Art History 2 Test 3 REVIEW

Protestant Reformation
By the early 1500s, many people
in Western Europe were growing
increasingly dissatisfied with the
Christian Church. Many found the
Pope too involved with secular
(worldly) matters, rather than with
his flocks spiritual well-being.
Lower church officials were
poorly educated and broke vows
by living richly and keeping
mistresses. Some officials
practiced simony, or passing
down their title as priest or bishop
to their illegitimate sons. In
keeping with the many social
changes of the Renaissance
people began to boldly challenge
the authority of the Christian
Church.
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Martin Luther and his
95 Theses
A German monk by the name of
Martin Luther was particularly
bothered by the selling of
indulgences. An indulgence, a
religious pardon that released a
sinner from performing specific
penalties, could be bought from
a church official for various fees.
Martin Luther was especially
troubled because some church
officials gave people the
impression that they could buy
their way into heaven. To
express his growing concern of
church corruption, Martin Luther
wrote his famous 95 Theses,
which called for a full reform of
the Christian Church. In it, he
stressed the following points:
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The Pope is a false authority.
(“The Whore of Babylon”)
The bible was the one true
authority.
All people with faith in Christ
were equal.
People did not need priest
and bishops to interpret the
bible for them. They could
read it themselves and make
up their own minds.
People could only win
salvation by faith in God's
forgiveness.
The Church taught that faith,
along with good works was
needed for salvation.
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ICONOCLASM- Protestants criticize the cult of
images to the point of destruction.
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Thirty Years’ War
The Thirty Years' War (1618 – 1648)
was fought primarily in what is now
Germany, and at various points
involved most countries in Europe.
It was one of the longest and most
destructive conflicts in European
history. The conflict lasted,
unceasing, for 30 years, making it
the longest continuous war in
modern history.
1648- Treaty of Westphalia grants
religious freedom in Europe,
conflicts subside.
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The Counter
Reformation
Attempts by the Catholic church
and secular Catholic authorities to
stem the flow of Protestantism and
reform some of the worst excesses
of medieval Catholicism.
Art was used as a tool of
persuasion.
Council of Trent
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What is Baroque?
Art produced from the end of the
16 th to early 18 th centuries
Stresses emotional, rather than
intellectual responses; likes
drama-characterized in the visual
arts by dramatic light and shade,
turbulent composition, and
exaggerated expression.
Grew out of the tug-of-war
between Protestant
Reformation (Northern
Europe) and Counter
Reformation (Italy)
Catholic Artists tried to persuade
to the faithful through dramatic
works
Used by “absolute” rulers (popes
and kings) to overwhelm and awe

What is Baroque?
The word “baroque” derives from
the Portuguese and Spanish
words for a large, irregularly-
shaped pearl (“ barroco ” and
“ barrueco ,” respectively).
Eighteenth century critics were
the first to apply the term to the
art of the 17th century. It was not
a term of praise.
To the eyes of these critics, who
favored the restraint and order of
Neoclassicism, the works of
Bernini, Borromini, and Pietro da
Cortona appeared bizarre,
absurd, even diseased — in other
words, misshapen, like an
imperfect pearl.

Culture of Baroque Era
Science begins to challenge
religion, Earth is not center of
the universe (Copernicus)
Workshops begin to churn out
copies of popular themes
Value on the original work is a
modern notion
Still lifes and genre paintings
(everyday life) emerge
(Northern Europe)

Bernini
A child prodigy who the pope
demanded an audience of
Deemed the “Michelangelo” of
his generation
Master of stone-ability to
transform into flesh, and
dramatic action-decisive
moments
First sculpture to “freeze”
moments in time.

St. Peters
Carlo Maderno adds façade to
B ramante’s original design -and
Bernini designed the courtyard
extending in front of the
basilica from Bramante’s
original central plan.
Two curved porticoes extended
like the “motherly arms of the
Church ”
Incorporates Egyptian obelisk
as symbol of Christian triumph.
Colonnades are a dramatic
gesture of embrace to all that
enter the piazza. (welcoming
arms of St. Peters).

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alternate view Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506– 1666.

