Category: Uncategorized (Page 31 of 48)

During the Italian Baroque art period, the counter reformations was happening. The Jesuits were created to help fight the progress of the reformation. Most countries took a side in this, choosing to either declare as a catholic or protestant country. Carracci was a prominit artist of the time who founded an art school. He and this school had a problem with the lack of drawing in mannerism, so they increased the amount of it in art. Here we start to see works of art that are just drawings.

In the work Landscape with the Flight into Egypt, the emphasis on artistic renderings of the natural work art apparent. Also, the newfound appreciation for sketches combines to create many of the elements in this work. It is a Paysage Compose where the images in many different drawings are combined together into this work. It is apparent when looking at the building which is out of place in this natural setting.

Today we finally made the leap from the Renaissance to the Baroque in Italy. I think it’s interesting that the Baroque sort of distills everything that was revolutionary and praiseworthy from the Renaissance while eliminating the psychological distance between the viewer and the artwork. I appreciate the visible emotion of Baroque figures, and the emotions expressed by the dynamism and movements of figures like in Caravaggio’s The Calling of Matthew. One interesting thing about Caravaggio is that we don’t have any drawings of his. I don’t know if he was a student of Annibale Carracci’s, whose art school in Bologna hammered home the importance of drawings in response to the unproportionality and unevenness of the Mannerist period, but I would assume given Carracci’s influence on the Baroque style itself Caravaggio would also see the importance of making drawings.

Speaking of Carracci, I think his quadri riportati work is absolutely astounding. His understanding of a whole laundry list of artistic skills like grisaille, trompe-l’oeil, and of course fresco painting make his patchwork ceilings like the one in the Palazzo Farnese amazing feats.

In today’s class we wrapped up our discussion of the Northern High Renaissance with a brief discussion of Bruegel, and then started our discussion of Baroque Art, focusing primarily on Italian Baroque works and Caravaggio. We explored the use of light and dark in his works The Calling of Matthew and Judith and her Maidservant with the Head of Holofernes, two very intriguing paintings created by Caravaggio. We then closed with a discussion of Artemisia Gentileschi, a painter with a tragic background who constructed several very interesting paintings. Gentileschi did an excellent job of conveying her emotions in her work and was inspired greatly by the works of Caravaggio by using similar techniques as him in her works.

Today’s lecture delved into two distinct periods in art history: the works of Pieter Bruegel the Elder and the Italian Baroque movement. Each of these periods showcases unique characteristics and themes, providing invaluable insights into the evolution of art and societal contexts.We discussed how Pieter Bruegel the Elder’s paintings exhibit a profound harmony and attention to detail, often emphasizing moral ambiguities and societal critiques. Bruegel’s notable works, such as “The Blind Leading the Blind” (c.1568), exemplify his skills for conveying complex narratives through vivid imagery. In this piece, Bruegel employs ecclesiastical knowledge as a metaphor for spiritual blindness, drawing attention to the moral implications of leadership and guidance. Another remarkable aspect of Bruegel’s work that we spoke about was his ability to capture the essence of everyday life in works like “Harvesters” and “The Return of the Hunters.” These paintings not only showcase his keen observation of nature but also highlight societal dynamics and the interconnectedness of human existence.

We also spoke about the Italian Baroque period, characterized by its dramatic compositions, emotional intensity, and emphasis on religious themes. This period emerged as a response to the crisis within the Church and the growing influence of Protestantism, leading to a renewed fervor for religious expression. Artists like Annibale Carracci ‘s “Landscape with the Flight to Egypt” (c. 1604) demonstrates his mastery in composing intricate landscapes, with human figures serving as secondary elements within the scene. In addition to Carracci, Caravaggio paintings like “The Calling of Matthew” (1599-1600) and “Judith and her Maidservant with the Head of Holofernes” (1625) not only reflect biblical narratives but also explore themes of light, darkness, and human emotion with unparalleled depth was something that struck out for me as different from other works of the time period.

In our recent lecture, we explored the captivating works of the High Renaissance in the Northern regions of Europe, uncovering unique artistic movements and significant works that characterized this period. One figure we explored was Agnolo Bronzino, known for his Mannerist style. His “Allegory with Venus and Cupid” showcasing essential subject matters of that time, reflected the political climate of the time as it was gifted by a Medici ruler to Francis I. The intricacies of the painting, including hidden symbolism and mysterious figures, highlighted Bronzino’s characteristic feature of complexity and ambiguity in his art.

Another notable work by Bronzino was the “Portrait of Eleanora da Toledo and her son Giovanni de Medici,” which exemplified the transition from Mannerism to High Renaissance. However, Bronzino’s focus on external appearances rather than inner emotions raised questions about his interest in the psychology of art. We also discussed Albrecht Durer, whose techniques in printmaking as shown by his “Four Horsemen of the Apocalypse” and “Self Portrait.” his meticulous attention to detail and innovative approach to composition, leaving a lasting impact on the art world. Matthias Grunewald’s “Isenheim Altarpiece”  and the way it executed the emotive portrayal of Christ’s suffering made the altarpiece’s placement in a hospital and its use as a focal point for prayer a great example of the intersection of art, spirituality, and healing in that time period. Hans Holbein the Younger’s “Jean de Dinteville & Georges de Selve” intrigued me with its use of anamorphosis, reflecting the artist’s experimental approach and technical skill.

