2. Introduction Renaissance (1400–1600) Humanism Religion Means “rebirth”
Refers to the time period and the style of art
A renewed interest in Classical thinking, mythology, and art
Humanism
Philosophical approach that stressed the intellectual and physical potential of human beings
Religion
Reformation and Counter-Reformation
Catholic and Protestant beliefs were reflected in the art of the Italian Renaissance and the northern Renaissance

3. Introduction Baroque (1600–1750)
Refers to the time period and the style of art
Increase in trade, advancements in science
Permanent split between Roman Catholics and Protestants
Baroque art tends to be full of motion and emotion

4. 3.117 Map of Renaissance and Baroque Europe

5. 3.118 Portrait of Michelangelo from Giorgio Vasari’s Lives of the Great Artists, second edition, Engraving

6. The Early Renaissance in Italy
Renewed interest in the Classical past
Study of mathematics and science encouraged the systematic understanding of the world
Art was a balance of the real and ideal
Realistic depictions of three-dimensional space and perspective
Idealistic portrayal of mythological or religious subjects, and the nude figure
The artist Giotto represents the transition between the art of the Middle Ages and the early Renaissance (see chapter 3.2)

7. 3.119 Arnolfo di Cambio and others, Florence Cathedral, view from south, begun 1296

8. 3.120 Filippo Brunelleschi, Dome of Florence Cathedral, 1417–36

9. 3. 121 Masaccio, Tribute Money, c. 1427. Fresco, 8’1” × 19’7”
3.121 Masaccio, Tribute Money, c Fresco, 8’1” × 19’7”. Brancacci Chapel, Santa Maria del Carmine, Florence, Italy

10. The High Renaissance in Italy
Beginning of the 16th century
Continued development of making art look “believable”
Rules of perspective
Ideal and real
Religious and mythological subject matter
Three great Italian artists dominated this period:
Leonardo da Vinci
Michelangelo
Raphael

11. 3. 122 Leonardo da Vinci, The Last Supper, c. 1497
3.122 Leonardo da Vinci, The Last Supper, c Refectory of Santa Maria delle Grazie, Milan, Italy

12. 3.123 Michelangelo, Detail of Creation of Adam, Sistine Chapel ceiling, 1508–12. Vatican City

13. 3.124 Michelangelo, Sistine Chapel, Vatican City, with view of Last Judgment (1534–41)

14. 3.126 Michelangelo, Detail of Last Judgment showing self-portrait in St. Bartholomew’s skin, 1536–41. Sistine Chapel, Vatican City

15. 3. 125 Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’
3.125 Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City

17. The Renaissance in Northern Europe
Northern European countries we now know as the Netherlands, Germany, France, and Belgium
During the fifteenth century, artists in northern Europe:
Continued using methods established in the Middle Ages
Those used for illuminated manuscripts (see chapter 3.2)
Paid careful attention to texture and fine detail
Developed oil painting techniques
Depicted everyday objects with religious symbolism
Were considered the finest artists in Europe at the time

18. 3. 127a Jan van Eyck, Analysis of The Arnolfini Portrait, 1434
3.127a Jan van Eyck, Analysis of The Arnolfini Portrait, Oil on panel, 32⅜ × 23⅝”. National Gallery, London

19. 3.127b Detail of Jan van Eyck, The Arnolfini Portrait

20. 3. 128 Pieter Bruegel the Elder, Netherlandish Proverbs, 1559
3.128 Pieter Bruegel the Elder, Netherlandish Proverbs, Oil on oak, 3’10” × 5’2”. Gemäldegalerie, Staatliche Museen, Berlin, Germany

21. 3.129a Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating the proverb the “world turned upside down”

22. 3.129b Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating the proverb “beating his head against a wall”

23. 3.129c Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating two women gossiping: the proverb “one winds the distaff, the other spins it”

24. 3. 130 Matthias Grünewald, Isenheim Altarpiece (closed), c. 1510–15
3.130 Matthias Grünewald, Isenheim Altarpiece (closed), c. 1510–15. Oil on panel, center panel: Crucifixion, 8’9⅝” × 10’; predella: Lamentation, 29⅞” × 11’1⅞”; side panels: Saints Sebastian and Anthony 7’6⅝” × 29½” each, Musée d’Unterlinden, Colmar, France

25. 3. 131 Albrecht Dürer, The Last Supper, 1523. Woodcut, 8⅜ × 11⅞”
3.131 Albrecht Dürer, The Last Supper, Woodcut, 8⅜ × 11⅞”. British Museum, London, England

26. Late Renaissance and Mannerism
A time of historical upheaval
1527 Sack of Rome
1530 Charles V crowned Holy Roman Emperor
Late Renaissance art
A reaction to the high Renaissance
Dissonance instead of harmony
Distortion rather than precision
Mannerism
From the Italian “di maniera,” which means charm, grace
Exaggeration for emotional effect

27. 3.132 Sofonisba Anguissola, Portrait of the Artist’s Sisters Playing Chess, Oil on canvas, 28⅜ × 38¼”. National Museum, Poznań, Poland

28. 3. 133 Paolo Veronese, Christ in the House of Levi, 1573
3.133 Paolo Veronese, Christ in the House of Levi, Oil on canvas, 7’3⅜” × 16’8⅞”. Galleria dell’Accademia, Venice, Italy

29. 3. 134 Tintoretto,The Last Supper, 1592–4
3.134 Tintoretto,The Last Supper, 1592–4. Oil on canvas, 11’11¾” × 18’7⅝”. San Giorgio Maggiore, Venice, Italy

30. 3.135 Jacopo da Pontormo, Deposition, 1525–8. Oil on wood, 123¼ × 75⅝”. Capponi Chapel, Santa Felicita, Florence, Italy

31. 3. 136 El Greco, Laocoön, c. 1610/14. Oil on canvas, 54⅛ × 68”
3.136 El Greco, Laocoön, c. 1610/14. Oil on canvas, 54⅛ × 68”. National Gallery of Art, Washington, D.C.