GIANLORENZO BERNINI,
baldacchino , Saint Peter’s,
Vatican City.
Baldacco-italian for “silk from
baghdad ” -for a cloth canopy
100 ft high (8 story building)
High altar and tomb of St. Peter
Bridges human scale to the lofty
vaults and dome.
Dramatic presence at the crossing
of the nave.
Decorative elements symbolize the
power of the church. Spiral columns
invoke Old St. Peters.
4 angels stand guard on canopy.
Orb of the earth and cross rise from
the top (symbol of Christian
triumph).
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Tremendous amount of bronze
(much of it taken from the portico of
the Pantheon)-ideologically
appropriate.
Bernini contracted much of the
project out-but took all the credit.

GIANLORENZO BERNINI, Scala
Regia (Royal Stairway), Vatican
City, Rome, Italy, 1663 – 1666.
The role of light as a symbol and
design element in the Italian
Baroque cannot be understated.
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GIANLORENZO BERNINI, Apollo
and Daphne , 1623 – 1624. Marble,
8’ high. Galleria Borghese, Rome.
Bernini
Master of Dramatic action-decisive
moments
First sculpture to “freeze” moments
in time.
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Transformed into Laurel tree
Metaphor for sculpture-taking
one material and turning it into
another.
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GIANLORENZO BERNINI, Pluto
and Prosperina
Terror, power, brutishness
Emotional sensitivity
Stone like skin
Another “decisive moment”
captured in a 3-d snapshot.
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Intense emotion, highly dramatic,
theatrical
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GIANLORENZO BERNINI, David , 1623. Marble, 5’
7” high. Galleria Borghese, Rome.

GIANLORENZO BERNINI, David
Modeled features after own face.
Expression of intense concentration.
Different from earlier versions-
incorporates action and time.
Most dramatic of an implied sequence of
poses.
Time and space are united in an artistic
theater.
Dynamic energy, cannot be confined in
a niche-must be freestanding.
Baroque=theatricality and element of
time.
After the Renaissance, an
understanding of Progress and a new
embrace of change began. Thus art
began to demonstrate transience, rather
than permanence and timeless ideals.
(Similar to the transition from High Classical to
Hellenistic in Ancient Greece)
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Teresa of Ávila
In the cloister, she suffered greatly from
illness. Early in her sickness, she
experienced periods of religious
ecstasy.
"... Beside me, on the left hand,
appeared an angel in bodily form... He
was not tall but short, and very
beautiful; and his face was so aflame
that he appeared to be one of the
highest rank of angels, who seem to be
all on fire... In his hands I saw a great
golden spear, and at the iron tip there
appeared to be a point of fire. This he
plunged into my heart several times ...
and left me utterly consumed by the
great love of God. The pain was so
severe that it made me utter several
moans. The sweetness caused by this
intense pain is so extreme that one
cannot possibly wish it to cease, nor is
one's soul then content with anything
but God. This is not a physical, but a
spiritual pain, though the body has
some share in it-even a considerable
share .. .”
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GIANLORENZO BERNINI, inerior of
the Cornaro Chapel, Santa Maria
della vittoria, Rome, Italy, 1645-1652.
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GIANLORENZO BERNINI, Ecstasy
of Saint Teresa .
Makes use of theatrical
techniques-architecture, sculpture,
lighting.
St. Teresa-nun of Carmelite order,
“mystic”.
Fell into a series of trances,
visions, voices. Felt a persistent
pain, attributed it to fire-tipped
arrow of divine love an angel thrust
repeatedly into her heart.
Mingling of physical and spiritual
passion.
Differentiation in texture among the
clouds, cloth, skin, and wings.
Light from a hidden window with
yellow glass shines down. Golden
light of Heaven.
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Highly Suggestive
eroticism
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Cornaro family looks on from above.
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Caravaggio
Michelangelo Merisi di Caravaggio
Outspoken disdain for Classical
masters- the “anti -christ ” of painting.
Recast biblical scenes or themes in new
light
Used naturalism - did not idealize the
narratives. Characters were common
folk not idealized and angelic.
Accentuates the “sinner” or the lower
classes in his works-harsh dingy
settings. Figures that were relatable.
Strong use of light with deep pockets of
shadow - tenebrism
Action very close to surface of painting-
like a “shop window”.
Strong personality violent criminal-,
thrived in Roman underground scene.
Enormous influence on subsequent
generation of painters (Caravaggista)

