Discovering the humanities 3rd by henry m sayre 2016 chapter 08

Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte Berlin... Northern Detail Meets Southern Humanism: The Art of Albrecht Dürer Nuremberg represents a trend in Germ

Discovering the Humanities

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Renaissance and Reformation in the North: Between

Wealth and Want

8

Learning Objectives

mercantile wealth on the development

of both religious and secular painting

in Northern Europe

and assess its impact on the art and

literature of the era

Crane in Bruges 16th century.

Miniature.

Bayerishe Staatsbibliothek, Munich, Germany Bridgeman [Fig 8.1]

Art, Commerce, and Merchant

Patronage

the Flanders city of Antwerp had

supplanted Bruges in importance

second only to cloth

sold at fairs

Art, Commerce, and Merchant

Patronage

between the Renaissance cultures of

the North and South is the nature of

patronage

patrons were the politically powerful

families

Johannes Stradanus Oil Painting, or Jan van Eyck's Studio Late 16th century.

Engraving 8" × 10-1/2".

Stedelijke Museum, Bruges LUKAS, Art in Flanders, Belgium © 2014 Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte Berlin [Fig 8.2]

Art, Commerce, and Merchant

Patronage

large class of merchants supplied the most important art patrons

business class came to dominate the

production and distribution of works of art

Chief financial, commercial, and artistic centers in northern Europe,

15th and 16th centuries.

[Fig Map 8.1]

Robert Campin in Tournai

class pervades the Mérode Altarpiece

by Robert Campin (ca 1375–1444), who was a member of the painters' guild in Tournai

work, or triptych.

local and bourgeois affair

Robert Campin (Master of Flémalle) Mérode Altarpiece ca

1426

Oil on panel, center 25-5⁄16" × 24-7/8", each wing 25-3/8" ×

10-7/8"

The Metropolitan Museum of Art, New York The Cloisters

Collection, 1956 (56.70) Image © 2014 The Metropolitan

Museum of Art/Art Resource/Scala, Florence [Fig 8.3]

Closer Look:

Workshop of the Master of

Flémalle, Mérode

Altarpiece

Robert Campin in Tournai

room of a middle-class Flemish home

workshop shows the main square of a typical Flemish town, perhaps Tournai

Robert Campin in Tournai

while Joseph looks like a Flemish

carpenter

middle-class home serves a real, material

purpose as well as a religiously

symbolic one

Robert Campin (Master of Flémalle) Mérode Altarpiece Detail ca 1426.

Oil on wood panel.

The Metropolitan Museum of Art, New York Cloisters Collection 1956 (56.70) [Fig 8.4]

Robert Campin in Tournai

triptych suggests its function as a

private, rather than a public, devotional object

and his wife seems personal

Diagram of a section of a 15th-century Flemish painting,

demonstrating the luminosity of the oil medium [Fig 8.5]

Video: Studio Technique: Oil Painting

Video: Studio Technique: Making Oil Paint

Robert Campin in Tournai

lends the image of Christian miracle a reality never before seen in European painting

Jan van Eyck in Ghent and Bruges

Giovanni Arnolfini and His Wife

Giovanna Cenami is a celebration of

individual identity that marks

Renaissance art in both the North and

the South

Jan van Eyck Giovanni Arnolfini and His Wife Giovanna

Cenami ca 1434.

Oil on panel 32-1/4" × 23-1/2".

National Gallery, London © 2014 Photo The National Gallery,

London/Scala, Florence [Fig 8.6]

Closer Look:

Jan van Eyck,

Double Portrait of Giovan

ni Arnolfini

Discovering Art: Jan van Eyck,

Double Portrait of Giovanni Arnolfini

Jan van Eyck in Ghent and Bruges

love of detail through his ability to

render in oil paint the texture of things

and the way light plays across their

surfaces

Jan van Eyck in Ghent and Bruges

smooth surface that does not show

brushstrokes, is the hallmark of

Northern Renaissance painting, the

characteristic that distinguishes it most from painting in the South

Jan van Eyck Giovanni Arnolfini and his Wife Giovanna Cenami.

