Arh 205 Final - Terms

Front 1

Year The Medici return to power in Florence

Back 1

1512

Front 2

Year Martin Luther nails 95 thesis on church in Wittenberg: Protestant Reformation begins

Back 2

1517

Front 3

Year of Decree on Holy Images; Accademia del Disegno founded by Cosimo de’ Medici in Florence

Back 3

1563

Front 4

Mannerism

Back 4

• Style of being stylish
• Originates in the 1520s in Florence - reason for this is the Medici, who have come back and begun an Aristocratic court
• “Maniera” (Style, manner)
• Courtly (the Medici) - Art shows sophistication

• Elongation of the figures and their limbs
• Ambiguous in their message and in figures (who are they? where are they standing?)
• Compositions are irregular
• Light is used irregularly
• Faces as Masks - performance - people in court were expected to perform in a certain manner

Front 5

Accademia del Disegno

Back 5

Founded by Cosimo I de’Medici in 1563, in Florence
• Draw from other Paintings, not from life

Front 6

Disegno

Back 6

Drawing, one of the main aspects of Mannerism

Front 7

Vasari's Notion of Disegno

Back 7

an expression of the concetto (concept) that is held in the mind - an expression that is imagined in the intellect

lost connection with nature - drawing is completely made up in the mind

Front 8

The human (male) figure

Back 8

Didn't use the male figure in the Accademia del disegno. It wasn't until the Carracci Academy that they started to draw from life again.

Front 9

Counter-Reformation

Back 9

The Catholic response to the Protestant Reform

Front 10

Iconoclastic Riots

Back 10

Debates about the Role of Images: Images seen as idolatrous; Iconoclastic Riots in Northern Europe (religious images destroyed in churches)

Front 11

The Council of Trent

Back 11

1545-1563:
The “Council of Trent” was a Council of the Catholic Church: it held several meetings between 1545 and 1563. As a result of the Council, the Church:
1) Reinforced the authority of the Pope and the bishops
2) Reinforced the role of the Sacraments
3) Emphasized the veneration of saints and relics, and the veneration of the Virgin Mary.
4) Reaffirmed the role of images as instruments of the Catholic faith. This new role of the images was discussed in one of the last sessions, the Decree on the Holy Images (December 3, 1563).

Front 12

Decree on the Holy Images

Back 12

December 3, 1563
“…every superstition shall be removed ... all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous, seeing that holiness becometh the house of God.”

Front 13

Clarity of message

Back 13

Important because of the decisions of the Council of Trent. This was one convention that they decided had to be present in a religious painting. They didn't want there to be any confusion

Front 14

Verisimilitude

Back 14

Their ability to make credible the mysteries of the faith (such as visions, miracles, etc): Naturalism

Front 15

Decorum

Back 15

An image should not be disrespectful or untrue to the story. El Greco, Martyrdom of Saint Maurice and the Theban Legion (1580-82) (For the Escorial): was rejected by Philip II for its lack of Decorum, wasn’t considered appropriate for Counter-Reformation ideals.

• true to the story
• avoid all nudity

Front 16

Catholic Kings

Back 16

Started political and religious unification of Spain by joining several provinces and expulsing the Moors and Jews from Spain: become the foremost defenders of Catholicism with institutions such as the Inquisition; sponsor Christopher Columbus’s explorations.

Front 17

Charles V

Back 17

Consolidates the Spanish empire with territories in Northern Europe, Italy, and the Americas.

Front 18

Philip II

Back 18

Continues empire and becomes aggressive defender of Catholicism, leading wars against Protestants.

Front 19

The Escorial

Back 19

• Founded by Philip II
• Built to serve as the “pantheon” (or burial site) for the past and future monarchs of Spain: also a monastery and palace
• Modeled as a grill: commemorates Saint Lawrence, who was martyred in the grill
• Becomes a kind of artistic laboratory for the new Counter-Reformation imagery: Philip II oversees all the decorations and is very strict about following parameters for religious images.

Where Philip II begins to censor many images he finds inappropriate.

Front 20

Baroque

Back 20

The term “baroque” comes from the Portuguese “barroco,” which means an irregularly shaped pearl.

Covers the 17th and most of the 18th centuries in Europe.

Front 21

Naturalism and New Pictorial Genres

Back 21

Landscape, Still-Life (trompe l'oeil), Genre Scenes (daily life)

They all show the new status of the Dutch Republic in the art world

Front 22

New Religious Orders: Jesuits (Saint Ignatius Loyola, Spiritual Exercises)

Back 22

The Impact of Naturalism in Religious Images.

On 15 August 1534, Ignatius of Loyola, a Spaniard of Basque origin, and six other students at the University of Paris, met in Montmartre outside Paris, in a crypt beneath the church of Saint Denis, now Saint Pierre de Montmartre
They called themselves the Company of Jesus, and also Amigos en El Señor or "Friends in the Lord", because they felt "they were placed together by Christ". The name had echoes of the military (as in an infantry "company"), as well as of discipleship (the "companions" of Jesus).