Tenebrism
From the Italian tenebroso
("murky"), (also called dramatic
illumination) is a style of
painting using very pronounced
chiaroscuro , where there are
violent contrasts of light and
dark , and darkness becomes a
dominating feature of the
image. Spanish painters in the
early seventeenth century who
were influenced by the work of
Caravaggio have been called
Tenebrists, although they did
not form a distinct group.
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CARAVAGGIO, Calling of Saint
Matthew .
One of 2 paintings honoring St, Mathew
for the Contarelli Chapel.
Commonplace setting (dingy tavern).
Group of tax collectors. Shady
characters. No idealization-brings the
Spiritual down to an everyday level.
Christ barely identifiable. Gestures Levi
(later Mathew) with hand reminiscent of
Michelangelo “Creation of Adam”
(Christ is 2 nd Adam).
Light is used to dramatic effect- shines
from behind Christ towards Levi who
gazes upwards.
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CARAVAGGIO, Conversion of
Saint Paul .
Mysterious light pierces dark of a
stable during moment of conversion.
Stable hand oblivious to mystical
event.
Looks like stable accident. Large
portion of the painting is horses ass.
Places figures in shallow space close
to the viewer. Low Horizon line
positioned at the line of sight of
average viewer.
Dramatic tenebrism. Theatrical.
Light stands for Divinity and
revelation. (Like Bernini)
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ARTEMISIA GENTILESCHI, Self-
Portrait as the Allegory of Painting ,
ca. 1638 – 1639.
Most celebrated female artist of the
era.
Taught by her father Orazio.
Both strongly influenced by
Caravaggio.
Used tenebrism and combined with
“dark” subject matter -often scenes
of female empowerment.
Herself a victim of rape. Struggled
with unequal treatment as a painter
due to her gender.
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ARTEMISIA GENTILESCHI, Judith
Slaying Holofernes .
Story from book of Judith (apocryphal
text).
Judith seduces Assyrian general
Holofernes, and then cuts his head of
when he is sleeping, thus saving the
Israelites.
Lots of blood, realistic spurts.
Tenebrism and shallow space of
Caravaggio
Holofernes body foreshortened
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The Habsburgs
Charles V abdicates Holy
Roman Empire throne in 1556
The Western portion
(Spain, American
colonies, Netherlands,
Burgundy,Milan, Naples
and Sicily) go to his son
Phillip II
The Eastern portion
(Germany and Austria)
go to his brother
Ferdinand

Spain: Hapsburg Empire
16 th century: Hapsburg Empire is the
dominant power in Europe-(Portugal, pt.
Italy, Netherlands, New World)
Even as Spain’s gold imports lessen from
New World, and eventual bankruptcy in
1692, this is known as Golden Age of Spain
17 th Century: 1660 Hapsburg Empire has
fallen
failure to capitalize on trade
Catholic and repressive
King Philip
The artwork tends to support heavily the
Catholic Church and the Habsburgs liked
the use of strong dramatic effect and
lighting
Religious scenes of death and Martyrdom
Religious fanaticism
Realistic details and tenebrism
DIEGO VELÁZQUEZ, King Philip IV of
Spain ( Fraga Philip) ,
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JOSÉ DE RIBERA, Martyrdom of
Saint Philip.
Ribera often embraced brutal
themes reflecting harsh times of the
Counter-Reformation.
Saint Philip’s martyrdom visually
echoes Christ.
Swarthy plebian features- common
man.
St Philip who was one of the first
disciples to follow Jesus. He
preached the Gospel in Phrygia
and died at Hierapolis, first stoned
then crucified. St Philip apostle was
Philip IV's patron saint and
presumably Ribera painted the
canvas upon royal commission.
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FRANCISCO DE ZURBARÁN, Saint
Serapion , 1628.
Primary patrons were rich Spanish
monastic orders
Devotional image for the funerary
chapel of the Order of Mercy in
Seville (Mercedarians) who worked
towards the rescue of captive and
ransomed Christians at hands of
Muslims
St. Serapion suffered martyrdom
while preaching Gospel to Muslims
Tied to a tree, tortured and
decapitated
Bright light brings attention to tragic
death.
Two tree branches barely visible
Note identifies him as St. Serapion
Like Ribera, subject is depicted as
common man
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Diego Velazquez
Leading artist in the court of
King Phillip IV
Because of Velasquez' great
skill in merging color, light,
space, rhythm of line, and mass
in such a way that all have
equal value, he was known as
"the painter's painter .”
Master realist, and few painters
have surpassed him in the
ability to seize essential features
and fix them on canvas with a
few broad, sure strokes.
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DIEGO VELÁZQUEZ, Water Carrier
of Seville .
Velazquez painted at age 20
Genre scene- a painting of mundane
activities of everyday life (no religious
purpose)
Influence of Caravaggio visible in
plebian figures and deep shadow
3 ages of man
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DIEGO VELÁZQUEZ, King Philip IV of
Spain ( Fraga Philip) , 1644. Oil on
canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick
Collection, New York.

