25.+Northern+Baroque+Art

Flanders, Netherlands (c. 1600-1700) England, France and Austria ** CONTEXT: ** History: 17th Century in Northern Europe
 * NORTHERN BAROQUE ART **

Flanders remains Catholic/ Holland is Protestant || With the Treaty of Westphalia in 1648 grants religous freedom everywhere in Europe which mitigates the Protestant and Catholic problems. At this time, there is economic explosion which results from a great deal of universal trade which bring in luxurious goods from the east, rice sugar and tea; all which are dependant on the slave trade. || Consequences of War Elevation of the Cross =Sidenote...= He understood the importance of ceremony and he came to visualize the important events of his time, portraying them in the Baroque style.[|Arrival of Marie de Medici at Marseilles] was a painting of her arrival in france, and it was painted because she was a major patron of Ruban. There is a lot of joy in this painting. A lot of allegory: she is being greeted by an aligorical figure of France. The entire painting is in Northern Baroque style with a lot of swirlng movement and soft colors. He did not like war which is evident in his painting //[|Consequences of War.]// It shows Mars, the God of War, holding a bloody sword and being chased and hindered by Venus, goddess of Love, who doesn't want him to reak havoc on the city. The women and children are being trampled and there are monsters in the background showing how monsterous war really is. The guy on the bottom right is in the same position as a Carravagio painting about Saint Paul. The diagonal is like Tinteretto's //Last Supper// and the people look like Michelangelos people. || 1625 1639 1610 || The Burial of Phocion || 1655 1648 || Night Watch Return of the Prodigal Son Self-Portrait || 1642 1642 1665 1660 || Eglise du Dome || 1680 1700 ||
 * 1566 || Revolt of the Netherlands against Spanish rule begun – split:
 * 1600> || Politically and economically, Spain controlled all major Italian regions and the “ low countries” of the Netherlands ||
 * 1601 || Holland and Flanders given independence from Spain. Thirty Years war ends. Netherlands independence 1648
 * 1648 || Various Royal Academies ( architecture, painting, science, arts and letters, etc. ) established in England and France ||
 * WORKS OF ART **
 * Painting: //Aristocratic// Baroque **
 * ** Rigaud ** || Louis XIV || 1700 ||
 * ** Rubens ** || Maria de Medici cycle, Louvre
 * __Rubens__**: a Flemish baroque painter. He brought together a synthesis of Renaissance masters and the Italian Boroque masters Carravagio and Carraci. He was also an aristocrat and diplomatic, easily associated with princes and princesses. He was the court painter for the Duke of Mantua, CHarles I of England, Marie de MEdici of France and a friend to the King of Spain. When he returned from Itlaly, he painted the //[|Elevation of the Cross]//, which is a tryptich (three panels) and shows his emulation of Renaissance artists.There are strong diagonals balanced by a counter-diagonal which keeps the painting in balance. Christ is beseeching his father to get rid of the pain, and all of the people elevating the cross are muscular and tense. He is modeling the figures much more brightly, no tenebrism, and everything is dramatic and illuminated. He uses foreshorening in the anatomy. Many of the lessons that were learned from Renaissance and Baroque masters have been employed in this painting.
 * ** Van Dyck ** || Charles I Dismounted
 * __Anthony Van Dyck:__** He was an apprentice to Rubens but he wanted to make his own name so he became the painter for Charles I. He painted //Charles I Dismounted// is a painting that he created for the king. He is placed on the left, which was strange, but he is looking down on us which makes him seem more important and taller. || 1635 ||
 * ** Poussin ** || Et in Arcadia Ego: minimized the action ... the woman is athletic (perhaps a Nike or Athena?). Emphasizes mortality of people other than god. This is a classical image, rather than a supremely religous one.
 * Painting: //Bourgeois// Baroque **
 * ** Rembrandt ** || Dr. Tulp’s Anatomy Lesson
 * ** Hals ** || The Women Regents of the Old Men’s Home at Haarlem || 1664 ||
 * ** Leyster ** || Self-Portrait || 1630 ||
 * ** Vermeer ** || The Letter || 1666 ||
 * ** Steen ** || Feast of Saint Nicholas || 1665 ||
 * ** Ruysch ** || Flower Still Life || 1700> ||
 * ** Lorrain ** || Landscape with Cattle and Peasants || 1629 ||
 * Architecture: //Aristocratic// Baroque **
 * ** Perrault, Le Vau ** || East front of the Louvre || 1670 ||
 * ** Mansart and leBrun ** || Versailles
 * ** Inigo Jones ** || Banqueting House at Whitehall || 1622 ||
 * ** Wren ** || St. Paul’s Cathedral || 1675 ||
 * Sculpture **
 * ** Girardon and Regnaudin ** || Apollo attended by the Nymphs || ** 1670 ** ||
 * VOCABULARY **
 * Impasto || Glazes || Camera obscura ||
 * academies || Psychology of light || Vanitas ||
 * Momento mori || monochromatic || ||
 * CONCEPTS related to NORTHERN BAROQUE ART: **
 * ** 1. ** || List the reasons for Amsterdam’s unique position as a center of commerce and the arts in the 17th century. ||
 * ** 2. ** || What are the essential differences between Southern Baroque art and Northern Baroque painting? ||
 * ** 3. ** || List the general characteristics of Northern Baroque painting. ||
 * ** 4. ** || What is the significance and symbolism of Dutch landscape painting, and Dutch still life to the culture? ||
 * ** 5. ** || Explain the different use (depictions) of light by Rembrandt, Vermeer, de la Tour and van Honthorst. ||
 * ** 6. ** || Explain “Baroque Classicism” as it relates to Perrault and Le Vau and Poussain. ||
 * ** 7. ** || What is the significance of Versailles and why is it an essential Northern Baroque masterpiece? ||