16th-Century Northern Europe: Imagery [CHRONOLOGICAL] Flashcards
Where does the Ambassadors originate? What does the piece provide to the context of 16th-Century Northern Europe
Hans Holbein the Younger, the Ambassadors, c.1533, Northern Renaissance (English)
- Established tradition of showing men with books/ instruments that signified their education and knowledge. References to the turmoil happening in England at this time.
- Jean= rich individual; lavishly describing surfaces and appearances, descriptions in clothing calling back to the 15th-Century Europe. In contrast the other man is dressed more modestly/ refined. Creates a contrast between Contemplative vs Active life.
- Objects related to measurement of time. Lower shelf : More earthly. Lutes=demonstrates mastery in foreshortening–> broken string=symbolic to discord in the church. Mosaic floor: references actual floor of the Abby= correlates to cosmic order. Globe: Europe self-positioning power during this time–> competition between europeans and maritime.
- Skull- anamorphic image= momento mori–> earthly objects are rendered a kind of illusionistic/ distorted matter, mimicking optical illusion–> transcendent components, rendered in a distorted and unrealistic manner. Carpet/globe= trade endeavors; European imperialism and colonialism (ottoman commodities)- luxurious items.
Where does Isenheim Altar originate? What does the piece provide to the context of 16th-Century Northern Europe
Nikolas Haugueanau and Matthias Grunewald, Isenheim Altarpiece, c. 1500- (1510-15)
- Sculptures/ painted altarpiece. Monastery original for hospitalized individuals with a skin diseased–> messages of suffering and redemption. Body of christ: includes gashes and lesions, suggest to reflect egotism–> focus on emotional drama and mystical power of the moments depicted.
- Northern European interest: describing surfaces with excessive detail, but not invested anatomically–> again Christ body is greatly distorted and bloody–> sculptures emphasis organization, symmetry, and emotional paintings–> paintings contrast through monstrosity, exaggeration suffering and emotion= connect with holy figures throughout.
Where does the Law and the Gospel originate? What does the piece provide to the context of 16th-Century Northern Europe
Lucas Cranch the Elder, the Law and the Gospel, c. 1529, Northern Renaissance German.
- Catholicism vs Protestantism –> protestant reformation: how did one achieve salvation, reforming Catholic Church and remedying corruption and perceived dispute–> indulgences.
- Composition religious propaganda, one side includes a stark contrast to the peaceful narrative, utopian scene, visualizing obtaining salvation under a catholic narrative.
- Iconoclasm. Bilderstrum/ Beeldenstorm
Where does the Albrecht Durer, Self Portrait originate? What does the piece provide to the context of 16th-Century Northern Europe
Albrecht Durer, Self-Portrait, c.1500, Northern Renaissance (German)
- Contrast; don’t present himself painting. Instead presents himself as a Noble intellectual–> presents himself finely/ modesty dressed, and frontal pose drawing from icons of christ–> invitation to viewers to marvel; allude to painter hand.
- Combines Northern European interest of finely rendered details with Italian humanism: sense of the individual. Highlights the artist eyes: convincing representation of textures, lights, and colors, prized naturalism/ optical appearances.
Where does the Albrecht Durer, Fall of man (Adam and Eve) originate? What does the piece provide to the context of 16th-Century Northern Europe
Albrecht Durer, Fall of Man (Adam and Eve), c. 1504, Northern Renaissance German
- Italian humanist classics and germanic symbolism–> advertises Durer as an artist through Adam and Eve as a mechanism. Adam is modeled on Classical sculptures, reflect contemporary ideals about proportion and anatomical description–> Eve: Classical representations of Venus–> Medieval ideals and Northern features- wide childbearing hips and small breast with long flowing hair.
-Everyday were endowed with symbolism and spiritual meaning.,
Where does the St. Luke drawing the Virgin originate? What does the piece provide to the context of 16th-Century Northern Europe
Jan Gossert, St. Luke drawing the Virgin, c.1520, Northern Renaissance (Netherlandish)
- Patron saint= Legitimized religious portraiture or religious representation–> Luke has his eyes squinted to make cleat that the subject in front of him is not physically manifested–> visionary experience. Conveying Luke merely the vehicle for a divine framed image.
- Architecture setting: Scientific perspective= Italian models–> attention to details and surface description/ luminous color= Northern Europe.
Where does the Butchers stall originate? What does the piece provide to the context of 16th-Century Northern Europe
Pieter Aertsen, the Butcher Stall, c.1551, Northern Renaissance (Netherlandish)
- Responds to the traditional artistic hierarchies that prized religious and mythological scenes–> intended as an oblique comment on the ardor nature of spirituality.
-Scene symbolizes other references that implicate some of the complex local politics–> imagery follows established of representing the European Pesantry and working class.
Where does the Return of the Hunter originate? What does the piece provide to the context of 16th-Century Northern Europe
Pieter Brugel the Elder, Return of the Hunters, c. 1565, Mother Renaissance (Netherlandish)
- Rise of secular arts–> shows the shifts from the protestant reformation –> loss of religious commissions leading to a rise of more secular subjects–> endowed with moralizing messages.
- Closely observed winter day in Northern Europe –> Northern European landscapes it inhabitants.
Where does the Burial of the Count of Orgaz originate? What does the piece provide to the context of 16th-Century Northern Europe
El Greco, the Burial of the Count of Orgaz, c. 1586, Northern Renaissance (Spanish).
- Gold embroidered, Heavily luxurious textiles–> indicates prestige. Early realm= painted with early colors. Celestial realm= deter-materialization and Patel colors–Byzantine icons= souls as a baby.
- Painting reaffirms catholic doctrine–> visual affirmations.
Where does the El Escorial originate? What does the piece provide to the context of 16th-Century Northern Europe
El Escorial, c.1563, Northern-Renaissance (Spanish)
- Symmetrical in plan–> classical orders going back to Ancient Greek architecture–> ionic order. Simplicity–> departure from highly decorative style in late medieval Spanish architecture
- Rationality, symmetry, and balance aligned with Renaissance ideals about harmony.