DIEGO VELÁZQUEZ, Las Meninas
(The Maids of Honor).
Set in artists studio in palace
Hung in the kings private quarters
The Mystery of the visual world, several
layers of visual reality
Canvas image ?
Mirror image ?
Open door in background
Dual theme
Family portrait
Genre scene
Self portrait-The Artists studio
Wearing illustrious order of
Santiago
Artist elevates status (paints himself as
intimate with royal family)
Paintings by Rubens in background
A painting about painting
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Spanish Netherlands:
Flemish painting under Spanish control
(Modern Belgium-Flemish Baroque)
• Phillip II “Most Catholic King”
of Spain repressive towards
Protestants
• Netherlands splits between
north (Protestant) and South-
(Catholic)
• North is independent
• South is ruled by Spanish
Empire

Peter Paul Rubens
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Educated, looks, well-traveled, happy
ENERGY – his life and art
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Rose at 4am and worked until midnight
Great work ethic, over 2,000 paintings
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Influenced by Michelangelo and Caravaggio
Unified the styles of northern and southern Europe
– Became synonymous with Flemish Baroque
Confident of Kings and Queens, dispatched on
several diplomatic missions
Created thousands of sketches in his travels
of famous artwork to study and use
Built a house with a large studio that allowed his
workshop and assistants to crank out hundreds of
works
Price of work was equivalent to how much he actually
painted

Peter Paul Rubens
“ Rubenesque ”
Applied to a woman who has similar
proportions to those in paintings by the
Flemish painter Peter Paul Ruben;
attractively plump; a woman who is
alluring or pretty but without the waif-like
body or athletic build presently common
in media.
"Our waitress is really hot, even if she
has a few extra pounds on her, but it
doesn't matter because I like my women
rubenesque anyway."

PETER PAUL RUBENS, Elevation of
the Cross
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Commissioned for the church of Saint
Walburga in Antwerp
Influence of Michelangelo and Caravagio
evident
Foreshortened anatomy and contortions
of violent action
Christ body cuts dynamically across
picture plane
Figures resonate with power of strenuous
exertion
Emotional and physical tension
Movement-pushes out of the picture plane
(Baroque)
Theatricality and emotionalism
characteristic of Italian Baroque
Attention to detail represents the Northern
Influence
Rubens combines the two to form an
international synthesis
64

Peter Paul Rubens, The
Presentation of the Portrait of
Marie de’ Medici , c. 1622-1625, oil
on canvas, 394 x 295 cm (Musée
du Louvre)

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PETER PAUL RUBENS, Arrival of
Marie de’ Medici at Marseilles
Marriage of French king Henry IV
and italian Marei de’Medici
Painted a series of 21 paintings
(1622-26) to memorialize and glorify
her life
Her life was not very interesting, so
Rubens added Mythical figures to
give it a sense of grandeur and
importance
Over the top-huge ego
Personification of France greets
Marie
Sea and sky rejoice at arrival
Neptune and the Nereids salute her
Decorative splendor holds
composition together
72

Also includes events that were both
quite recent and quite humiliating.
After Henry was assassinated in
1610, Marie — acting as regent for
their young son, Louis XIII — ruled
the kingdom of France for seven
years.
The position suited her; but many
French nobles begrudged her
power. Divisions in the court,
including tensions with her own
son, led to Marie’s exile from the
Paris in 1617.
The commission of the biographical
cycle marked her reconciliation with
Louis and her return to the capital
city in 1620. It vindicated her reign
as the queen of France.
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PETER PAUL RUBENS,
Consequences of War
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Rubens worked for many nations
so could not comment on conflict
in direct way(use of allegorical
figures)
Door to temple of Janus is open
(symbol to War)
Venus attempts to prevent Mars
from going to battle.
Figure of Europe in black throws
her arms up.
Fury Alekto drags Mars forward,
sword drawn, to trample the arts
and music, symbols of family and
fecundity. Monsters of Pestilence
and Famine lurk in the back.
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The Dutch Republic
The United Provinces of
the Netherlands
North Region (Modern
Holland)
Late 16 th Century:
Independence from Spain
Protestant
1609 Bank of Amsterdam
Political power: urban
merchants
Prosperous: wealthiest
region of Europe
Moralistic
No King (no feudal land
rights)