(The Arnolfini Wedding Portrait) Detail ca 1434.

Oil on wood panel.

© National Gallery, London/Scala, Florence [Fig 8.7]

Hieronymus Bosch in

's-Hertogenbosch

once minutely detailed and brutally

imaginative, casting a dark, satiric

shadow over the materialistic concerns

of his Northern predecessors

in part from a sense of doom that was characteristic of the North

Hieronymus Bosch in

's-Hertogenbosch

tradition stressing the wretchedness

and worthlessness of human existence

conversation piece, a work designed

to invite discussion of its meaning

Closer Look

 In the left panel, the Garden of Eden is populated with strange creatures.

 In the right panel, we see Bosch's

deeply disturbing vision of Hell.

 The central panel presents an image of life on earth, where illicit lust replaces love of God.

• Imagination replaces reason.

Hieronymus Bosch Garden of Earthly Delights Open Detail, left wing ca 1505–10.

Oil on wood panel.

Prado, Madrid, Spain/Bridgeman Images [Fig 8-CL.1]

Hieronymus Bosch Garden of Earthly Delights Open Detail, center panel (below).

ca 1505–10.

Oil on wood panel.

Prado, Madrid, Spain/Bridgeman Images [Fig 8-CL.2]

Hieronymus Bosch Garden of Earthly Delights, closed.

ca 1505–10.

Oil on panel Each wing 7'2-1/2" × 38".

Prado, Madrid, Spain/The Bridgeman Art Library.

Hieronymus Bosch Garden of Earthly Delights, open.

ca 1505–10.

Oil on panel Each wing 7'2-1/2" × 38".

Prado, Madrid, Spain/The Bridgeman Art Library.

[Fig 8-CL.4]

Closer Look: Hieronymus Bosch,

Garden of Earthly Delights

Hieronymus Bosch Garden of Earthly Delights Open Detail, center panel (above).

ca 1505–10.

Oil on wood panel

Prado, Madrid, Spain/Bridgeman Images [Fig 8-CL.5]

Hieronymus Bosch Garden of Earthly Delights Open Detail, right wing (above).

ca 1505–10 Oil on wood panel.

Prado, Madrid, Spain/Bridgeman Images [Fig 8-CL.6]

The German Tradition

increasingly wealthy, self-made

mercantile class supported the

production of art

sixteenth century exhibited both the richly detailed and luminous van Eyck style and the linear, idealized style of Raphael

Emotion and Christian Miracle: The

Art of Matthias Grünewald

Isenheim Altarpiece is grimly realistic in

its portrayal of death, and yet

transcendently emotional

Northern European art in its unswerving

attention to the reality of death,

represented in the minutest detail

Matthias Grünewald Isenheim Altarpiece, closed Main body,

Crucifixion; base, Lamentation; side panels, Saint Sebastian

(left) and Saint Anthony (right) ca 1510–15.

Oil on wood center: 9'9-1/2" × 10'9"; each wing: 8'2-1/2" ×

3-1/2'; base: 2'5-1/2" × 11'2" Musée d'Unterlinden, Colmar,

France The Art Archive/Unterlinden Museum Colmar.

[Fig 8.8]

Closer Look: Matthias Grünewald,

Isenheim Altarpiece

Matthias Grünewald Isenheim Altarpiece, first opening ca 1510–15.

Oil on wood panel Center panel: 9' 9-1/2" × 10' 9"; each wing: 9' 9-1/2" × 5' 4-1/2".

Musée d'Unterlinden, Colmar, France © Photo Scala, Florence [Fig 8.9]

Emotion and Christian Miracle: The

Art of Matthias Grünewald

German in its intense emotionalism and

almost mystical sense of

transcendence

Northern Detail Meets Southern

Humanism: The Art of Albrecht Dürer

Nuremberg represents a trend in

German culture distinct from the

emotionalism and mysticism of

Grünewald

Albrecht Dürer Self-portrait 1500.

