World off art 8th edtion by henry m sayre chapter 18

WORLD OF ART EIGHTH EDITION CHAPTER 18 The Renaissance through the Baroque World of Art, Eighth Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All rights reserved Learning Objectives of Explain how humanism informs the art of both the Early and High Renaissance Discuss some of the ways that the encounter with other cultures impacted the long-established artistic traditions of China and Japan, the Americas, and Africa Learning Objectives of Describe how the Mannerist style is different from that of the High Renaissance Define the Baroque as it manifests itself in both art and architecture Introduction • Between about 1400 to 1500, Western Europe experienced a rebirth, or Renaissance, of Classical values • By the time of the illumination for Les Très Riches Heures du Duc de Berry, human beings are represented as casting shadows and the setting portrays some perspectival accuracy The Limbourg Brothers, October, from Les Très Riches Heures du Duc de Berry 1413–16 Manuscript illumination Musée Condé, Chantilly, France Photo © RMN-Grand Palais (domaine de Chantilly)/René-Gabriel Ojéda [Fig 18-1] Renaissance • The Black Death arrived in Sicily around 1348 and quickly spread north  Since it was carried by rats, no population was safe • Following this, feudal rule gave way to centralized forms of government • An influx of workers to the city led to more manufacture and trade as well as a growing intellectual class The Early Renaissance of • Humanism was a belief in the unique value of each person conceived by Petrarch in the 1330s • Donatello's David was the first life-size nude sculpture since antiquity  Rendered in contrapposto as in Classical posing, the subject seems to be selfadmiring Donatello, David ca 1425–30 Bronze, height 5' 2-1/4" Museo Nazionale del Bargello, Florence © Studio Fotografico Quattrone, Florence [Fig 18-2] The Early Renaissance of • Filippo Brunelleschi developed a system of geometric, linear perspective • Painter Masaccio incorporated what he learned from Brunelleschi and Donatello to create works such as The Tribute Money  Figures are modeled with a kind of chiaroscuro and have more realistic weight, and perspective is one-point Masaccio, The Tribute Money ca 1427 Fresco Brancacci Chapel, Santa Maria del Carmine, Florence © Studio Fotografico Quattrone, Florence [Fig 18-3] Francesco Borromini, Facade, San Carlo alle Quattro Fontane, Rome 1665–67 © 2015 Photo Scala, Florence [Fig 18-31] The Baroque of • Bernini's Cornaro Chapel is, however, a dramatic space featuring the ecstasy of St Theresa  A hidden window bathes figures in a white light • Elaborate Baroque churches were soon constructed in Germany and Austria Gianlorenzo Bernini, The Cornaro Family in a Theater Box 1647–52 Marble, life-size Cornaro Chapel, Santa Maria della Vittoria, Rome © 2015 Photo Scala, Florence/Fondo Edifici di Culto - Min dell'Interno [Fig 18-32] Gianlorenzo Bernini, The Ecstasy of St Theresa 1647–52 Marble, life-size Cornaro Chapel, Santa Maria della Vittoria, Rome Canali Photobank, Milan, Italy [Fig 18-33] The Baroque of • Painter Caravaggio opposed grand masters of Renaissance style and created a naturalistic, secularized style of his own  The Calling of St Matthew obscures the figure of Christ on the right, painting a faint halo amidst a high contrast of light and dark Caravaggio, The Calling of St Matthew ca 1599–1602 Oil on canvas, 11' 1" × 11' 5" Contarelli Chapel, San Luigi dei Francesci, Rome Canali Photobank, Milan, Italy [Fig 18-34] The Baroque of • Rembrandt used light to emotional effect, particularly in Resurrection of Christ • In northern Europe, works with secular subject matter became popular • In Spain, Diego Velásquez dominated painting with a style of realism Rembrandt van Rijn, The Resurrection of Christ ca 1635–39 Oil on canvas, 36-1/4 ì 26-3/8" Alte Pinakothek, Munich â Blauel/Gnamm - ARTOTHEK [Fig 18-35] The Baroque of • Landscape with Flight into Egypt by Annibale Carracci features characters thrust into a civilized Italian setting rather than an Egyptian one • Claude Lorrain produced idyllic landscapes with atmospheric perspective, such as Pastoral Landscape Annibale Carracci, Landscape with Flight into Egypt ca 1603 Oil on canvas, 4' 1/4 × 8' 2-1/2" Galleria Doria Pamphilj, Rome Canali Photobank, Milan, Italy [Fig 18-36] Claude, A Pastoral Landscape ca 1650 Oil on copper, 15-1/2 × 21" Yale University Art Gallery, New Haven Bequest of Leo C Hanna, 1959.47 Image courtesy of Yale University Art Gallery [Fig 18-37] The Baroque of • Jacob van Ruisdael's View of Haarlem from the Dunes at Overveen features a view of the sky against a large church in the distance • Landscape painters felt that the majesty of God's work could be seen in the landscape, and panoramic views were popularized Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen ca 1670 Oil on canvas, 22 × 24-3/8" Royal Cabinet of Painting, Mauritshuis, The Hague © 2015 Photo Scala, Florence [Fig 18-38] Thinking Back of Explain how humanism informs the art of both the Early and High Renaissance Discuss some of the ways that the encounter with other cultures impacted the long-established artistic traditions of China and Japan, the Americas, and Africa Thinking Back of Describe how the Mannerist style is different from that of the High Renaissance Define the Baroque as it manifests itself in both art and architecture ... of Explain how humanism informs the art of both the Early and High Renaissance Discuss some of the ways that the encounter with other cultures impacted the long-established artistic traditions... October, from Les Très Riches Heures du Duc de Berry 1413–16 Manuscript illumination Musée Condé, Chantilly, France Photo © RMN-Grand Palais (domaine de Chantilly)/René-Gabriel Ojéda [Fig 18- 1] Renaissance... female below him Rogier van der Weyden, The Deposition ca 1435–38 Oil on wood, 7' 1-5/8" × 8' 7-1/8" Museo Nacional del Prado, Madrid © 2015 Image copyright Museo Nacional del Prado © Photo MNP/Scala,