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The Golden Age of
Dutch Art
The Dutch Republic was based on
commerce and trade; merchant class
held power, wealth
No royal court and officials and
lacking Catholic church commissions,
artists turned to merchant class for
work
Portraiture rose in popularity as did
works showing their possessions and
land
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Merchant patrons
Realism, Genre Scenes, still life,
Little religious art
Moralizing
Landscapes that showed work ethic
Bourgeoisie portraits showed status
without being ostentatious

HENDRICK TER
BRUGGHEN, Calling of
Saint Matthew
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Selected them from Caravaggio
Softer tints, compressed space,
much more intimate effect
78

Frans Hals
Brilliant portrait painter
Different from Leonardo, Holbein, or
Durer’s portraits of exactness
Quick brushstrokes capture the
momentary smile and twinkle of an eye
Actually took a lot of time to capture
spontaneity
Broke conventional ways of depiction
Pose, setting, attire, accessories
Typical conventions did not apply to
middle class portraiture
Hals produced lively and relaxed images
Excelled at group portraits

FRANS HALS, Archers of Saint
Hadrian
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Popular group portraits reflect
participation in Dutch civic
organizations
Each member paid a fee
Dutch Civic Militia groups claim
credit for liberation from Spain
Hals enlivens the troop,
movements and moods vary
markedly
Spontaneity of gesture despite
uniformity of attire
Preservation of gesture and
fleeting facial expressions
evidence of careful planning but
does not immediately appear so
because of Hals vivacious
brushwork
80

GERRIT VAN HONTHORST,
Supper Party
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Genre Scene
Informal gathering of un-
idealized figures
Inspired by Caravaggio’s use of
light but adding his own ideas
Lighthearted but Can be read in
a moralistic way- could be
warning against the sins of
gluttony and lust
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Rembrandt
Born in Lieden, moved to Amsterdam,
the financial center of Europe
Became the cities most-renowned
portrait artist
Delved deeply into the psyche and
personality of his sitters
Long career (40 years)
Without the Catholic Church in Holland
to commission art, Rembrandt and his
fellow Dutch artists were lavishly
supported by a wealthy, Protestant,
and expanding middle class. This
group of patrons enthusiastically
commissioned works of art with their
increasing discretionary income-
mostly portraits.

Rembrandt
He deviated even more from the
traditional group portrait than Hals
Sitters not placed evenly across the
picture plane
Use of light is a key element
Gradual transitions, no sharp edges
Fine nuances of lights and darks
Uses for psychological effect

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REMBRANDT VAN RIJN, Anatomy
Lesson of Dr. Tulp ,
Rembrandt age 26
Deviates from traditional group
portraiture.
Poses and expressions suggest
varying degrees of intensity.
“spotlight” on each person - inner
light of the individual as opposed to
outer light of the divine.
Doctor is only person wearing a hat
(signifies importance)
The cadaver — a recently executed
thief named Adriaen Adriaenszoon
In actuality Dr. Tulp would be
lecturing to larger audience while
assistant dissected.
84

The Catholic tenant of resurrection
necessitated that dead bodies be
interned in a state of wholeness,
and this fact explains why Leonardo
was forced to dissect human bodies
in secret.
In Protestant Holland but 113 years
after Leonardo’s death, however,
human dissections were not only
common practice, they were often
public spectacles, complete with
food and wine, music and
conversation.
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Dead bodies usually Christ
Northern Baroque- science
replaces the spiritual
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REMBRANDT VAN RIJN, The
Company of Captain Frans Banning
Cocq ( Night Watch ),
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Actually a day scene (has
darkened considerably)
Light used in amasterful way
One of many civic-guard portraits-
one if 6 paintings commissioned
for the banquet hall of Amsterdams
Musketeers Hall
Painting trimmed on all sides in
1715
Captures excitement and frenetic
energy rather than dull staid poses
3 important stages of loading and
firing a musket
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Rembrandt interested in probing
the states of the soul
Psychological insight, sympathy
for human affliction
Light directs attention
Religious Protestant art vs.
Religious Catholic art
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Piety vs. emotional drama
Human contemplation vs.
theology
Humanity of Jesus vs.
triumph of the church

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REMBRANDT VAN RIJN, Self-
Portrait , ca. 1659 – 1660. Oil on
canvas, approx. 3’ 8 3/4” x 3’ 1”.
Kenwood House, London (Iveagh
Bequest).

