Gardner’s Art Through the Ages, 13e

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Presentation transcript:

Gardner’s Art Through the Ages, 13e Chapter 23 Northern Europe and Spain, 1500 to 1600

Europe in the 16th Century

An altarpiece For a hospital By a friend of Martin Luther.. Figure 23-2a MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed, top; open, bottom), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510–1515. Oil on wood, 9' 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2” (each wing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar.

Figure 23-2a MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed, top; open, bottom), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca.1510–1515. Oil on wood, 9' 9 1/2” x 10’ 9”, (center panel), 8’ 2 1/2” x 3’ 1/2” (each wing), 2’ 5 1/2” x 11’ 2” (predella). Shrine carved by Nikolaus Hagenauer in 1490. Painted and gilt limewood, 9’ 9 1/2” x 10’ 9”. Musée d’Unterlinden, Colmar.

Figure 23-7 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca Figure 23-7 LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British Museum, London.

Figure 23-3 HANS BALDUNG GRIEN, Witches’ Sabbath, 1510 Figure 23-3 HANS BALDUNG GRIEN, Witches’ Sabbath, 1510. Chiaroscuro woodcut, 1’ 2 7/8” X 10 ¼”. British Museum, London.

Albrecht Durer: “Leonardo of the North” Travelled widely through Europe and became an international celebrity Took trips to Italy to study Renaissance art First artist to synthesize Northern European stylistic features (intricate detail, realistic rendering of objects, symbols hidden as everyday objects) and blend them with Italian features (classical body types, linear perspective) --- admired the work of Leonardo First artist to keep a thorough record of his life (self-portraits, treatises on his thoughts, and a diary) Important graphic artist --- best known for his engravings Influenced significantly by Martin Luther and Protestant Reformation

Supremacy in recording The natural sciences To further illusions…. Durer relies on the Eyes as did Leonardo…seems Supremacy in recording The natural sciences To further illusions…. Figure 23-4 ALBRECHT DÜRER, Great Piece of Turf, 1503. Watercolor, 1’ 3/4” x 1’ 3/8”. Albertina, Vienna.

Figure 23-1 ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504 Figure 23-1 ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston (centennial gift of Landon T. Clay).

http://www.spurgeon.org/~phil/history/95theses.htm

Figure 23-5 ALBRECHT DÜRER, Knight, Death, and the Devil, 1513 Figure 23-5 ALBRECHT DÜRER, Knight, Death, and the Devil, 1513. Engraving, 9 5/8” x 7 3/8”. Metropolitan Museum of Art, New York.

Figure 23-6 ALBRECHT DÜRER, Four Apostles, 1526 Figure 23-6 ALBRECHT DÜRER, Four Apostles, 1526. Oil on wood, each panel 7’ 1” x 2’ 6”. Alte Pinakothek, Munich.

Figure 23-8 ALBRECHT ALTDORFER, The Battle of Issus, 1529 Figure 23-8 ALBRECHT ALTDORFER, The Battle of Issus, 1529. Oil on wood, 5’ 2 1/4” x 3’ 11 1/4”. Alte Pinakothek, Munich.

Figure 23-9 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533 Figure 23-9 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on wood, approx. 6’ 8” x 6’ 9 1/2”. National Gallery, London.