32. 3. 137 Donatello, David, c. 1430. Bronze, 5’2¼” high
3.137 Donatello, David, c Bronze, 5’2¼” high. Museo Nazionale del Bargello, Florence, Italy

33. 3. 138 Michelangelo, David, 1501–4. Marble, 14’2⅞” high
3.138 Michelangelo, David, 1501–4. Marble, 14’2⅞” high. Galleria dell’Accademia, Florence, Italy

34. 3. 139 Gianlorenzo Bernini, David, 1623. Marble, 5’7” high
3.139 Gianlorenzo Bernini, David, Marble, 5’7” high. Galleria Borghese, Rome, Italy

36. The Baroque Time of exploration and discovery Religion Warfare
Theory that the sun was the center of the universe now accepted
Religion
Post-Reformation
Warfare
Battles throughout Europe
Artwork characteristics:
Emphasis on light
Diversity of approaches
Dramatic movement and theatrical compositions

37. 3. 142 Caravaggio, Judith Decapitating Holofernes, 1599
3.142 Caravaggio, Judith Decapitating Holofernes, Oil on canvas, 4’9” × 6’4¾”. Galleria Nazionale d’Arte Antica, Rome, Italy

38. 3. 143 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620
3.143 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620. Oil on canvas, 6’6⅜” × 5’3¾”. Uffizi Gallery, Florence, Italy

39. 3. 140 Nicolas Poussin, The Funeral of Phocion, 1648
3.140 Nicolas Poussin, The Funeral of Phocion, Oil on canvas, 44⅞” × 68⅞”. National Museum of Wales, Cardiff

40. 3.141 Peter Paul Rubens, center panel from The Raising of the Cross, 1610–11. Oil on canvas, 5’1⅛” × 11’1⅞”. Cathedral of Our Lady, Antwerp, Belgium

41. 3.144 Rembrandt van Rijn, The Company of Frans Banning Cocq and Willem van Ruytenburch (The Night Watch), Oil on canvas, 11’11” × 14’4”. Rijksmuseum, Amsterdam, Netherlands

42. St. Peter’s Basilica and the Sistine Chapel
The following videos will show you more about the art and architecture of the Renaissance and the Baroque:
St. Peter’s Basilica and the Sistine Chapel

43. Gianlorenzo Bernini: The Ecstasy of St. Teresa

44. Sandro Botticelli: The Birth of Venus

45. Diego Velázquez: Las Meninas

46. Discussion Question
Find two examples of artwork in this chapter in which linear perspective plays an important part. Point out the parts of the composition that use linear perspective to create the desired illusion. Discuss what the artist wants to communicate by using linear perspective.

47. Discussion Question
From this chapter choose a northern Renaissance artwork and an Italian Renaissance work. List the prominent characteristics of each. Include information about both the form and the content of the artworks in your lists.

48. Discussion Question
Select three artworks that deal with subject matter from the Bible. Consider how they portray their biblical themes: examine style, medium and technique, content, and any other aspects that the artist emphasizes. You might choose works from this chapter, or elsewhere in the textbook. For example: 1.70, 2.148,

49. Discussion Question
Select a Renaissance work and a Baroque work from this chapter. List their similarities and differences. Consider their subject matter, style, content, and emotional impact.

50. Discussion Question
Select three Renaissance artworks that draw on the artistic and intellectual heritage of Classical Greece and Rome. Make a list of the ways in which they use the Classical past. Make another list of any Renaissance innovations, either in terms of form or content. You might choose one work from another chapter in the textbook, for example: 4.133,

51. Gateways to Art: Understanding the Visual Arts
This concludes the PowerPoint slide set for Chapter 3.6
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson

52. Picture Credits for Chapter 3.6
3.117 Drazen Tomic From Vasari, G., Lives of the Great Artists, © Michael S. Yamashita/Corbis Libreria dello Stato, Rome Brancacci Chapel, Church of Santa Maria del Carmine, Florence Refectory of Sta Maria delle Grazie, Milan 3.123, Vatican Museums, Rome Stanza della Segnatura, Vatican Museums, Rome Vatican Museums, Rome 3.127a, 3.127b National Gallery, London/Scala, Florence 3.128, 3.129a, 3.129b, 3.129c Gemäldegalerie, Staatliche Museen, Berlin Musée d’Unterlinden, Colmar British Museum, London Museum Narodowe, Poznan´/Bridgeman Art Library Galleria dell’Accademia, Venice Cameraphoto/Scala, Florence Capponi Chapel, Church of Santa Felicità, Florence National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali © nagelestock.com/Alamy Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali The Earl of Plymouth. On loan to the National Museum of Wales, Cardiff Royal Institute for the Study and Conservation of Belgium’s Artistic Heritage Galleria Nazionale d’Arte Antica, Rome Galleria degli Uffizi, Florence Rijksmuseum, Amsterdam