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Close Analysis of a Single Work of Art >Examination of the Work's Goals for this assignment: >Close analysis of a single work of art >Examination of the work's function within its cultural context In the 17th Century the art-owning class had enough wealth to spend on luxuries like oil paintings. In this unit you have seen some depictions of poverty and labor. Of what use to the 1% are images of the poor? Analyze the painting "A Maid Asleep" (ca. 1656-57) by dutch painter Johannes Vermeer. Analyze it in terms of iconography and formal elements like color and composition. Refer back to the [PDF on Iconography and Style] for clarity on the different categories of data you want to support your general ideas. Since our studies of the 17th Century take us into different types of societies (monarchies, oligarchies, and a republic) careful consideration of its cultural context is important. What purpose was served by this work of art? You will be submitting your work to Turnitin, which checks for plagiarism. Sources to be used: 1) https://www.metmuseum.org/toah/hd/gnrn/hd_gnrn.htm Meagher, Jennifer. “Genre Painting in Northern Europe.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/gnrn/hd_gnrn.htm (April 2008) 2) https://www.metmuseum.org/art/collection/search/437878 “A Maid Asleep” (ca. 1656–57) by Johannes Vermeer 3) 17th Century Art in Europe Notes: (Highlighted portions pertain to essay topic) “BAROQUE” The intellectual and political forces set in motion by the Renaissance and Reformation of the fifteenth and sixteenth centuries intensified during the seventeenth century Religious wars continued, although gradually the Protestant forces gained control in the north, where Spain recognized the independence of the Dutch Republic in 1648. Catholicism maintained its primacy in southern Europe, the Holy Roman Empire, and France through the efforts of an energized papacy aided by the new Society of Jesus, also known as the Jesuit Order. At the same time, scientific advances compelled people to question their worldview. Of great importance was the growing understanding that the Earth was not the center of the universe but rather was a planet revolving around the sun. As rulers’ economic strength began to slip away artists found patrons in the Church and the secular state, as well as in the newly confident and prosperous urban middle class. What evolved was a style that art ​ historians have called “the Baroque.’’The label may be related to the Italian word barocco, a jeweler’s term for an irregularly shaped pearl— something beautiful, fascinating, and strange. Baroque art deliberately evokes intense emotional responses from viewers. Dramatically lit, theatrical compositions often combine several media within a single work as artists highlight their technical virtuosity. But the seventeenth century also saw its own version of Classicism, a more moving and dramatic variant of Renaissance ideals and principles featuring idealization based on observation of the material world; balanced (though often asymmetrical) compositions; diagonal movement in space; rich, harmonious colors; and the inclusion of visual references to ancient Greece and Rome. Many seventeenth-century artists ​ ​ sought lifelike depiction of their world in portraiture, genre ​ paintings (scenes from everyday life), still life (paintings of ​ ​ inanimate objects such as food, fruit, or flowers), and religious scenes enacted by ordinary people in ordinary settings. Intense emotional involvement, lifelike renderings, and Classical references may exist in the same work, and are all part of the stylistic complexion of the seventeenth century The role of viewers also changed. Italian Renaissance painters and patrons had been fascinated with the visual possibilities of perspective and treasured idealism of form and subject which kept viewers at a distance, reflecting intellectually on what they were seeing. Seventeenth-century masters, on the other hand, sought to engage viewers as participants in the work of art, and often reached out to incorporate or activate the world beyond the frame into the nature and meaning of the work itself In Catholic countries, representations of horrifying scenes of martyrdom or the passionate spiritual life of a mystic in religious ecstasy were intended to inspire viewers to a renewed faith by making them feel what was going on, not simply by causing them to think about it. In Protestant countries, images of communal parades and city views sought to inspire pride in civic accomplishments. Viewers participated in works of art like audiences in a theater—vicariously but completely—as the work of art drew them visually and emotionally into its orbit. The seventeenth-century French critic Roger de Piles (1635—1709) described this exchange when he wrote: “True painting ... calls to us; and has so powerful an effect, that we cannot help coming near it, as if it had something to tell us” (Puttfarken, p. 55). The Dutch Republic The House o f Orange was not