Folk art  Rejecting impressionism, not painting what he‟s seeing o Anti impressionist  Stacking of landscape, not completely flattened “Day of the God” Gauguin  In three parts  Shows the ages of man kind  Colors become more and more vibrant “Spirit of the Dead Watching” Gauguin  Heavily outline  Flattened out perspective James Abbott McNeill Whistler  Create harmony “Nocturne in Black and Gold, The Falling Rocket” Whistler  Abstractions from observed reality  Saw fireworks, his expression of the colors he saw that night  John Ruskin did not like this piece o Ruined Whistler‟s reputation o Whistler challenged him and took Ruskin to court o Judge ruled in favor of Whistler, ruled it as art Symbolism  Rejecting completely the optical world in favor of fantasy word  Doesn‟t have to have reference to anything visibly seen  Color and shape is divorced from optical image Gustave Moreau “The Apparition (Salome and the Head of John)”  Jewel like color  Exotic  Way to paint female form in very provocative way  Head is levitating o Dripping blood onto the floor  Sexual overtones  Salome is ultimate femme fatale James Ensor “The Intrigue”  Uses masks very often in his works o Covers up, can‟t see who is behind the mask o Uses masks to reveal true personality of some people  Distortion of color  Very heavily painted  Launching point  Able to show ugliness of the people  Can cover up where his sister and future brother in law can hide behind the masks o Escape who they are.