1. Gardner’s Art Through the Ages,
14e
Chapter 18
High Renaissance and Mannerism in Northern
Europe and Spain
and
Chapter 19
The Baroque in Italy and Spain
1

2. Europe in the 16th Century
Duchy of Burgundy
2

3. Protestant Reformation
Martin Luther
3

4. Figure 18-3 HANS BALDUNG GRIEN, Witches’
Sabbath, 1510. Chiaroscuro woodcut, 1’ 2 7/8” X 10
¼”. British Museum, London.
4

5. 18-3A HANS BALDUNG GRIEN, Death and the
Maiden, 1509–1511. Oil on wood, 1’ 3 3/4" X 1’
3/4”. Kunsthistorisches Museum, Vienna.
5

6. 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
6

7. Figure 18-4A ALBRECHT DÜRER, Great
Piece of Turf, 1503. Watercolor, 1’ 3/4” x 1’
3/8”. Albertina, Vienna.
7

8. 18-4 ALBRECHT DÜRER, Self-Portrait, 1500. Oil on wood, 2’ 2 1/4” X 1’ 7 1/4”. Alte Pinakothek, Munich.
8

9. Figure 18-5 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).
9

10. 18-6 ALBRECHT DÜRER, Melencolia I, 1514. Engraving, 9 3/8” X 7 1/2". Victoria & Albert Museum, London.
10

11. Figure 18-7 ALBRECHT DÜRER, Four
Apostles, 1526. Oil on wood, each panel 7’ 1” x
2’ 6”. Alte Pinakothek, Munich.
11

12. 18.2 Protestant Reformation
• Understand the consequences of the Protestant Reformation
and the Catholic Counter-Reformation
• Observe how Protestantism affected the role and imagery of
art
12

13. 18-11A HANS HOLBEIN THE YOUNGER, Henry VIII, 1540. Oil on wood, 2’ 8 1/2” X 2’ 5 1/2". Galleria Nazionale d’Arte
Antica, Rome.
13

14. Figure 18-11 HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on wood, approx. 6’
8” x 6’ 9 1/2”. National Gallery, London.
14

15. 15

16. 16

17. 17

18. 18.4 Art in the Netherlands during the 16th
Century
• Understand Dutch culture and artistic styles
• Identify representative Dutch artists from the 16th century
• Recognize and cite artistic terminology from this period
18

19. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
19

20. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
20

21. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
21

22. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
22

23. Figure 18-1 HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510. Oil on wood, center panel 7’ 2
5/8” X 6’ 4 ¾”, each wing 7’ 2 5/8” X 3’ 2 ¼”. Museo del Prado, Madrid.
23

24. Figure 18-16 QUINTEN MASSYS, Money-Changer and His Wife, 1514. Oil on wood, 2’ 3 3/4” x 2’ 2 3/8”. Louvre, Paris.
24

25. Figure 18-17 PIETER AERTSEN, Butcher’s Stall, 1551. Oil on wood, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art
Collection, Uppsala.
25

26. Figure 18-21 PIETER BRUEGEL THE ELDER, Netherlandish Proverbs, 1559. Oil on wood, 3’ 10” x 5’ 4 1/8”.
Gemäldegalerie, Staatliche Museen, Berlin.
26

27. The Blind Leading the Blind
27

28. Figure 18-22 PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on wood, approx. 3’ 10 1/8” x 5’ 3 3/4”.
Kunsthistorisches Museum, Vienna.
28

29. Studied under Titian
Figure 18-25 EL GRECO, The Burial of
Count Orgaz, 1586. Oil on canvas, 16’ x 12’.
Santo Tomé, Toledo.
29

30. Paul Cezanne
18-26 EL GRECO, View of Toledo, ca. 1610. Oil on canvas, 3’ 11 3/4" X 3’ 6 3/4". Metropolitan Museum of Art, New York
(H.O. Havemeyer Collection. Bequest of Mrs. H.O. Havemeyer, 1929).
30