In today’s class, we discussed Italian Baroque art and highlighted the primary artist from this period, Caravaggio. Caravaggio was most famous for his use of tenebrism, which is a technique that contrasts bright lights against a dark background. This effect is meant to create a dramatic light, almost like a spotlight, on important figures in the scene. It is important to look for which figures Caravaggio chooses to place in the light versus in the shadows. Caravaggio’s Calling of Matthew is a prime example of the use of tenebrism to add drama to a scene. The scene occurring in this work shows Jesus coming into a run-down tavern to call upon Matthew, a corrupt and wealthy tax collector, to change his ways and begin following Christ. There is a cellar light above the head of Christ which illuminates Matthew and his companions. The face of Jesus is also illuminated but the rest of his body starts to fade into the shadows. An important feature of the work is Christ’s outstretched hand which mimicks the hand of Adam reaching out to God in the Sistine Chapel. This not only implies Christ as the new Adam, but he is also giving new life to Matthew just as God gave life to Adam. This is a very dramatic and stylized scene, but Caravaggio imbues the work with immense realism. The tavern setting and modern clothes of the figures allow viewers to relate and understand the scene in front of them. Like many artists, Caravaggio aims to place the viewer into the biblical scene.

In class, we wrapped up our study of the High Renaissance Period in Northern Europe. We considered works by Pieter Bruegel the Elder, including The Blind Leading the Blind. The scene shows a line of blind men leading each other into a ditch, representing a quote from the Gospel of Matthew. The placement of the figures is very thought out, creating a diagonal line from the top left to the bottom right, which pulls the viewer’s eye across the scene. Bruegel leaves a gap between figures in front of the church, placing a subtle emphasis on the presence of the church.

We then transitioned back to Italy to study Baroque art in the 16th and 17th centuries. Two major elements influenced artists during the period – the conscious reaction against Mannerism and the counterreformation. The Protestant Reformation, which began in the North, led to religious division throughout Europe. Many people abandoned their Catholic faiths for the reformed models, prompting the Counterreformation, which was launched by the Council of Trent. During the Counterreformation, the Catholic church attempted to rebrand to fight the advances of the Protestants and their reformation. Among this series of rebranding were new guidelines for representing religious subjects in art, including the Trinity, Mary, and Saints.

Today’s class marked the end of our discussion of the High Renaissance in Italy. We ended by discussing the work of Pieter Bruegel the Elder. The first piece we looked at was his blind leading the blind piece, representative of Brugel’s style of poking fun at people to show a lesson. Bruegel, initially from the Netherlands, traveled to Italy and was fascinated by the mountainous landscape in comparison to the flat land he came from so the landscape was often an important part of his artwork. This painting in particular depicts a group of blind men falling in a ditch. It represents the idea of an unsure leader and what can happen if people follow one who also does not know what they are doing. The background is a countryside scene with a church. The scene also could be representative of a statement from Christ speaking about the blind. However, Christ’s word was about spiritual blindness, not human blindness. Bruegel knew this, so the meaning of his painting could be making a statement about the church as an institution.

We then began discussing the Baroque period, defined by emotion and the counter-reformation movement. The Catholic Church was “losing business.” As a result, the Catholic Church underwent the Council of Trent from 1545 to 1563. The goal of these meetings was to fight against the advancements of Protestantism. One of the strategies developed was to use images and art to convince people to be Catholic instead of Protestant.

Although I was unable to attend class on the sixth, here are some of my reflections from the readings.

I absolutely adore Pieter Bruegel the Elder’s Hunters in the Snow, I feel the last time we’ve seen a genre scene depicting laymen like this was in Duke of Berry’s Calendar, where we saw a similar winter scene on the January page. The art style is so distincct — the outlines are so clear, sort of reminds me of The Birth of Venus (the two don’t look very similar, but the linear forms of the outlines are somewhat the same).

Caravaggio’s Calling of Matthew is such an interesting work. I love the tenebrism and chiaroscuro, as well as how Christ is not depicted in the painting, but only referenced. He brings with him this supernatural light.

I’m excited to start studying Italian Baroque art, particularly the architecture, as I know the Catholic Counter-Reformation resulted in some innovative places of worship!

In today’s class, we wrapped up our discussion on the High Renaissance in Northern Europe by studying the work of Pieter Bruegel the Elder. Bruegel, initially from the Netherlands, traveled to Italy and was fascinated by the mountainous Alps that he witnessed. Being from a very flat landscape in the Netherlands, Bruegel made sculptures of mountains in the Alps, as he was intrigued by the hilly landscape. Bruegel’s works often poke fun at people and this is exactly what his “The Blind Leading the Blind” artwork did. The painting depicts a bunch of blind guys who are in the process of falling in a ditch. It represents the idea of when someone is in charging a group of people when they don’t even know where they are supposed to go. A countryside contemporary setting is depicted, with a church in the background. The scene also depicts a statement from Christ when he spoke about the blind, however, Christ’s saying was about spiritual blindness, not human blindness. Bruegel knew this as well, and so he could be making a critical statement about the church institution.

We then shifted our focus to Italian baroque art. This period is defined by emotion and the counter-reformation movement. The Catholic Church was losing business because of Luther’s criticisms of the papacy and they needed to do something to stop losing followers. As a result, the Catholic Church undertook a rebranding plan at the Council of Trent from 1545 to 1563. The goal of the meetings were to fight against the advancements of Protestantism. The company of Jesuits was created to fight back against the progress of the Reformation. The Council of Trent formed guidelines to better represent things. The Catholics used images and art to convince people to be Catholic rather than Protestant. Ultimately, the council was somewhat successful, with spreading Catholicism around the world, however many Europeans still became followers of Protestantism.