1. Warm-up 4-22-15 Ch 25 L3 North Baroque Respond to the following: 1.What time period and region is each work from? 2.Give specific visual evidence and references to any other artworks to make your claim. Obj: SWBAT describe Peter Paul Rubens’ international style of painting Homework Due Today: Ch 26 & 27 Cue Cards

2. Naturalism Excessive details rich light & shadow Individualized textures--wood grain, drapery, rich textures Posed figures Domestic interior? Northern Renaissance

3. 3 Naturalism, Chiaroscuro Tenebrism—sharply lit scene Like stage production Drama, mid-action Heroic powerful bodies Italian Baroque, Like Caravaggio

4. Office Hours Tuesday 3:00-4:00 Thursday 3:00-4:00 Office Hours Tuesday 3:00-4:00 Thursday 3:00-4:00 Due Today: Chapter 26 & 27 Cue Cards PAST DUE: Ch 25 Cue Cards Ch 24 Cue Cards (23 Cards) Ch 23 Cue Cards—15 total Homework: All Remaining Cue Cards: Ch 28, 29, 30, 31 Future Due Dates: Mon 4/27: Ch 27 Cue Cards Wed 4/29: Ch 28 Cue Cards Fri 5/1: Ch 29 Cue Cards Mon 5/4: Final Exam

5. AP Parent Night After School Today Ch 27 Cue Cards Due Ch 28 Cue Cards Due Ch 29 Cue Cards Due Saturday Mock Test session The TEST!! 12pm Ch 30 Cue Cards Due After School

6. Start memorizing these dates!!

7. 1. What historical factors account for the large demand for secular artworks, including genre scenes, still lifes, portraits and landscapes in the Dutch Republic in the 17 th century? 2. How does Gerrit van Honthorst’s “Supper Party” represent middle class patronage? 3. Describe Rembrandt’s innovation in rendering light, in both paintings and in prints. 4. Describe Jan Vermeer’s style and subject matter. What is camera obscura? How did Vermeer use camera obscura? H OMEWORK D UE W ED 4-22-15

8. 17 TH C EN (1600 S ) B AROQUE IN E UROPE

9. Baroque Essentials (South & North) Complex—narrative/artistic skill Still Life—inanimate objects Moral Symbolism—vanitas, portraits Grand Scale—architecture, sculpture Ornamentation Light—dramatic lighting Drama—climatic moments

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11. 11 Peter Paul Rubens Elevation of the Cross – Flanders (Catholic) 3. In terms of style, What’s Italian Renaissance or Baroque? 4. In terms of style, What’s Northern?

12. 12 Peter Paul Rubens Elevation of the Cross – Flanders (Catholic) 3. In terms of style, What’s Italian Renaissance or Baroque? Diagonals, dynamic comp., intense emotion, action and light of Caravaggio Twisting poses, muscular bodies heroicism like…Michelangelo’s Sistine Chapel, classical drapery 4. In terms of style, What’s Northern? Rich colors, surface textures and details

13. 13 Exit Slip: Describe Peter Paul Ruben’s “Pan- European” or “international” style.

14. 14 Figure 24-36 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris. Peter Paul Rubens Marie de’ Medici (widow of King Henry IV) commissioned Rubens to paint the story of her life Narrative: her arrival in France Use of allegory (of France) “fleur-de-lis-man”, winged “fame” above, Sea and sky rejoice at her safe arrival from Italy Soft, rich muted colors, varied textures and forms =richness of aristocratic taste GLORIFIES the patron

15. 15 Flemish Baroque : Peter Paul Rubens Triumph of the RUBENESQUE Female!

