Romanticism

Baron Antoine-Jean Gros (1804 A.D.)

Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa

Oil on canvas

  This romanticized depiction of Napoleon's visit to plague victims in Jaffa is typical of the period's devotion to classical works and biblical symbolism. Napoleon reaches out in a Christ-like manner--that of miraculous healing--to touch the wounds of one sufferer while others lay contorted, stretched upon the floor. Gros includes a sick man propped up close to Napoleon as another depiction of Christ, reminiscent of classical renderings from crucifixion scenes. The placement of classical architecture--such as the Egyptian style arch in the left portion of the piece--is a notable element of the Romantic style of painting. Gros' use of rich color palettes and soft brush strokes are utilized by many of his contemporary Romanticists as well.

Enlightenment style

John Singleton Copley (1768-1770 A.D.)

Portrait of Paul Revere

Oil on canvas

  Copley demonstrates his skill in portraiture with this lifelike depiction of Revere at work as a silversmith. Great attention to minute detail, such as the reflection on the tabletop and texture of clothes, exemplifies his work. Like his contemporary Joseph Wright of Derby, Copley utilized a dark shadowy background to highlight the subject, who seemed bathed in a soft, natural light. This use of sharp focus and relaxed subjects is typical of the Enlightenment style during the 18th century.

Rococo style

Antoine Watteau (1717 A.D.)

Pilgrimage to Cythera

Oil on canvas

    Watteu is known as one of the leading French artists of the Rococo period. He is recognized as the creator of a type of painting known as the fete galante (amorous festival) of which this piece exemplifies. The fete galante is characterized by the outdoor festivities or entertainment of noble individuals and members of high-society. Watteu was also influenced by the bright, prominent use of color associated with Rubens' works. He was influential in establishing Rococo as a prominent style during the 18th century, and worked for many wealthy patrons of the time. Like other works of the Rococo period Pilgrimage to Cythera features elaborate decorations and presents a cheery, picturesque scene.

Northern Baroque Art Pt. 2

Peter Claesz (1630s A.D.)

Vanitas Still Life

Oil on panel

  Claesz's Vanitas Still Life is a prime example of the symbolism which Baroque artists sought to subtly include in their works. The exposed time piece--which scientifically details the inner workings of the item, the cracked nut, tipped glass, and skull are all symbols of life's temporality. Claesz displays his mastery of perception by including himself and the interior of the room as a reflection in the convex ball on the table.

Northern Baroque Art Pt. 1

Peter Paul Rubens (1622-1625 A.D.)

Arrival of Marie de’ Medici at Marseilles 

Oil on canvas

  This piece by Rubens captures the welcoming of Marie de' Medici to Marseilles by a congregation of people and soldiers. Neptune, his three daughters, and other figures look on from the bottom half of the piece. Rubens attempts to portray weighty, muscular figures whose skin or clothes hang and fold in realistic fashion. The cluttered and frenzied action in the piece is separated from and and surrounds the quiet regal quality of Marie de' Medici with her retainers near the center of the piece. The background is smoky and indistinct, but gives an impression of a ship's mast and rigging. The splashing characters in the foreground support the impression of a waterfront setting.

Baroque painting

Artemisia Gentileschi (1614-1620 A.D.)

Judith Slaying Holofernes

Oil on canvas

  Artemisia Gentileschi was one of the most renowned female artists of the Baroque era. She was the daughter of Orazio Gentileschi, another well known Baroque painter, and both were heavily influenced by the realistic naturalism and drama of Caravaggio's work. Artemisia eventually became court painter for Charles I under the patronage of the powerful Medici family. In this painting, Artemisia utilizes the characteristic chiaroscuro technique along with dramatic lighting to highlight the figures depicted. The dark subject matter--another trait of Caravaggio's work, depicts a biblical scene in which Judith and her handmaiden cut the throat of the Assyrian general Holofernes. The spurting blood and strained postures, or expressions, depict a starkly realistic struggle between the figures.

Baroque sculpture

Gianlorenzo Bernini (1623 A.D.)

David

Marble

  Bernini was a master of both architecture and sculpture in the 17th century. In the words of Filippo Baldinucci, "He gave his works a marvelous softness . . . making the marble, so to say, flexible." This is apparent in the textural and visual distinction Bernini creates between his figure's skin, clothing, and miscellaneous items. This piece is heavily influenced by classical renditions of David, such as Michelangelo's and Donatello's, however it is distinct because of its depiction at the height of climactic action in David's battle against Goliath. Instead of standing poised for a fight, or as the arrogant victor; Bernini presents us with a violent and distracted figure of David which is distinct of the Baroque style--serving to break away from Renaissance-era ideas about restraint and modesty. With its unrestrained action and dynamic representation this piece is especially successful as a free standing piece of art.

Netherlandish Renaissance

Hieronymus Bosch (1505-1510 A.D.)

Garden of Earthly Delights

Oil on wood

  This fantastic piece predates the surrealist movement, yet seems to be an influence upon its central theme of dream-like depictions. In the left panel of this 16th century painting, Bosch presents Christ introducing Adam to Eve in an imaginary setting which may be a representation of the Garden of Eden. This scene is continued in the central panel with many figures cavorting in an equally bizarre landscape. Most of these human-like figures are depicted in pairs or groups and the abundance of fruits, animals, and sexually-suggestive objects lends credence to the idea that this piece was meant to glorify procreation. However, the right panel depicts a hellish scene of demons and sinners which may serve as a warning against the excessiveness in the central scene.

