Module 6 (Renaissance, Mannerism, Baroque, Rococo) Flashcards
1
Q
Albrecht Durer
A
- Founder and greatest master of the German Renaissance
- Elevated graphic arts to a higher art form (e.g., prints)
- German artist: made woodcuts, engravings (on copper plates), watercolor paintings, and oil paintings
- Was a goldsmith
- Created “Adam and Eve” engraving
- Created set of 3 containing “Knight, Death, and the Devil,” “St. Jerome in his Study,” and “Melencolia I”
2
Q
“Adam and Eve” (“Fall of Man”) (image 074)
A
- Engravings featuring Adam and Eve in contrapposto with idealized bodies; frontal nude poses
- Knew audience was not ready for classical nudity
- Inspired by ideals of Italian Renaissance
- Ibex symbolizes nonbelieving (perfect because Adam and Eve are the first to break a divine commandment)
- Only work where Durer signed his name in full
- Snake puts the apple in Eve’s hand
- Lots of symbolism: mountain ash repels snakes (like the snake that convinces Eve to take the forbidden fruit) and signifies the Tree of Life, the bull, moose, cat, and rabbit represent the four humors, which were knocked out of alignment when man fell from God’s grace, allowing for sin.
- The mouse by Adam’s foot represents Satan.
- Also called the “Fall of Man”
- Utilizes Classical ideals
3
Q
Woodcut Technique
A
- A drawing is made on wood and carved away
- Ink can be placed on the remaining areas and the woodblock can be pressed on paper to create a print
- Open spaces appear white in prints
4
Q
Engraving Technique
A
- A copper plate is carved
- Cut away areas appear black in print; opposite of woodcut
- Ink is placed on the engraving and wiped away; ink only stays in the grooves for printing
- Durer excelled at this technique
5
Q
“The Four Horsemen of the Apocalypse”
A
- Four riders, Conquest, War, Famine, and Death, ride horses and trample innocent people
- Hades pictured as a terrifying beast accompanying him
- Early 16th century piece by Durer
- Angel overhead the horsemen
- Intense momentum crushes anyone beneath them and the rider’s horses hardly touch the ground
6
Q
“Knight, Death and the Devil” (“The Rider”)
A
- 1513 -1514
- Active life of Christianity
- early 16th century by Durer
- Knight represents a faithful Christian who must move past the Devil and make it to the kingdom of God (represented by the castle in the background)
- Dog represents faith and lizard represents religious zeal (like enthusiasm)
7
Q
“St. Jerome in his Study”
A
- 1513 -1514
- Contemplative life of Christianity
- 16th century piece by Albrecht Durer
- Saint Jerome sits in his study; halo around his head
- Lion and dog rest in the foreground
- Hourglass next to a skull represents the transience of life
- Durer differentiates object’s textures and utilizes central perspective (orthogonals converge to a point just next to Saint Jerome)
8
Q
“Melencolia I”
A
- 1513 -1514
- 16th century piece by Albrecht Durer
- Winged genius holds a compass
- Surrounded by woodcutting tools and geometric shapes
- Negative and positive power of the mind
- Relationship between melancholy and creativity
- Cherub, dog, and bat-like creature surround her: bat holds up a sign that says “Melencolia I”
9
Q
“Great Piece of Turf”
A
- A hyper-realistic watercolor piece by Albrecht Durer
- Is so detailed, historians could determine what type of vegetation was painted
- No symbolic aspects, simply an observation
10
Q
“The Four Apostles”
A
- Oil painting by Albrecht Durer featuring 4 men (John the Evangelist, Peter, the Evangelist Mark, and Paul, from left to right)
- John the Evangelist reads from the New Testament
- Peter holds the golden key to heaven
- The Evangelist Mark (who was not an Apostle) stands in the background holding a scroll
- Paul holds a closed Bible and leans on a sword
- Shows Durer’s support of the Lutheran movement: Peter, symbolic of the Pope, stands behind John, whose Bible signifies Christ
- Text warns not to distort God’s word
11
Q
Matthias Grunewald (ca. 1480 - 1528)
A
- 16th century painter who created the Isenheim Altarpiece
- Northern Renaissance artist
12
Q
“Isenheim Altarpiece” (image 077) - outside and general information
A
- Painted between 1510 - 1515 by Matthias Grunewald
- Painted for the monastery of St. Anthony hospital in Isenheim
- Bleak colors
- Christ hanging from a cross with greenish skin and sores that could be related to those with ergotism
- St. John the Baptist pointing at Christ to say that the people’s suffering is nothing next to Christ’s
- Mary is dressed in mourning white clothes and it fainting into the arms of St. John the Evangelist
- Hierarchal scale returned; Christ is large and his feet nearly touch the ground (return of medieval and primitive painters)
- Predalla panel (bottom) show a Lamentation scene
- When the work’s wings are opened, Christ’s arms are amputated, as many ergotism patients’ limbs were
- Lamb pouring blood into chalice of Holy Communion at John the Baptist’s feet
13
Q
“Isenheim Altarpiece” (image 077) - 4 internal scenes
A
- Met with very bright colors in contrast to the outside of the piece; shows hope
- Annunciation scene on the far left; Mary and Gabriel sit inside a Gothic structure (very architecturally detailed). Mary’s Bible is opened to the prophecy of Isaiah, and Isaiah appears in the top left corner
- Left central panel: choir of angels sing praise to the Lord
- Right central panel: Mary hold the infant Christ on an ornate portico symbolizing the Temple of God
- Christ’s Resurrection is on the far right; Christ is surrounded by an orange glowing light to indicate hope and divinity. He has blown the lid off of his tomb and knocked a guard over in his revival; powerful.
- All colors of the spectrum used
14
Q
“Isenheim Altarpiece” (image 077) - innermost layer
A
- Figures were carved and painted by Niclaus of Haguenau
- Three figures in the middle section: central figure is St. Anthony, patron saint of diseases, and he was meant to be the main focus (left is Saint Augustine and right is Saint Jerome)
- Two panels on the outside picture Saint Anthony chatting with St. Paul the Hermit in a strange, vegetated space on the left, and the same saint being attacked by demons with symptoms of ergotism on the right
- Predella shows Christ and the Apostles at the Last Supper
- Focus meant to be on Saint Anthony, the healer of the disease Saint Anthony’s Fire.
15
Q
Saint Anthony’s Fire
A
- Ergotism
- Disease had almost no hope for survival; people went to the church that the Isenheim Altarpiece was in to die more comfortably
- Caused by a fungus on rye
- Painful skin disease
16
Q
Niclaus of Haguenau
A
- Carved the interior portion of the Isenheim Altarpiece, including the three central figures on the main panel and the images of Christ and the 12 Apostles at the Last Supper on predella