16. 1. What historical factors account for the large demand for secular artworks, including genre scenes, still lifes, portraits and landscapes in the Dutch Republic in the 17 th century? still life images--Calvinist beliefs—more demand for symbolic, no overt religious images, Dutch achievements of their travels, scientific accuracy of painting Portraits--Wealthier middle class, since of power & individualism Landscapes—Dutch took back land from Spain, Dutch Pride--had relationships with the land, most Dutch families were farmers H OMEWORK D UE W ED 4-22-15

17. 2. How does Gerrit van Honthorst’s “Supper Party” represent middle class patronage? Setting Figures Narrative Fashion H OMEWORK D UE W ED 4-22-15

18. 3. Describe Rembrandt’s innovation in rendering light, in both paintings and in prints. Master of light and shadow Dramatic lighting but creates LESS abrupt and harsh/sharp lighting He discovered GRADATIONS of light—SOFTER, value scale (slow light to dark) Focused on IDEA of light—manipulated lighting direction, intensity and distance “Visual quietness”, tranquil meditation What else about Rembrandt? Portrayed biblical stories of inward- contemplation Lets light tell a story Veiling certain people, highlighting others Dark backgrounds Self-portraits—artists craft, quiet meditation

19. 4. Describe Jan Vermeer’s style and subject matter. What is camera obscura? How did Vermeer use camera obscura? Interior scenes--Household tasks or leisure Private lives of prosperous, responsible and cultured citizens Highly idealized depictions of social values Woman holding a Balance (Judgment Day) Veiled women in fur trimmed jacket with Jewels spread on table Scales in perfect balance--balancing of sins with virtuous behavior Last judgment artwork behind woman—she contemplates her life

20. 4. What is camera obscura? How did Vermeer use camera obscura? Light from an external scene passes through the hole and strikes a surface inside, where it is reproduced, rotated 180 degrees (thus upside-down), but with color and perspective preserved.

21. 4. How did Vermeer use camera obscura? Incredibly accurate illusionary image, optical truth He reworked the camera obscura image, placing figures and furniture in quadrilateral shapes Impressions of “out of focus” parts of image—like a modern camera could create

22. Frans Hals Dutch Republic 22 Technique: Impasto - heavy application of paint like Velazquez – painted with bold strokes of paint, not outlines Specialized in portraits, especially group portraits of civic groups Arrangement of figures in his paintings shows social status (sitting vs. standing) (relaxed vs. authoritarian)

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25. Rembrandt Dutch Republic 25 believed that light creates a character and a mood. Light brushstrokes. Influenced by Hals & Caravaggio (naturalism, drama, tenebrism). New Type of Lighting!!

26. Rembrandt Dutch Republic lighting 26 Rembrandt lighting: Single light source Soft shadows, like a reflector was used

27. 27Figure 24-44 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, Dutch Republic: Rembrandt, Anatomy Lesson of Dr. Tulp: Patron: commissioned by surgeon’s guild. Function: Group portrait (like Hals), but now a dramatic, narrative scene Composition of diagonals--Corpse is the “leading line” action scene of doctors doing what they do Dark dramatic lighting = tenebrism CFU 2. How does this work present Dutch achievement? 3. How is the work different from Italian Baroque (Caravaggio)?

28. 28Figure 24-44 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas,

29. 29 OG title: The Shooting Company of Frans Banning Cocq NIGHT WATCH – for Banquet Room of Musketeers’ Hall LIVELY militia group getting ready for a parade Captain gestures to his lieutenant while men load muskets Girl w/ chicken… Mascot?? Dead Chicken= defeated adversaries

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31. 31 Figure 24-47 REMBRANDT VAN RIJN, Self- Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. The Iveagh Bequest, Kenwood House, London. Dutch Republic: Rembrandt Deaths of his mother and wife left emotional void Began painting introspective self- portraits, express mood Self-Portrait: Rough edges Psychological tension Penetrating gazes

32. 32 JUDITH LEYSTER, Self-Portrait FEMALE PAINTER !!!! Presentation piece for her Guild Impasto brushwork influenced by Hals (whom she knew) Influenced by Caravaggio’s realism: Large figure pressed into the foreground, tenebrism Known for LIGHT and TEXTURE Typically painted scenes of daily life w/ moral theme WHAT IS SHE TELLING US? She’s secure in her craft/skill Turns comfortably to chat with us, while engaged in her work Well-to-do, “fine” clothing, elegant chair tells us that she is a successful, capable artist

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