Northern Baroque:
Baroque Art was the principal European style of art in the 17th century. Although encapsulating the whole of Europe, Baroque art greatly varied from region to region. Having been divided into two separate spheres, the Northern countries who turned Protestant, and the Southern countries who remained Catholic, developed two distinctive artistic styles. In Italy and Spain, the Counter-Reformation was in full swing, promoting complex and dramatic paintings and sculptures such as Caravaggio and Bernini. Although Southern Europe (i.e. Italy and Spain) were united by the Counter-Reformation and its ideals projected by the Council of Trent, Northern European countries and its arts were splintered. The Netherlands, were divided …show more content…
After the Truce of 1609, churches could rebuild and redecorate once more, thereby leading to the increase in religious commission. One such commision, was Peter Paul Rubens, The Raising of the Cross. Commissioned for the Church of St. Walburga in Antwerp, The Raising of the Cross, was a massive altarpiece, which blended both Netherlandish, and Italian art to create a dynamic and inspirational painting. Unlike earlier paintings of Christ crucified, Rubens chooses to depict Christ being raised on the cross, a deeply unsettling, and dynamic image that demands attention. Using a diagonal composition, (common among Baroque artists), Rubens draws attention to the contorted figure of Christ, and the pure agony of his face as he is risen by the ground. In the foreground, muscular men evocative of Michelangelo’s figures, struggle to lift the weight of Christ and the cross, their bodies thrusting out of the canvas and onto the viewer, thereby forcing the viewer to confront Christ’s crucifixion head on. Although Rubens's altarpiece illustrates the influence and desire of the Catholic Church to reaffirm faith in the church, as well as the influence of the Council of Trent (i.e. clear and accurate depiction of the crucifixion), Rubens's altarpiece illustrates the dynamism and emotion indicative of Baroque Art, as well as the religious quality of Flemish …show more content…
With the rise of the open market, many people desired to have paintings of their own experiences and surroundings, leading to the rise in popularity of still-lifes and landscapes. Landscapes, which were once considered lowly paintings, were now the staple of seventeenth-century dutch painting. One such example of Dutch landscape painting, is Jacob von Ruisedals, View of Haarlem with Bleaching Grounds. Throughout his career as a painters, Jacob van Ruisdael completed many paintings of Haarlem, known as Haarlempjecs. However, his most famous landscape is the View of Haarlem with the Bleaching Grounds. From the twists of light and shadow, to the ¾ of the canvas full of beautiful sky, one can sense the adoration and pride Rusal had for the city of Haarlem. In his landscape, Ruisdael highlights the bleaching grounds and windmills, as Haarlem was the center for production of linen, a major factor in the Dutch Republic’s economy. Thus, though Ruisdael's painting is beautiful, can also be seen as a portrait of nationalism for borth Haarlem and the Dutch
Baroque Art was the principal European style of art in the 17th century. Although encapsulating the whole of Europe, Baroque art greatly varied from region to region. Having been divided into two separate spheres, the Northern countries who turned Protestant, and the Southern countries who remained Catholic, developed two distinctive artistic styles. In Italy and Spain, the Counter-Reformation was in full swing, promoting complex and dramatic paintings and sculptures such as Caravaggio and Bernini. Although Southern Europe (i.e. Italy and Spain) were united by the Counter-Reformation and its ideals projected by the Council of Trent, Northern European countries and its arts were splintered. The Netherlands, were divided …show more content…
After the Truce of 1609, churches could rebuild and redecorate once more, thereby leading to the increase in religious commission. One such commision, was Peter Paul Rubens, The Raising of the Cross. Commissioned for the Church of St. Walburga in Antwerp, The Raising of the Cross, was a massive altarpiece, which blended both Netherlandish, and Italian art to create a dynamic and inspirational painting. Unlike earlier paintings of Christ crucified, Rubens chooses to depict Christ being raised on the cross, a deeply unsettling, and dynamic image that demands attention. Using a diagonal composition, (common among Baroque artists), Rubens draws attention to the contorted figure of Christ, and the pure agony of his face as he is risen by the ground. In the foreground, muscular men evocative of Michelangelo’s figures, struggle to lift the weight of Christ and the cross, their bodies thrusting out of the canvas and onto the viewer, thereby forcing the viewer to confront Christ’s crucifixion head on. Although Rubens's altarpiece illustrates the influence and desire of the Catholic Church to reaffirm faith in the church, as well as the influence of the Council of Trent (i.e. clear and accurate depiction of the crucifixion), Rubens's altarpiece illustrates the dynamism and emotion indicative of Baroque Art, as well as the religious quality of Flemish …show more content…
With the rise of the open market, many people desired to have paintings of their own experiences and surroundings, leading to the rise in popularity of still-lifes and landscapes. Landscapes, which were once considered lowly paintings, were now the staple of seventeenth-century dutch painting. One such example of Dutch landscape painting, is Jacob von Ruisedals, View of Haarlem with Bleaching Grounds. Throughout his career as a painters, Jacob van Ruisdael completed many paintings of Haarlem, known as Haarlempjecs. However, his most famous landscape is the View of Haarlem with the Bleaching Grounds. From the twists of light and shadow, to the ¾ of the canvas full of beautiful sky, one can sense the adoration and pride Rusal had for the city of Haarlem. In his landscape, Ruisdael highlights the bleaching grounds and windmills, as Haarlem was the center for production of linen, a major factor in the Dutch Republic’s economy. Thus, though Ruisdael's painting is beautiful, can also be seen as a portrait of nationalism for borth Haarlem and the Dutch