Oil on wood panel 26-1/4" × 19-1/4".

Alte Pinakothek, Munich © 2014 Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur

und Geschichte, Berlin [Fig 8.10]

Northern Detail Meets Southern

Humanism: The Art of Albrecht Dürer

German-Netherlandish Gothic heritage

with the Renaissance interest in

perspective, empirical observation, and rules of ideal beauty for representing

the human figure

Northern Detail Meets Southern

Humanism: The Art of Albrecht Dürer

master of oil painting

self-consciously paints himself as a sort of

an icon

Northern Detail Meets Southern

Humanism: The Art of Albrecht Dürer

evidence of divine inspiration

act; it made manifest God's work, from the Creation to Christ's Passion

Albrecht Dürer The Four Horsemen of the Apocalypse 1498.

Woodcut 15-1/2" × 11-1/8".

Yale University Art Gallery, New Haven Library Transfer, Gift of Paul Mellon, B.A 1929

1956.16.3e [Fig 8.11]

Humanism and Reformation in the

North

depicting Alexander the Great's victory

psychological mindset of the time

challenged the Catholic Church and led

a movement known as the Protestant

Reformation

Albrecht Altdorfer The Battle of Issus 1529.

Oil on panel 62" × 47".

Alte Pinakothek, Munich © 2014 Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur

und Geschichte, Berlin [Fig 8.12]

The Satires of Desiderius Erasmus

satirical attack on the corruption of the

Roman Catholic Church entitled In

Praise of Folly.

dormant in the Western culture since

the Greek and Roman times

The Satires of Desiderius Erasmus

contradiction between real and ideal

situations

Erasmus's reputation as the preeminent humanist in Europe

The Satires of Desiderius Erasmus

the fool), Erasmus is free to say

anything he pleases, and he attacks,

especially those who "maintain the

cheat of pardons and indulgences."

one thing explicitly but implicitly mean

another, had wide appeal

Lucas Cranach Martin Luther ca 1526.

Martin Luther's Reformation

priest and professor Martin Luther

(1483–1546) posted his Ninety-Five

Theses on the door of Wittenberg's All Saints Church

and by 1529, his movement had

become known as the Protestant

Reformation

Martin Luther's Reformation

Luther was certain that God accepts all believers in spite of, not because of,

what they do

Luther was bothered by the concept of indulgences

Martin Luther's Reformation

the secular or materialist spirit evident

in Church patronage of lavish

decorative programs and the moral

laxity of its cardinals in Rome

Martin Luther's Reformation

to the spiritual ways of the early Church and to back away from the power and wealth that were corrupting it

class division—only the rich could afford

to pay for the remission of their sins

Martin Luther's Reformation

Luther's Ninety-Five Theses was to

outlaw Martin Luther and all his

followers, known as Lutherans, on May

26, 1521

Anonymous Johannes Tetzel, Dominican monk ca 1517.

Staatliche Lutherhalle, Wittenberg © Bettmann/Corbis [Fig 8.14]

The Spread of the Reformation

Germany, other reformists initiated

similar movements in France and

Switzerland

conscience against the authority of the pope seemed to peasants a justification for their own independence from their feudal lords

