{"id":2134,"date":"2024-03-19T03:16:08","date_gmt":"2024-03-19T03:16:08","guid":{"rendered":"https:\/\/web.colby.edu\/ar112-spring2024\/?p=2134"},"modified":"2024-03-19T03:16:08","modified_gmt":"2024-03-19T03:16:08","slug":"baroque-flanders-and-holland","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar112-spring2024\/2024\/03\/19\/baroque-flanders-and-holland\/","title":{"rendered":"Baroque Flanders and Holland"},"content":{"rendered":"\n<p>With the expansion of the Protestant Reformation, modern day Holland split into a Protestant north and a Catholic south. With Protestantism taking hold in the north, the south became militantly Catholic, especially in regard to their art and iconography. The Baroque ideals of coextensive space, audience interaction, and the incredible extent of Caravaggio&#8217;s influence culminate in painters like Peter Paul Rubens. Rubens, much like Leonardo, embodies the modern painter in the 17th century. His step into dynamic compositions, innovative colors, and commitment to capturing an instant within a larger action goes on to define and influence the rest of the period.<\/p>\n\n\n\n<p>Frans Hals in particular developed a painterly application of paint that was distinguishable as his own. After painting something, Hals would go over it with his &#8216;handwriting,&#8217; a style of painting that makes the paint application look rapid and fluid. This style is an example of artists making themselves recognizable within a secular, open market. Hals also specialized in group portraits such as the St. George Civic Guard. Paulus Potter almost exclusively painted cows in landscape. Catering to the open market without a nobility to rely on forced artists to separate themselves from other artists.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>With the expansion of the Protestant Reformation, modern day Holland split into a Protestant north and a Catholic south. With Protestantism taking hold in the north, the south became militantly Catholic, especially in regard to their art and iconography. The Baroque ideals of coextensive space, audience interaction, and the incredible extent of Caravaggio&#8217;s influence culminate [&hellip;]<\/p>\n","protected":false},"author":18928,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2134"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/18928"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=2134"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2134\/revisions"}],"predecessor-version":[{"id":2135,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2134\/revisions\/2135"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=2134"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=2134"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=2134"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}