15th Century Northern European Art Renaissance ARTISTS: JAN VAN EYCK, ROBERT CAMPIN VOCABUALRY: TEMPERA, GESSO, OIL PAINTS Background

EUROPE IN THE 15 CENTURY HISTORY: 100 YEARS WAR 3 MINUTES ON 100 YEARS WAR INVENTIONS Oil Painting Gutenberg’s Printing Press DaVinci designed the first parachute The Genuis of DaVinci Muzzle-loaded rifles Spectacles (glasses) for near-sightedness Golf balls Spinet (first piano) invented

Vocabulary TEMPERA, OIL, AND GESSO Painting in DaVinci's Day Oil Painting Difference between oil and tempera

ROBERT CAMPIN (1378-1444) First to use oil paints Famous for Merode Altarpiece Merode Altarpiece

Title: Annunciation Triptych (Merode Altarpiece) Date Created: ca Title: Annunciation Triptych (Merode Altarpiece) Date Created: ca. 1427-32 Metropolitan Museum of Art, New York, NY Oil on Wood, 25 3/8” x 10 ¾”

Jan van Eych—Flemish Painter The Arnolfini Portrait Famous Painting

The Arnolfini Portrait by Jan van Eyck; 2/8: x 2 The Arnolfini Portrait by Jan van Eyck; 2/8: x 2.0:; National Gallery in London; oil on oak

Art of 16th Century Europe VOCABUALARY Painterly ARTISTS: Giorgione da Castelfranco AND Titian

ART OF VENICE: Venetian artists were inspired to paint works that glowed with color. INFLUENCES Byzantine m Best of the Renaissance and Byzantine

Giorgione da Castelfranco (1477–1511) The Concert

Titian (1490–1576) Venus of Urbino Artist: Titian Date: 1538 Location:  Uffizi Gallery, Florence, Italy Size: 3’11” x 5’5” Medium: Oil

Art in Revolt MANNERISM Artists such as Giorgione and Titian made Venice a great art center that rivaled and then surpassed Florence and Rome. In Rome, artists were challenged to find new avenues of expression in the vacuum left by the passing of Leonardo, Michelangelo, and Raphael while facing a world filled with increasing unrest and uncertainty. It was that unrest and uncertainty that contributed to a style of art known as Mannerism. Mannerism is considered a deliberate revolt by artists against the goals of the Renaissance. The Protestant Reformation, a movement in which a group of Christians led by Martin Luther left the Church in revolt to form their own religion, began in 1517. This movement, along with the French invasion of Italy in 1524 and the French defeat of Rome in 1527, brought about an era of tension and disorder. It was in this setting that Mannerist art was born and matured. Mannerism was a nervous art, created to mirror a world filled with confu- sion. Its artists painted the human figure in impossible poses and with unreal proportions. Mannerist artists preferred figures that were slender, elegant, and graceful. Gradually, these figures began to look less natural and more supernatural.

El Greco (1541–1614) Highly emotional religious pictures by Mannerists like Tintoretto were welcomed by the Church during this troubled period. The Church was placing a renewed emphasis on the spiritual in order to counter the Reformation. The most remarkable of the Mannerist artists, El Greco (el greh-koh). El Greco was born on the Greek island of Crete and chris- tened Domeniko Theotocopoulos. He received the nickname El Greco (the Greek) after set- tling in Toledo, Spain in 1577.

The Burial of the Count of Orgaz The Burial of the Count of Orgaz (Spanish: El Entierro del Conde de Orgaz) is a painting by El Greco, a Greek painter, sculptor, and architect of the Spanish Renaissance. Widely considered among his finest works, it illustrates a popular local legend of his time. An exceptionally large painting, it is very clearly divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality. The upper and lower sections are brought together compositionally. The theme of the painting is inspired from a legend of the beginning of the 14th century. In 1312, a certain Don Gonzalo Ruíz, native of Toledo, and Señor of the town of Orgaz, died (his family later received the title of Count, by which he is generally and posthumously known). The Count of Orgaz was a pious man who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé (El Greco's parish church).[1] He was also a philanthropist and a right-thinking Knight. According to the legend, at the time he was buried, Saint Stephen and Saint Augustine descended in person from the heavens and buried him by their own hands in front of the dazzled eyes of those present.

The Burial of the Count of Orgaz TIME: 1586 ARTIST: EL GRECO MEDIUM: OIL ON CANVAS SIZE: 180” X 140” LOCATION: IGLESIA DE SANTO TOME, TOLEDO, SPAIN HISTORY OF THE PAINTING THE VIEW OF TOLEDO

NEXT: BAROQUE El Greco carried Mannerist ideas as far as they could go. His intense emotionalism and strong sense of movement could not be imi- tated or developed further. Thus, the final chapter in the development of the Mannerist style was written in Spain. In Italy, the new Baroque style was already developing, and in northern Europe, conflicts arose between Late Gothic and Italian Renaissance styles.