German Renaissance

Hans Baldung Grien (1510 A.D.)

Witches' Sabbath

Chiaroscuro woodcut

  This early 16th century woodcut is an example of a recent innovation in German woodcutting which required two blocks to be carved--one for use as a traditional black and white print, and another  used to create colored or shaded highlights over the print. This allowed the artist to create a chiaroscuro effect that required close attention to detail in order to both engrave and paint a particular piece. In Grien's woodcut, he successfully utilizes this technique to create visually fluid motion, especially in regards to the smoke billowing from the pot; and he is able to create a sense of texture and definition which only skilled woodcuts can maintain. The subject of witches was popular in Grien's time as Church inquisitors actively sought out heretics to be tortured and killed at the pope's behest. 

Mannerist style

 

Jacopo da Pontormo (1525-1528 A.D.)

Entombment of Christ

Oil on wood

  Although this piece depicts a scene which has been used for countless works of art, Pontormo's use of Mannerist style sets it apart from others. The vivid colors and flowing lines used to illuminate the figures and the expressions of despair create a startling contrast within the painting. The figures themselves are placed in awkward positions which seem to contort their bodies adding a sense of uncomfortable realism to figures which support Christ's body. The composition of characters around a central void is also worth noting, as only hands and garments penetrate the central space of the painting.

Rennaissance in Quattrocento Italy

Leonardo da Vinci (begun 1483 A.D.)
Madonna of the Rocks
Oil on wood

  This painting makes use of ground-breaking light and shading techniques which "immerse [the figures] in a layer of atmosphere". Leonardo visually unites the figures in his painting using pyramidal composition, with Mary at it's apex. The vivid background and foreground accurately many natural features such as a pond closest to the viwer, various flora and fauna, and a strikingly mountainous landscape which rises above the figures. The sense of depth in this piece is incredible, giving the scene a realistic feel.

Sculpture in Quattrocento Italy

Andrea del Verrocchio (1465-1470 A.D.)
David
Bronze

  Verrocchio, like Donatello, presents us with a child-like form of David. He utilized the classic contrapposto in David's pose as well as adding realism to the piece in the form of Goliath's head between his feet. The look of pride and confidence contrasts with the docile expression which Donatello's David displays. Verrocchio also chose to clothe his image of David in loose, war-like garments, as opposed to the nudity of Donatello's rendition.

Painting in Quattrocento Italy

 

Massaccio (1424-1427 A.D.)

Expulsion of Adam and Eve from Eden

Fresco

  In this work, Massacio depicts a scene in which an angel wielding a sword casts Adam and Eve out of the Garden of Eden. Their posture and facial expressions display embarrassment and despair. The background of the image is uncertain, hinting at the unknown and desolate world which they will inhabit. This fresco piece is successful in both its representation of human form and its Biblical message.

15th Century Flemish Style

Jan Van Eyck (1433 A.D.)
'Man in a Red Turban'
Oil on wood

  Van Eyck was court painter for Phillip the Good and one of the first Flemish painters to work primarily with oil paints or tempera. Eyck used them to create the soft feel and realistic visual texture which his pieces are known for. Using layers of translucent paint, Van Eyck and his contemporaries could blend colors and shade areas with an exactitude which fresco did not allow.
  This piece in particular is noted as one in which the subject of the picture looks directly back at the audience (instead of an implied focus off to one side). The directness and lack of decoration suggest to some that this may be a self-portrait of Jan Van Eyck; a claim supported by an inscribed frame which accompanies the piece. Others believe it may be a form of sample work meant to entice other nobles to commission Van Eyck's work outside of Flanders.

Commission of Holy Works

Claus Sluter (1395-1406 A.D.)
'Well of Moses' in the Chartreuse de Champmol

  This piece was commissioned by Philip the Bold as a central fountain-piece for his Carthusian monastery. Sluter paid special attention to detail and realism in his rendering of the life-like statues of prophets around the base.It originally supported a towering scene of the crucifixion; leading the monks of the monastery to dub it a "fons vitae" (living fountain) as the blood of Christ symbolically flowed from his body on the cross, down the bodies of the prophets (David, Daniel, Isaiah, Zachariah, and Jeramiah) which encircle its base, to the well below--which served as the main source of water for the monastery itself.

Roots of the Renaissance

Giotto di Bondone (1305-1306 A.D.)
'Arena Chapel' interior

  Bondone is considered the premier artist of the Italian Renaissance period. He took great care to depict realistic scenes based on human observation. The realism with which his art is associated is a key feature of the general artistic style of the Renaissance. Artists during this period sought to place the figures (mainly religious or political) of their paintings within recognizable settings while attempting to display human emotions within their works.

Influence of 13th Century Art

Nicola Pisano (1302-11 A.D.)
Marble; height: 461 cm
Cathedral, Pisa

  This marble pulpit carved by Nicola Pisano is a great example of the intricacy and detail which artists of the late 13th century attributed to their work. The pulpit is formed by individually carved slabs depicting religious scenes joined by solidly formed human or angelic figures alluding to the sturdy pillars which support the structure directly beneath this. The pillars themselves are elaborately decorated at the capital with solid bases, borrowing from both the Ionic and Corinthian style of Greco-Roman architecture.

 

  A single near-life-size figure beneath the center of the pulpit serves as a focal point and relieves some of the visual "top-heaviness" of the structure. Amidst the columns are additional carvings of figures in the forms of lions with special detail paid to their natural appearance to which Renaissance artists would note and emulate with their naturalist approach in the early 14th century.