31. Europe in the 17th Century
31

32. Baroque -
• Barroco – Portuguese word meaning an irregularly shaped pearl
• Roman Catholic Reformation vs. Protestant Reformation of the
17th century
32

33. Baroque Art
• Renaissance – artists reveled in the precise, orderly
rationality of classical models
• Baroque – artists embraced dynamism, theatricality, and
elaborate ornamentation, all used to spectacular effect, often
an a grandiose scale
33

34. Figure 19-2 CARLO MADERNO, facade of
Santa Susanna, Rome, Italy, 1597–1603.
34

35. Figure 19-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
35

37. Figure 19-4 Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO
BERNINI, 1656-1667.
37

38. The four rivers
Danube (Europe)
Nile (Africa)
Ganges (Asia)
Plata (Americas)
19-1 GIANLORENZO BERNINI, Fountain of the Four Rivers, Piazza Navona, Rome, Italy, 1648–1651. Travertine and
marble figures, granite obelisk.
38

39. 39

40. 40

41. 41

42. Figure 19-5 GIANLORENZO BERNINI,
baldacchino, Saint Peter’s, Vatican City,
Rome, Italy, 1624–1633. Gilded bronze,
100’ high.
42

43. Figure 19-6 GIANLORENZO BERNINI, David, 1623.
Marble, 5’ 7” high. Galleria Borghese, Rome.
43

44. Figure 19-8 GIANLORENZO
BERNINI, interior of the Cornaro
Chapel, Santa Maria della vittoria, Rome,
Italy, 1645-1652.
44

45. Figure 19-7 GIANLORENZO BERNINI, Ecstasy of
Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria,
Rome, Italy, 1645–1652. Marble, height of group 11’
6”.
45

46. Figure 19-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili,
Rome.
46

47. Quadro Riportato is the
Italian phrase for "carried
picture". It is used in art to
describe gold-framed easel
paintings or framed paintings
that are seen in a normal
perspective and painted into
a fresco.
Figure 19-16 ANNIBALE
CARRACCI, Loves of the Gods, ceiling
frescoes in the gallery, Palazzo
Farnese, Rome, Italy, 1597–1601.
47

48. Figure 19-18 CARAVAGGIO, Conversion of
Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”.
Cerasi Chapel, Santa Maria del Popolo, Rome.
48

49. Figure 19-17 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel,
San Luigi dei Francesi, Rome
49

50. Figure 19-18A CARAVAGGIO, Entombment, from the
chapel of Pietro Vittrice, Santa Maria in Vallicella,
Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7
15/16”. Musei Vaticani, Rome.
50

51. Figure 19-22 PIETRO DA CORTONA, Triumph of the
Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini,
Rome, Italy, 1633–1639.
51

52. HIS -
Greek capitals
ΙΗΣΟΥΣ, or
ΙΗϹΟΥ Ϲ
Figure 19-23 GIOVANNI BATTISTA GAULLI,
Triumph of the Name of Jesus, ceiling fresco with stucco
figures in the nave vault of Il Gesù, Rome, Italy, 52

53. Figure 19-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy,
1691–1694.
53

54. 54

55. Figure 19-27 FRANCISCO DE
ZURBARÁN, Saint Serapion, 1628. Oil
on canvas, 3’ 11 1/2” x 3’ 4 3/4”.
Wadsworth Atheneum, Hartford (The
Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund).
55

56. Figure 19-28 DIEGO VELÁZQUEZ, Water
Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5
1/2” x 2’ 7 1/2”. Victoria & Albert Museum,
London.
56

57. 19-28A DIEGO VELÁZQUEZ, Christ on the Cross, from the Convent of San Plácido, Madrid, Spain, ca. 1631–1632. Oil on
canvas, 8’ 1 5/8” X 5’ 6 1/2". Museo del Prado, Madrid.
57

58. Figure 19-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado,
Madrid.
58

59. Figure 19-30 DIEGO VELÁZQUEZ,
Las Meninas (The Maids of Honor), 1656. Oil
on canvas, approx. 10’ 5” x 9’. Museo del
Prado, Madrid.
59