Chapter 23: High Renaissance and Mannerism Chapter Sheet

Chapter 23: High Renaissance and Mannerism Chapter Sheet in Northern Europe and Spain

Preview: In the 16th century, societies in Northern Europe experienced profound political and cultural shifts that are reflected in the art of the period. France and the Holy Roman Empire increased their power and size, but by the end of the century, Spain was the dominant power in Northern Europe. Monarchs commissioned artworks to glorify their reigns, but a growing class of merchants increasingly began to commission and collect art as well. Early in the century, the Reformation movement sparked lasting religious conflict throughout large areas of Northern Europe, and artists developed new expressions of Protestant ideals. Despite the Reformation’s criticism of Catholicism, European states maintained active cultural exchange with Italy, and absorbed the ideals of Italian Renaissance Humanism. In the Holy Roman Empire, the painter and printmaker Albrecht Dürer became the first international celebrity artist outside Italy. In France, King Francis I was an enthusiastic admirer of Italian art, and French architecture of this period reflects a mix of Italian and Northern Renaissance elements. Netherlands in the 16th century was a prosperous country, and artists such as Pieter Bruegel enjoyed the patronage of the burgeoning merchant class. Netherlandish painters are known for their inventive, often enigmatic forms and narratives, best exemplified by the work of the country’s leading painter, Hieronymus Bosch. Spanish architecture in the 16th century is characterized by abundant, delicate ornamentation. El Greco was the leading painter in 16th century Spain, cultivating a style that combined Spanish religious fervor and the exaggerated forms of Italian Mannerism.

List of Artworks (15 Cards Total) 1. Chapter 23 Context Card 2. Hieronymus Bosch, Garden of Earthly Delights, 1505-1510 3. Matthias Grünewald, Isenheim Altarpiece, closed and open, from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510-1515 4. Albrecht Dürer, Self-Portrait, 1500 5. Albrecht Dürer, Fall of Man (Adam and Eve), 1504 6. Lucas Cranach the Elder, Law and Gospel, ca. 1530 7. Albrecht Altdorfer, Battle of Issus, 1529 8. Hans Holbein the Younger, The French Ambassadors, 1533 9. Pierre Lescot, west wing of the Cour Carré (Square Court) of the Louvre, Paris, France, begun 1546 10.Pieter Aertsen, Butcher’s Stall, 1551 11.Caterina van Hemessen, Self-Portrait, 1548 12.Attributed to Levina Teerlinc, Elizabeth I as a Princess, ca. 1559 13.Pieter Bruegel the Elder, Hunters in the Snow, 1565 14.El Greco, Burial of Count Orgaz, 1586 15.El Greco, View of Toledo, ca. 1610

Key Figures: Martin Luther, Marsilio Ficino, Heinrich Cornelius Agrippa of Nettesheim, Ulrich Zwingli, John Calvin, Erasmus of Rotterdam, Huguenots Key Cultural & Religious Terms: indulgences, Luther’s 95 Theses, Protestant Reformation, Counter-Reformation, iconoclasm Key Art Terms: predella, chiaroscuro woodcut, four humors, anamorphic image, maulstick, Landschaft Key Architectural Terms: chateaux, plateresque style Exercises for Study:

1. Describe how Matthias Grünewald’s Isenheim Altarpiece would have related specifically to the audience at the Hospital of Saint Anthony.

2. Describe the theme of Spanish religious fervor and characteristics of Italian Mannerism evident in El Greco’s Burial of Count Orgaz.