notable for its patronage o f the arts, but patronage improved significantly under Prince Frederick Henry (r. 1625—1647), and Dutch artists found many other eager patrons among the prosperous middle class in Amsterdam, Leiden, Haarlem, Delft, and Utrecht. The Hague was the capital city and the preferred residence o f the House o f Orange, but Amsterdam was the true center o f power, because o f its sea trade and the enterprise o f its merchants, who made the city an international commercial center. The Dutch delighted in depictions o f themselves and their country—the landscape, cities, and domestic life— n o t to mention beautiful and interesting objects to be seen in still-life paintings and interior scenes. A well-educated people, the Dutch were also fascinated by history mythology the Bible, new scientific discoveries, commercial expansion abroad, and colonial exploration. Visitors to the Netherlands in the seventeenth century noted the popularity of art among merchants and working people. Peter Mundy an English traveler, wrote in 1640 that even butchers, bakers, shoemakers, and blacksmiths had pictures in their houses and shops. This taste for art stimulated a free market for paintings that functioned like other commodity markets. Artists had to compete to capture the interest of the public by painting on speculation. Specialists in particularly popular types of images were most likely to be financially successful, and what most Dutch patrons wanted were paintings of themselves, their country their homes, their possessions, and the life around them. The demand for ​ art also gave rise to an active market for the graphic arts, both for original compositions and for copies of paintings, since one copperplate could produce hundreds of impressions, and worn-out plates could be reworked and used again. The Influence of Italy Hendrick ter Brugghen (1588—1629) had spent time in Rome, perhaps between 1608 and 1614, where he must have seen Caravaggio s works and became an enthusiastic follower. On his return home, in 1616, Hendrick ter Bruggen entered the Utrecht ​ painters’ guild, bringing Caravaggio’s style into the Netherlands. Ter Brugghen’s St. Sebastian Tended by St. Irene introduced the Netherlandish painters to the new art of Baroque Italy. The sickly gray-green flesh o f the nearly dead St. Sebastian, painted in an almost monochromatic palette, contrasts with the brilliant red and gold brocade of what seems to be his crumpled garment. Actually this is the cope o f the bishop o f Utrecht, which had survived destruction by Protestants and become a symbol o f Catholicism in Utrecht. The saint is cast as a heroic figure, his strong, youthful body still bound to the tree. The tenebrism and dramatic lighting effects are likewise Caravaggesque, as is the frank realism o f the w om en’s faces, w ith reddened noses and rosy cheeks. Rembrandt, Vermeer, and Rubens all admired Ter Brugghen's painting. Dutch Portraits . ​ Seventeenth-century Dutch portraiture took many forms, ranging from single figures in sparsely furnished settings to allegorical depictions o f groups in elaborate costumes surrounded by symbols and attributes. Although the faithful description o f facial features and costumes was the most important gauge of a portrait’s success, some painters went beyond likeness to convey a sense o f mood or emotion in the sitter. Fundamentally portraits functioned as social statements o f the sitters’ status coupled with a clear sense of identity rooted in recognizable faces. Group portraiture ​ documenting the membership o f corporate organizations was a Dutch specialty These large canvases, filled with many individuals who shared the cost o f the commission, challenged painters to present a coherent, interesting composition that nevertheless gave equal attention to each individual portrait. Johannes Vermeer One of the most intriguing Dutch artists of this period is Johannes Vermeer (1632—1675), who was also an innkeeper and art dealer. He entered the Delft artists guild in 1653 and painted only for local patrons. Meticulous in his technique, with a unique compositional approach and painting style, Vermeer produced fewer than 40 canvases that can be securely attributed to him, and the more these paintings are studied, the more questions arise about the artists life and his methods. Vermeer's View of Delft, for example, is no simple cityscape. Although the artist convinces the viewer of its authenticity he does not paint a photographic reproduction of the scene; Vermeer moves buildings around to create an ideal composition. He endows the city with a timeless stability by a stress on horizontal lines, the careful placement of buildings, the quiet atmosphere, and the clear, even light that seems to emerge from beneath low-lying clouds. Most of Vermeer's paintings portray enigmatic scenes o f women in their homes, alone or with a servant, occupied with some cultivated activity such as writing, reading letters, or playing a musical instrument.
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