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The Dutch Masters 17Th Century Flemish Heritage

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The Dutch Masters 17Th Century Flemish Heritage Northern European Baroque, 1600 to 1750 1 Europe in the 17th Century 2 Goals • Recognize the distinctive characteristics of the Baroque style • Understand the diversity of cultures and artistic styles throughout Europe • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Recognize and cite artistic terminology from this period 3 24.1 Baroque Art Northern Europe • Recognize the distinctive characteristics of the Baroque style in Northern Europe (Holland, France, England) • Understand the diversity of cultures and artistic styles throughout Northern Europe • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Recognize and cite artistic terminology from this period 4 Rubens, Laocoon, 1601 - 2 Figure 25-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp. 6 Figure 25-3 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris. 7 Samson and Delilah Figure 25-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence.. 9 Figure 25-5 ANTHONY VAN DYCK, Charles I Dismounted, ca. 1635. Oil on canvas, 8’ x 11” x 6’ 11 1/2”. Louvre, Paris. 10 van Dyke, Equestrian Portrait of Charles I, 1637 – 38, oil on canvas The Dutch Masters 17th Century Flemish Heritage Dutch East Indies Company Pieter Saenredam Genre: scenes of everyday life Jan Steen, The Feast of Saint Nicholas JAN STEEN, The Skittle Players Outside an Inn, ca. 1652 Still-Life or Vanitas Paintings •Transience of life Harmen Steenwyck The Vanities of Human Life Willem Claesz Heda Jan de Heem Jan de Heem Vase of Flowers ca. 1645 Audrey Flack Marilyn (Vanitas) 1977-78 Audrey Flack, “Marilyn: Elegy” (1980). Cibachrome. 17 × 16 3/4 inches. Wheel of Fortune (Vanitas), 1977-8 ETS STRIKES AGAIN The most famous LANDSCAPE painter of the 17th Century! Jacob van Ruisdael View of Haarlem with Bleaching Grounds Frans Hals FRANS HALS, Portrait of Willem Coymans, 1645 Figure 25-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum, Haarlem. 54 Figure 25-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem. 56 Regents of the Old Men’s Almshouse Figure 25-11 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss). The Jolly Toper Young Flute Player JUDITH LEYSTER, The Last Drop, ca. 1628-1629 Rembrandt Self-portrait Leaning on a Sill, 1640 Figure 25-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague. 73 Danae, 1643 What is the subject of this painting? The Sacrifice of Abraham Rembrandt, ca. 1635 Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam. 83 A New Style Figure 25-14 REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg. 91 Figure 25-15 REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London (Iveagh Bequest). A Master at Etching Self-portrait in a Cap, Openmouthed, and Staring, 1630 Self-portrait Grimacing, 1630s Self-portrait Leaning on a Stone Sill, 1639 Figure 25-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York. 101 Vermeer CAMERA OBSCURA – Device used to aid in drawing pictures from nature; contains a tiny pinhole, acting as a lens, projects an upside- down image on a screen or wall of a room Officer with a Laughing Girl The Little Street Allegory of the Art of Painting The Milkmaid Young Woman with a Water Jug The Love Letter Baroque France Figure 25-24 NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris. 131 Et in Arcadia Ego Figure 25-25 NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, 3’ 11” x 5’ 10”. Louvre, Paris. 133 The Rape of the Sabine Women Poussin,The Assumption of the Virgin, 1650, oil on canvas Raphael, Sistine Madonna,1512 – 1513, Oil Raphael, Sistine Madonna,1512 – 1513, Oil Poussin, Assumption of the Virgin, ca. 1626 Poussin, Assumption of the Virgin, ca. 1626 Figure 25-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp. 141 Figure 25-26 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’ 10 1/2”. Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection). 142 Poussin Claude Lorrain 143 Figure 25-27 LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, 3’ 8” x 5’ 2”. Louvre, Paris. 144 Figure 25-28 JACQUES CALLOT, Hanging Tree, from the Miseries of War series, 1629–1633. Etching, 3 3/4” x 7 1/4”. Private collection. 145 Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris. 146 Baroque French Architecture Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670. 148 Figure 23-12 PIERRE LESCOT, west wing of the Cour Carre (Square Court) of the Louvre, Paris, France, begun 1546. 149 East Wing, 17th Century Blend of Italian and French Classical elements created a new design formula. West Wing, 16th Century Reflects Italian Renaissance classicism of Bramante; diminishing height of stories, large scale windows and steep roof are Northern European features Figure 25-32 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669. 151 Versailles from garden: Compare to Inigo Jones’ Banqueting Hall Bernini, Louis XIV Figure 25-30 HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris. 156 157 Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680. 158 Figure 25-35 JULES HARDOUIN- MANSART, Royal Chapel, with ceiling decorations by Antoine Coypel, palace of Louis XIV, Versailles, France, 1698–1710. 159 Figure 25-34 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Versailles, France, ca. 1666–1672. Marble, life-size. 161 Figure 25-36 JULES HARDOUIN-MANSART, Église de Dôme, Church of the Invalides, Paris, France, 1676– 1706. 162 Figure 25-36 JULES HARDOUIN-MANSART, Église Maderno, Santa Susanna, Rome de Dôme, Church of the Invalides, Paris, France, 1676– 1706. 163 Baroque England Figure 25-37 INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622. 165 Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710. 166 Discussion Questions Compare the values of the 17th century Dutch Republic to 17th century France. How did their different values affect the art created in each culture? How does 17th century Dutch art compare to that of 17th century Italy? 17th century Spain? How does 17th century architecture in the Northern European countries compare to the architecture of Baroque Italy? Consider appearance, form, and function. 167 .
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