Popin’ ain’t easy, man. –Henry VIII –John Calvin –Ulrich Zwingli –Charles V Peace of Augsburg What be happenin’ in da world?
Altarpiece of the Holy Blood Tilman Riemenschneider Center Last Supper Tallest figure is 33” Overall 29’6”
HIGH GERMAN RENAISSANCE Albrecht Durer Hans Holbein the Younger Matthias Grunewald
HIGH GERMAN RENAISSANCE LUCAS CRANACH THE ELDER, Allegory of Law and Grace, ca Woodcut.
HIGH GERMAN RENAISSANCE LUCAS CRANACH THE ELDER, Nymph of the Spring, ca Oil on Panel.
HIGH GERMAN RENAISSANCE
Matthias Grunewald Isenheim Altarpiece, 1515, oil on wood
HIGH GERMAN RENAISSANCE Matthias Grunewald, The Crucifixion, 1515 Panel from the Isenheim altarpiece: oil on wood.
HIGH GERMAN RENAISSANCE Details of Christ from Isenheim
HIGH GERMAN RENAISSANCE Matthias Grunewald The Temptation of Saint Anthony 1515 Panel from the Isenheim altarpiece: oil on wood
HIGH GERMAN RENAISSANCE Matthias Grunewald, Isenheim Altarpiece.
HIGH GERMAN RENAISSANCE Matthias Grunewald, Isenheim Altarpiece.
HIGH GERMAN RENAISSANCE Matthias Grunewald, Isenheim Altarpiece.
HIGH GERMAN RENAISSANCE Matthias Grunewald, Isenheim Altarpiece.
HIGH GERMAN RENAISSANCE Hans Holbein the Younger German Merchant, 1532, Oil on Wood. During the Reformation, many artists chose secular portraits over Church pieces as a way to make a living Hans Holbein the Younger
HIGH GERMAN RENAISSANCE Hans Holbein the Younger The (French) Ambassadors, Oil on Wood. Although a German-born artist who spent much time in England, Holbein displayed the influence of Early Northern painters in this work. What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: as Van Eyck and the Master of Flemalle used extensive imagery to link their subjects to divinity, Holbein used symbols to link his figures to the age of exploration. Hans Holbein the Younger
HIGH GERMAN RENAISSANCE The most notable and famous of Holbein's symbols in the work, however, is the skewed skull which is placed in the bottom centre of the composition. The skull, rendered in anamorphic perspective, another invention of the Early Renaissance, is meant to be a visual puzzle as the viewer must approach the painting nearly from the side to see the form morph into an accurate rendering of a human skull. While the skull is evidently intended as a vanitas or memento mori, it is unclear why Holbein gave it such prominence in this painting. View of skull from an angle… Hans Holbein the Younger
HIGH GERMAN RENAISSANCE Hans Holbein the Younger The (French) Ambassadors, Oil on Wood. Hans Holbein the Younger
HIGH GERMAN RENAISSANCE Hans Holbein the Younger Henry VIII (King of England), 1540 Oil on Wood. Hans Holbein the Younger
HIGH GERMAN RENAISSANCE Albrecht Durer, Self-Portrait, c1500. Albrecht Durer
HIGH GERMAN RENAISSANCE Albrecht Durer, Four Apostles, HIGH GERMAN RENAISSANCE Albrecht Durer
HIGH GERMAN RENAISSANCE Sanguine A person who is sanguine is generally light-hearted, funloving, a people person, loves to entertain, spontaneous, and confident. However they can be arrogant, cocky, and indulgent. He/She can be day-dreamy and off-task to the point of not accomplishing anything and can be impulsive, possibly acting on whims in an unpredictable fashion. The humour of Sanguine was once commonly treated with leeches. Choleric A person who is choleric is a doer. They have a lot of ambition, energy, and passion, and try to instill it in others. They can dominate people of other temperaments, especially phlegmatic types. Many great charismatic military and political figures were cholerics. On the negative side, they are easily angered or bad-tempered. Melancholic A person who is a thoughtful ponderer has a melancholic disposition. Often very kind and considerate, melancholics can be highly creative – as in poetry and art - but also can become overly pre-occupied with the tragedy and cruelty in the world, thus becoming depressed. A melancholic is also often a perfectionist, being very particular about what they want and how they want it in some cases. This often results in being dissatisfied with one's own artistic or creative works and always pointing out to themselves what could and should be improved. They are often loners and most times choose to stay alone and reflect. Phlegmatic While phlegmatic are generally self-content and kind, their shy personality can often inhibit enthusiasm in others and make themselves lazy and resistant to change. They are very consistent, relaxed, rational, curious, and observant, making them good administrators and diplomats. Like the sanguine personality, the phlegmatic has many friends. However the phlegmatic is more reliable and compassionate; these characteristics typically make the phlegmatic a more dependable friend. Phlegmatics along with the other 3 temperaments should be looked at not just his psychological statements but in view of physiology and how they would relate to attention deficit disorders, dyslexia, etc. The four temperament types
HIGH GERMAN RENAISSANCE Albrecht Durer
HIGH GERMAN RENAISSANCE Albrecht Durer Four Horsemen of the Apocolypse, Woodcut, Albrecht Durer
HIGH GERMAN RENAISSANCE Albrecht Durer Adam And Eve, Engraving, Albrecht Durer
Guess the German / Northern Renaissance Artist…
Rogier Van Der Weyden Portrait of a Lady 1460 EARLY NORTHERN RENAISSANCE
Albrecht Durer Self-Portrait, c1500. HIGH GERMAN RENAISSANCE
Jan Van Eyck Giovanni Arnolfini and His Bride 1434 EARLY NORTHERN RENAISSANCE
Robert Campin, Merode Altarpiece (open), 1425 EARLY NORTHERN RENAISSANCE
Matthias Grunewald The Crucifixion 1515 HIGH GERMAN RENAISSANCE
Petrus Christus A Goldsmith in His Shop, 1449 EARLY NORTHERN RENAISSANCE
Jan Van Eyck, Ghent Altarpiece (closed), 1432, Saint Bavo Cathedral, Ghent, Belgium EARLY NORTHERN RENAISSANCE 33
Albrecht Durer Adam And Eve, Engraving, HIGH GERMAN RENAISSANCE
Jan Van Eyck The Annunciation c1435 Oil on wood EARLY NORTHERN RENAISSANCE
Hans Holbein the Younger German Merchant, 1532, Oil on Wood. HIGH GERMAN RENIASSANCE
Albrecht Durer Melancholia I, Engraving, HIGH GERMAN RENAISSANCE