Dutch relationship to
the Land
Generally not idealized or
classical
Specific identifiable
scenes
An individual relationship
with the land
No feudalism
Reclaimed land
Show work at hand,
historical

JACOB VAN RUISDAEL, View of
Haarlem from the Dunes at
Overveen ,
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Saint Bavo church in
background (Ghent Altarpiece)
Windmills refer to land
reclamation efforts
Foreground linen is being
stretched Dutch painters took
pride in homeland and activities
of life- specific landscape, not
idealized
Low horizon line, sky fills
majority of composition
Quiet serenity that is almost
spiritual
Movement if birds and clouds
nmplied- Baroque all about
movement
97

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Jan Vermeer
Small, luminous, and captivating
paintings
Intimate Dutch interiors of
insignificant events (in other words,
not religious) Typical paintings have
light coming from source on left
side, uses yellows and blues,
subjects tended to be women
Classical serenity to his images
Shadows are not colorless
Only painted 53 works
Ran a Inn/Tavern. Died in his
forties, left his family in debt
Believed to have used the camera
obscura , an instrument that created
an image through a hole set inside
a dark box

JAN VERMEER, Woman Holding a
Balance
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Girl is member of merchant class-
new customers of secular paintings
and “genre scenes”
Light draws attention to balance
Scales are empty
Mirror refers to self-knowledge (or
sin of vanity)
Jewels represent vanity
Last Judgment painting on wall
emphasizes religious undertone
Matchless serenity and optical
realism
Shadows full of color
“circles of confusion” -slight areas
out of focus
100

Camera Obscura
A technical aid, widelv used in
the seventeenth and
eighteenth centuries, which
consisted of a darkened box
or tent containing lenses and
a mirror. The artist could
project the image of an object
or landscape onto the oil
painting surface and then
trace it out in charcoal or
graphite.
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106
JAN VERMEER, The Letter ,
1666. Oil on canvas, 1’ 5 1/4” x
1’ 3 1/4”. Rijksmuseum,
Amsterdam.

JAN STEEN, The Feast of Saint
Nicholas
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Whimsical scene of chaos and
disruption
Saint Nicholas (Santa)
Some children delighted-others
disappointed
Allegorical dimension- children’s
activities can be satirical
commentary on foolish adult
behavior
sweet white bread, called a
duivekater , was traditionally
enjoyed at the Feast of St.
Nicholas, as well as at
Christmas, and on the Dutch
New Year.
107

Saint Nicholas
The Christian Saint Nicholas, or as
the Dutch call him, Sinterklaas , was a
4th century Bishop of Myra (a town
located in modern day Turkey) who
was known for his generosity and
kindness especially to children.
He died on December 6th in 343
C.E., and it is this day that is
commemorated. Although traditionally
a Catholic holiday, the Feast of St.
Nicholas survived in the Protestant
Netherlands, although in a
secularized form to be celebrated by
all.
Nevertheless, Sinterklaas continues
to be shown wearing his customary
bishop’s garb: a tall, pointed red mitre
(hat) and long red robes. In the 18th
century, when Dutch immigrants
brought their traditions to America,
the well-loved Saint Nicholas
eventually developed into the figure
known today as Santa Claus.
109

PIETER CLAESZ, Vanitas Still Life ,
vanitas : literally ‘worthlessness’
refers to death and the emptiness
of life. Vanity of personal
possessions-transience and
ephemeral nature of existence.
Skull, glass tipped over, watch, half
eaten food, musical instruments- all
symbolic of ephermal nature of life
110

WILLEM KALF, Still Life with a
Late Ming Ginger Jar
•
•
•
Reflects the wealth Dutch
citizens had accrued through
trade as well as painters
exquisite skill
Exotic items from far off lands
Inclusion of watch and peeled
lemon suggestive of Vanitas
tradition
111

Rachel Ruysch
Extremely successful
Paintings sold double of what
Rembrandts sold for
Father was famous botanist
250 paintings over seven decades
112

113
RACHEL RUYSCH, Flower Still Life ,
after 1700. Oil on canvas, 2’ 5 3/4” x
1’ 11 7/8”. The Toledo Museum of Art,
Toledo