Front 23

Allegory

Back 23

The representation of an abstract idea through something we find in nature
Bernini, Saint Peter’s Piazza (1656-1667) (Rome)
Peter Paul Rubens, Allegory of War (1638)

Front 24

Sense of infinite

Back 24

Space and Light
Bernini, Ecstasi of Saint Teresa (1645-52): Saint Teresa of Avila; Discalced Carmelites

Front 25

Absolutism

Back 25

The idea that there is one individual who exercises total power over the land and its subject people, and that individual was chosen by God.

Diego Velázquez, Las Meninas, 1656

Front 26

Carracci Academy

Back 26

Drawing Academy created by several members of the Carracci family in Bologna, in 1582.

This Academy was the first of its kind in Western Europe: its teachings combined study of the classical and Renaissance traditions with anatomy and life drawing.

Combined drawing with the life model

Front 27

Caravaggio

Back 27

• His art clearly exemplifies the baroque interest in naturalism, psychology, and dramatic use of light: Tenebrism
• Use of real models
• Makes viewer aware of the painting’s illusion
• Inventive transformation of classical and Renaissance sources
• Incorporation of 17th century characters in religious paintings

He never drew. He painted right on the canvas. He combines idealism and naturalism

Front 28

Tenebrism

Back 28

Also called dramatic illumination, it 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. Caravaggio, a Baroque artist, is generally credited with the invention of the style

Front 29

Artemisia Gentileschi

Back 29

• She was one of the most accomplished followers of Caravaggio
• Trained in the studio of her father, Orazio Gentileschi (who was also a follower of Caravaggio), she was one of the first professional female painters of the Western World, and the most famous female painter in Europe in the first half of the 17th century.
• Challenges the limitations imposed upon her gender by painting the prestigious "history painting"

Front 30

Philip IV

Back 30

.Philip is remembered for his patronage of the arts, including such artists as Diego Velázquez, and his rule over Spain during the challenging period of the Thirty Years' War.

He was a powerful monarch who didn't need his portrait to be embellished, and rejected the painting by Rubens which did so.

Front 31

Rubens, Allegory, and Absolutism

Back 31

• Rubens was a Flemish artist who worked for many monarchs throughout Europe
• His art is an original and powerful synthesis of many painters including Michelangelo, Titian, Carracci, and Caravaggio.
• He is particularly known for his allegories, which he infuses with an extraordinary sense of dynamism and liveliness.
• The magnificence and splendor of these allegories reinforced the authority and right to rule of the highborn

Front 32

Calvinists

Back 32

Calvinism is a major branch of Protestantism that follows the theological tradition and forms of Christian practice of John Calvin and other Reformation-era theologians. Calvinists broke with the Roman Catholic church but differed with Lutherans on the real presence of Christ in the Lord's supper, theories of worship, and the use of God's law for believers, among other things.

Front 33

Double portrait

Back 33

Even more intimate; informal poses; Calvinist ideas of marriage for love; landscape setting; loose brushwork

Front 34

Pendants

Back 34

Portraits meant to be displayed next to each other follows some of the typical conventions of portraiture: pale woman (inside the home); darker-skinned man (works outside); woman at the left of the man (lesser side). Also offers some innovations (more informal; intimacy between the couple; Calvinist ideas of marriage for love; lose brushwork)

Front 35

Transubstantiation

Back 35

the transformation of the Eucharistic bread and wine into the body and blood of Christ

Front 36

Gold chain

Back 36

Refers to the admiration bestowed by kings and nobles

Statement in Rembrandt's self portrait - He is showing pride in his skill and renown, even though he doesn't have a patron and never recieved a gold chain.

Front 37

Landscape Painting

Back 37

• By 1650 (right after the independence), landscape painting in the Netherlands was the most popular type of painting.
• Landscapes were mostly sold in the open market and became the cheapest of all paintings.
• The development of landscape responds to very particular historical circumstances:
1) The reclamation of large areas of land from the sea
2) The independence from Spain and the formation of a self-conscious and independent culture

Front 38

Domestic Interiors

Back 38

New genre. Vermeer becomes an accomplished painter of domestic interiors. They usually had a subliminal message.

Front 39

Women

Back 39

Women belong in the home. That was the idea in this time. Two paintings that show the consequences of a woman doing her job are:

Jan Steen, In Luxury, Look Out (1663): Dissolute Household; World Upside Down; Comic Painting.

Pieter de Hooch, The Bedroom (c. 1658-60). Woman is doing what she is supposed to be doing, and the house is in good order, the child is behaving.

Front 40

Vermeer

Back 40

Now considered one of the great painters, though not very well known in his time.

Included more subtlety than in the past - i.e. included cupid then took him out

Front 41

Camera Obscura

Back 41

New innovation of the time. Used well by Vermeer. He integrated the effect of the camera lenses into his works (dots of light over the surface)

Front 42

Love Themes

Back 42

Maids were only concerned with love. Many representations or hints of love appeared in Dutch paintings. In fact, this time is the beginning of the idea of love in marriage, instead of marriage being simply a contract.

Front 43

Vanitas Still Life

Back 43

Where the representation of material possessions is tamed by objects that remind us of the vanity of worldly goods (following Calvinist believes). References to mortality and the passing of time.

Front 44

Use of sculpture, painting, and architecture, also light

Back 44

Bel Composto