High Northern Renaissance: Germany and Netherlands

Lecture given 2/7/12

Transcript

1. High  Northern  Renaissance:   Germany  and  the  Netherlands   Reading   Stokstad,  676-­‐689,  696-­‐705     Range   c.  1500-­‐1600   High  Northern  Renaissance     Terms/Concepts   ReformaAon,  icon,  salvator   mundi,  iconoclasm,  proverb,   genre,       Monument  List     Albrecht  Dürer,  Self-­‐ Portrait,  1500.     MaJhias  Grünewald,   Isenheim  Altarpiece   (Closed),  c.  1510-­‐1515.     Hieronymous  Bosch,   Garden  of  Earthly  Delights   (Open),  c.  1505-­‐1515.     Albrecht  Altdorfer,  BaFle  of   Issus,  1529.     Pieter  Bruegel  the  Elder,   Return  of  the  Hunters,  1565.  
4. Albrecht  Dürer,  Self-­‐ Portrait,  1500.  
5. Albrecht  Dürer,  Self-­‐ Portrait,  1500.   Albrecht  Dürer,  Self-­‐Portrait  at  age   13,  1484.  
6. Albrecht  Dürer,  Self-­‐ Portrait,  1500.   Albrecht  Dürer,  Self-­‐Portrait  at  age   27,  1498.  
7. Albrecht  Dürer,  Self-­‐ Portrait,  1500.   Albrecht  Dürer,  Self-­‐Portrait  at  age  27,   1498.  
8. Albrecht  Dürer,  Self-­‐ Portrait,  1500.   “I,  Albrecht  Dürer  of  Nuremberg   painted  myself  thus,  with  undying   colors,  at  the  age  of  twenty-­‐eight   years.”   -­‐-­‐InscripAon  on  PainAng    
9. Raphael,  Christ  Blessing,  1502.     Albrecht  Dürer,  Self-­‐ Portrait,  1500.  
10. Leonardo  da  Vinci,  Salvator  Mundi,   1513.   Albrecht  Dürer,  Self-­‐ Portrait,  1500.  
11. Jan  van  Eyck,  Holy  Face,  1434.   Albrecht  Dürer,  Self-­‐ Portrait,  1500.  
12. Georg  Vischer,  Christ  and  the  Adulteress,   1637.  
13. “Why  has  God  given  me  such   magnificent  talent?  It  is  a  curse  as  well   as  a  great  blessing.”   -­‐-­‐Albrecht  Dürer   “Nature  holds  the  beauAful,  for  the   arAst  who  has  the  insight  to  extract  it.”   ―  Albrecht  Dürer   Albrecht  Dürer,  Self-­‐Portrait,  1500.   “The  more  we  know,  the  more  we   resemble  the  likenesses  of  Christ  who   knows  all  things.”    –Albrecht  Dürer     “They  [kings]  esteemed  such   invenAveness  [from  painters]  as  a   creaAon  in  the  likeness  of  God.”      –Albrecht  Dürer     “It  is  difficult  to  acquire  the  art  of   painAng  well.    Therefore  whosoever   finds  himself  unfit  for  it  should  not   presume  to  try.    For  it  comes  alone  from   inspiraAon  from  above.”      –Albrecht  Dürer    
14. MaJhias  Grünewald,  Isenheim  Altarpiece,  (closed),  1510-­‐1515.  
15. MaJhias  Grünewald,  Isenheim  Altarpiece,  (closed),   1510-­‐1515.  
16. MaJhias  Grünewald,  Isenheim  Altarpiece,  (closed),   1510-­‐1515.  
17. MaJhias  Grünewald,  Isenheim  Altarpiece,  (closed),   1510-­‐1515.  
18. MaJhias  Grünewald,  Isenheim  Altarpiece,   (first  opening),  1510-­‐1515.  
19. Niklaus  Hagenauer,  Isenheim  Altarpiece,   (final  opening),  1510-­‐1515.  
25. Hieronymous  Bosch,  Garden  of  Earthly   Delights,  1505-­‐1515.   Eden   Earth   Hell  
26. Hieronymous  Bosch,  Garden  of  Earthly   Delights,  1505-­‐1515.   Dragon  Palm  
27. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   “Pelican”  BoJle,  16th   c.  
28. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
29. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
30. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
31. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   Alchemical  “Marriage  Chamber”   Showing  the  “Perfect  SoluAon”   16th  Century.   Alchemical  “Marriage”?  
32. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
33. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   GioJo,  Last  Judgment,  Arena  Chapel,  Padua,   1305-­‐1306  
34. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   GioJo,  Last  Judgment,  Arena  Chapel,  Padua,   1305-­‐1306   Hell  Mouth,  North  Transept,  Ste.  Foy,  Conques,  France,   10th  c.  
35. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   Ladder  of  Divine  Ascent,   St.  Catherine’s,  Mt.  Sinai  
36.     Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
37.     Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.   Torment  of  Souls,  North  Transept,  Ste.  Foy,  Conques,   10th  c.  
38. Hieronymus  Bosch,  Garden  of  Earthly  Delights,  1505-­‐1515.  
39. Hieronymous  Bosch,   Garden  of  Earthly   Delights,  Closed,   1505-­‐1515.  
40. Hieronymous  Bosch,  Garden  of  Earthly   Delights,  1505-­‐1515.  
41. MarAn  Luther  
42. The  Removal  and  DestrucAon  of  Religious   Images  from  WiJenberg  Cathedral,  1566.  
43. The  Removal  and  DestrucAon  of  Church  Images,  from   Foxe’s  Book  of  Martyrs,  1563  
44. Albrecht  Altdorfer,   BaFle  of  Issus,  1529.  
45. Albrecht  Altdorfer,  BaFle  of  Issus,  1529.  
46. “Alexander  Mosaic,”  from  the  House  of  the  Faun,  Pompeii,  c.  2nd   century  BCE  (Possibly  a  copy  of  a  painAng  by  Philoxenos)   Alexander   Darius  III  
47. “Alexander  Mosaic,”  from  the  House  of  the  Faun,  Pompeii,  c.  2nd   century  BCE  (Possibly  a  copy  of  a  painAng  by  Philoxenos)   Alexander   Darius  III  
48. Albrecht  Altdorfer,  BaFle  of  Issus,  1529.  
49. Albrecht  Altdorfer,  BaFle  of  Issus,  1529.   Albrecht  Altdorfer,  Danube   Landscape,  c.  1525  
50. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
51. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
52. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
53. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
54. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
55. Pieter  Bruegel  the  Elder,  Return  of  the  Hunters,  1565.  
56. Pieter  Bruegel  the  Elder,  The  Harvesters,  1565.  
57. Pieter  Bruegel  the  Elder,  The  Harvesters,  1565.  
58. Pieter  Bruegel  the  Elder,  The  Harvesters,  1565.  
59. Pieter  Bruegel  the  Elder,  The  Harvesters,  1565.  
60. Pieter  Bruegel  the  Elder,  The  Harvesters,  1565.  
61. CriAcal  Thinking  QuesAons   1.  What  is  the  possible  significance  of  the  self-­‐ portrait?    What  altudes  are  present  in  Durer’s   self-­‐portraits?    How  is  that  significant  to  the   changing  idenAAes  of  arAsts?   2.  How  was  medieval  iconography  sAll  relevant  to   German  and  Dutch  arAsts  during  the  early  16th   century?   3.  What  impact  did  the  Protestant  ReformaAon   have  on  religious  and  secular  art?     4.  How  did  the  Protestant  ReformaAon  change  the   paJerns  of  patronage  in  northern  Europe?