Thomas Müntzer and the Peasant

War

Luther was hesitant to openly support

the peasants in their struggle for

political and economic freedom

1489–1525) believed that reform of the

Church required the absolute abolition

of the vestiges of feudalism

Thomas Müntzer and the Peasant

War

conversations with God) led him to

believe that a revolutionary

transformation of society was required

other rebels in Frankenhausen to lead

the peasants against the princes

Thomas Müntzer and the Peasant

War

(1524–1526), the princes lost six men,

Müntzer 6,000

Ulrich Zwingli in Zurich

strongly influenced by Erasmus, was

elected as people's priest of the Great Minster Church in Zurich (Switzerland)

and Catholic cantons in Switzerland

resulted in the compromise that each canton was free to choose its own

religion

John Calvin in Geneva

Calvin (1509–1564) took the lead

forbade dancing, singing, drunkenness, gambling, rouge, lace, jewelry, and

blasphemy in Geneva

John Calvin in Geneva

punished, and Geneva came to

resemble a religious police state

known as Puritans

Franz Hogenbergh, Netherlandish Iconoclasm ca 1566.

Etching 16-1/2" × 22".

Hamburger Kunsthalle, Hamburg © Photo Scala, Florence/BPK, Bildagentur für Kunst,

Kultur und Geschichte, Berlin [Fig 8.15]

King Henry VII and the Anglican

Church

Henry VII sought to divorce his first wife and, in being denied by the Catholic

Church, he created the Anglican

Church

the monasteries and sold off Church

holdings, exacerbating relations

between Henry and Rome

The Printing Press: A Force for

Ideas and Art

would have occurred without the

invention of the printing press

the German city of Mainz, Johannes

Gutenberg (ca 1390–1468) discovered the printing process with movable

types

The Printing Press: A Force for

Ideas and Art

had invented movable type in 1045,

the technology was made available in the West between 1435 and 1455

major work, the Forty-Two Line Bible

The Printing Press: A Force for

Ideas and Art

presses could be found in at least 60

German cities and in 200 cities

throughout Europe

bestseller

The Printing Press: A Force for

Ideas and Art

Wartburg Castle after having been

excommunicated and outlawed, Luther occupied himself with translating

Erasmus's New Testament Bible from

Latin into vernacular German

The Printing Press: A Force for

Ideas and Art

Luther's German New Testament sold

out within three months, indicating that Luther had indeed transformed the

nature of learning with his translation

Johannes Gutenberg Page from the Gutenberg Bible, text printed with movable letters

and hand-painted initials and marginalia: page 162 recto with initials "M" and "E" and

depiction of Alexander the Great Mainz 1455–56.

Printed text decorated by hand Folio approx 11" × 15-11/16".

Staatsbibliothek zu Berlin, Germany © Photo Scala, Florence/BPK, Bildagentur für Kunst,

Kultur und Geschichte, Berlin [Fig 8.16]

Music in Print

liturgy, especially the use of music in the church service

understood the power of a hymn sung

in the vernacular by the entire

congregation (chorale).

Music in Print

hymnals, consisting of Latin hymns,

popular religious songs, and secular tunes recast with religious lyrics

of God, music deserves the highest

praise."

Music in Print

madrigal employs homophonic

harmony, which is a unison movement

of the voices in chords, at its end to

underscore the word-painting of the

word "spitefull."

Writing for Print and Play: The New

Humanists

large numbers transformed not only in

the spread of knowledge but its

production as well

economy that transformed the speed at

which information traveled

Thomas More

Latin in 1516, is More's implicit

comparison between his own corrupt Christian society and the ideal society

he imagines

rightful heir to the English throne in

1535, Henry had him executed for

treason

William Shakespeare: "The play's

the thing!"

a theater called the Globe, where an

open courtyard held the groundlings,

whose admission was one penny

constructed around a murder that must

be avenged by the victim's relative

featured self-reflection

Martin Droeshout William Shakespeare, frontispiece of the first folio edition of his works,

published in London 1623.

Etching.

British Library, London, UK/ Giraudon/Bridgeman Images [Fig 8.17]

Reconstruction and cross-section of the Globe theater 1599–1613.

Trevor Hill © Dorling Kindersley [Fig 8.18]

The English Portrait Tradition

hundreds of works during his two

extended visits to England

ambassadors to the court of Henry VII

 This work shows a lack of harmony

between Catholics and Protestants.

elaborate decorative effects