A successful Dutch still life painting
was highly valued for its degree of
skillful realism.
Flowers Still Life depicts a
profusion of scientifically accurate
floral details. Each petal, stem, and
leaf is minutely and precisely
rendered.
Textures are remarkably realistic,
from the delicate paper thin poppy
petals to the crinkly, brittle leaves.
Looking closer still, we see that
Ruysch has also meticulously
depicted tiny insects: a caterpillar
crawls on a stem, a bee gathers
pollen from the center of a poppy, a
white butterfly alights on a
marigold.
114

Flowers: A National
Passion
The Netherlands became the
largest importers of new and exotic
plants and flowers from around the
world.
Once valued primarily for their use
as herbs or medicine, flowers
became newly appreciated simply
for their beauty and fragrance.
They became prized luxuries and
desirable status symbols for the
wealthy.
Botanists and gardeners sought the
rarest specimens imported from
overseas trade. The tulip, like the
one featured prominently in
Ruysch’s painting below, was the
most exotic.
115

The Rise of France
•
•
•
•
France shifted the center of
European art and culture away
from Italy
Louis XIV took over in France in
1661, everything changes
Reigns for 54 years, established
France as the leading
superpower
From 1661-1789 French art
took prominence

French Society 1600-
1700
King Louis XIV
Obsessive control determined
the direction of society and
culture
Created the Royal Academy
of Painting and Sculpture
Largest and most powerful
European country of 17 th
century
Not as wealthy as Dutch
society
After Reformation, Protestants
challenged royal authority
1598 King Henry IV issued
the Edict of Nantes
Granted religious
freedom, but
Protestants were still
driven from the country

The “Sun King”
Louis XIV (1661-1715) defined his
era
All life “revolved” around him, he
envisioned himself as Apollo
Oversaw the construction of
Versailles – palace and gardens
were unfortified
Style emphasized glory; lavish and
luxurious
At 63, most famous portrait not just
for the opulence of his position, but
also the vanity of his legs!

The “Sun King”
•
•
•
•
•
•
•
•
Louis XIV (1661-1715) defined his
era
All life “revolved” around him, he
envisioned himself as Apollo
“l’etat , c’est moi ” (“I am the state” )
le Roi Soleil
ruled by divine right, receiving his
authority directly from God. The
concept of divine right allowed
Louis to quash emerging rebellions
while establishing legitimacy.
Oversaw the construction of
Versailles – palace and gardens
were unfortified
Style emphasized glory; lavish and
luxurious
At 63, most famous portrait not just
for the opulence of his position, but
also the vanity of his legs

French Baroque
•
•
•
•
•
•
•
No motion or emotive
gesture
Calm, classical repose
Even Lighting
Lacking surface detail
Simplified body volumes
Organized picture plane
Grand Theme-no genre
scenes

NICOLAS POUSSIN, Et
in Arcadia Ego
•
•
•
•
•
•
•
•
Even in Arcadia, I am
present
Precursors-Titian, Raphael
Female spirit of death
Classicizing through
Moderation orderly
Grouping.
Bodies: classical statuary
Reserved, thoughtful mood
Idealized landscape
Even lighting

• Landscape painting began with the backgrounds of Venetian paintings
CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629.
GIORGIONE and/or TITIAN, Pastoral Symphony, 1508
“The Arcadian Landscape”

The Arcadian
Landscape
Arcadia is a mountainous region in
the heart of the Peloponesse,
Greece. Due to its inaccessibility,
Arcadia was isolated in the ancient
times and its people, away from
civilization, were living a pastoral
life.
The concept of a pure life in
accordance to the nature was
praised in the Hellenistic era poems
of Theocritus and in the bucolic
ones of Horatius and it became
very popular among the elites
during the late antiquity.
Classicism in the 17th century
revived this love towards nature.
125

CLAUDE LORRAIN, Landscape
with Cattle and Peasants
•
•
•
•
•
•
Well defined foreground-middle-
background
Serene orderliness
Landscape dissolves into
luminous mist
Ideal classical world bathed in
sunlight in infinite space
“golden hour”
Infusion of nature with human
feelings
126

LOUIS LE NAIN, Family of
Country People ,
•
•
•
•
Somber stillness of rural family
reflects the thinking of French
social theorists who celebrated
the natural virtue of peasants
Grave dignity of peasant family,
stoic-resigned to hardship with
little reason for merriment
Peasant life very miserable
during Thirty Years War
Docile calm family does not
reflect the many uprisings and
revolts, which possibly
appealed to Le Nains
Aristocratic patrons
127

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