Northern European Baroque: 1600

Northern European
Baroque,
1600 to 1750
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Europe in the 17th Century
2
Goals
• Recognize the distinctive characteristics of the Baroque style
• Understand the diversity of cultures and artistic styles
throughout Europe
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their works
• Recognize and cite artistic terminology from this period
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24.1 Baroque Art Northern Europe
• Recognize the distinctive characteristics of the Baroque
style in Northern Europe (Holland, France, England)
• Understand the diversity of cultures and artistic styles
throughout Northern Europe
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their
works
• Recognize and cite artistic terminology from this period
4
Rubens, Laocoon,
1601 - 2
Figure 25-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1
7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.
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Figure 25-3 PETER PAUL RUBENS, Arrival
of Marie de’ Medici at Marseilles, 1622–1625. Oil
on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.
7
Samson and
Delilah
Figure 25-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti,
Florence..
9
Figure 25-5 ANTHONY VAN DYCK,
Charles I Dismounted, ca. 1635. Oil on canvas, 8’
x 11” x 6’ 11 1/2”. Louvre, Paris.
10
van Dyke, Equestrian
Portrait of Charles I,
1637 – 38, oil on
canvas
The Dutch Masters
th
17
Century
Flemish Heritage
Dutch East Indies Company
Pieter Saenredam
Genre: scenes
of everyday life
Jan Steen,
The Feast of Saint
Nicholas
JAN STEEN,
The Skittle
Players
Outside
an Inn,
ca. 1652
Still-Life or Vanitas
Paintings
•Transience of life
Harmen Steenwyck
The Vanities of Human Life
Willem Claesz Heda
Jan de Heem
Jan de Heem
Vase of Flowers
ca. 1645
Audrey
Flack
Marilyn
(Vanitas)
1977-78
Audrey
Flack,
“Marilyn:
Elegy”
(1980).
Cibachrome.
17 × 16 3/4
inches.
Wheel of Fortune
(Vanitas), 1977-8
ETS STRIKES AGAIN
The most famous
LANDSCAPE painter of
th
the 17 Century!
Jacob van Ruisdael
View of Haarlem
with Bleaching
Grounds
Frans Hals
FRANS
HALS,
Portrait of
Willem
Coymans,
1645
Figure 25-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum,
Haarlem.
54
Figure 25-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans
Halsmuseum, Haarlem.
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Regents of the Old Men’s Almshouse
Figure 25-11 JUDITH
LEYSTER, Self-Portrait,
ca. 1630. Oil on canvas,
2’ 5 3/8” x 2’ 1 5/8”.
National Gallery of Art,
Washington, D.C. (gift of
Mr. and Mrs. Robert
Woods Bliss).
The Jolly Toper
Young Flute
Player
JUDITH LEYSTER,
The Last Drop,
ca. 1628-1629
Rembrandt
Self-portrait Leaning on a Sill, 1640
Figure 25-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.
73
Danae,
1643
What is the
subject of this
painting?
The Sacrifice of
Abraham
Rembrandt, ca. 1635
Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas
(cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
83
A New Style
Figure 25-14 REMBRANDT VAN RIJN,
Return of the Prodigal Son, ca. 1665. Oil on
canvas, approx. 8’ 8” x 6’ 9”. Hermitage
Museum, Saint Petersburg.
91
Figure 25-15 REMBRANDT VAN
RIJN, Self-Portrait, ca. 1659–1660. Oil on
canvas, approx. 3’ 8 3/4” x 3’ 1”.
Kenwood House, London (Iveagh
Bequest).
A Master at Etching
Self-portrait in a Cap, Openmouthed, and
Staring, 1630
Self-portrait Grimacing, 1630s
Self-portrait Leaning on a Stone Sill, 1639
Figure 25-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca.
1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
101
Vermeer
CAMERA OBSCURA – Device used to aid in
drawing pictures from nature; contains a tiny
pinhole, acting as a lens, projects an upsidedown image on a screen or wall of a room
Officer with a
Laughing Girl
The Little Street
Allegory of the Art of
Painting
The Milkmaid
Young Woman with
a Water Jug
The Love Letter
Baroque France
Figure 25-24 NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10”
131
x 4’. Louvre, Paris.
Et in Arcadia Ego
Figure 25-25 NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, 3’ 11” x 5’ 10”. Louvre,
Paris.
133
The Rape of the Sabine Women
Poussin,The
Assumption of
the Virgin,
1650, oil on
canvas
Raphael,
Sistine
Madonna,1512
– 1513, Oil
Raphael, Sistine Madonna,1512 –
1513, Oil
Poussin, Assumption of the
Virgin, ca. 1626
Poussin, Assumption of the
Virgin, ca. 1626
Figure 25-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1
7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.
141
Figure 25-26 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’
10 1/2”. Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection).
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Poussin
Claude Lorrain
143
Figure 25-27 LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, 3’ 8” x 5’ 2”.
Louvre, Paris.
144
Figure 25-28 JACQUES CALLOT, Hanging Tree, from the Miseries of War series, 1629–1633. Etching, 3 3/4” x 7 1/4”.
Private collection.
145
Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds,
1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
146
Baroque French Architecture
Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris,
France, 1667–1670.
148
Figure 23-12 PIERRE LESCOT, west wing of the Cour Carre (Square Court) of the Louvre, Paris, France, begun 1546.
149
East Wing, 17th Century
Blend of Italian and French Classical
elements created a new design
formula.
West Wing, 16th Century
Reflects Italian Renaissance classicism of
Bramante; diminishing height of stories,
large scale windows and steep roof are
Northern European features
Figure 25-32 Aerial view (looking west) of the palace and
gardens, Versailles, France, begun 1669.
151
Versailles from garden: Compare to Inigo Jones’ Banqueting Hall
Bernini,
Louis XIV
Figure 25-30 HYACINTHE RIGAUD, Louis XIV,
1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.
156
157
Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of
Louis XIV, Versailles, France, ca. 1680.
158
Figure 25-35 JULES HARDOUINMANSART, Royal Chapel, with ceiling
decorations by Antoine Coypel, palace of
Louis XIV, Versailles, France, 1698–1710.
159
Figure 25-34 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis,
Versailles, France, ca. 1666–1672. Marble, life-size.
161
Figure 25-36 JULES HARDOUIN-MANSART, Église
de Dôme, Church of the Invalides, Paris, France, 1676–
1706.
162
Maderno, Santa Susanna, Rome
Figure 25-36 JULES HARDOUIN-MANSART, Église
de Dôme, Church of the Invalides, Paris, France, 1676–
1706.
163
Baroque England
Figure 25-37 INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622.
165
Figure 25-38 SIR CHRISTOPHER WREN,
new Saint Paul’s Cathedral, London, England,
1675–1710.
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Discussion Questions
 Compare the values of the 17th century Dutch Republic to
17th century France. How did their different values affect
the art created in each culture?
 How does 17th century Dutch art compare to that of 17th
century Italy? 17th century Spain?
 How does 17th century architecture in the Northern
European countries compare to the architecture of
Baroque Italy? Consider appearance, form, and function.
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