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22 Cards in this Set
- Front
- Back
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Aertsen, "Butcher's Stall", 1530, Northern Late Renaissance
everyday genre painting scene, but with the holy family visible in the background spirituality in everyday life, IN THE DETAILS, disguised symbolism |
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Altdorfer, "Battle of Issus", 1530, Northern Late Renaissance
Battle of Alexander the great, but modernized to reflect contemporary conflicts of the patron love of landscape=apparent |
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Bruegel, "Peasant Wedding", 1530, Northern Late Renaissance
simple, not formal clothes, emphasis on COMMUNITY simplified forms brings the scene together warm, inviting, lively, movement NOT confrontational at all Using vernacular, imagery of the people |
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Bruegel, "Blind Leading the Blind", 1530, Northern Late Renaissance
comes from saying: when the blind lead the blind you fall using imagery and language of the people |
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Bruegel, "The Return of the Hunters", 1530, Northern Late Renaissance
SECULAR, mostly about the landscape/nature, how the village and the landscape interact focus on everyday peasant life |
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Bruegel, "Netherlandish Proverbs", 1530, Northern Late Renaissance
all references to dutch proverbs at the time, something his audience enjoyed, VERNACULAR intersection of wit and study of human nature |
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Clouet, "Francis I", 1530, Late Northern Renaissance
very formal, flattened, decadent, attests to the king's confident/suave nature. |
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"Portal de San Gregorio", 1530, Late Spanish Renaissance
Influenced by earlier german architecture had facade with no purpose, arabesque moorish influences as well |
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Cranach, "Law and Gospel", 1530, Late Northern Renaissance
a friend of Luther's, Cranach is contrasting protestantism and catholicism in terms of how to reach salvation |
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Durer, "Fall of Man", 1530, Late Northern Renaissance
COmbination of greek idealization/perfection study and naturalism study with the nature in the background but also disguised symbolism of the style period in cat/mouse and each of the specific plants |
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Durer, "Four Horsemen of the Apocalypse", 1530, Late Northern Renaissance
very precise, academic approach to his art shows death, famine, war and plague (each a horseman) made wood cuts more fine art than was traditional |
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Durer, "Knight, Death and the Devil", 1530, Late Northern Renaissance
knight runs into death, reminding him that he might die at any time, reminder to be a good Christian devil is behind him all of the scientifically rendered plants and animals are symbolic |
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Durer, "the Four Apostles", 1530, Late Northern Renaissance
clearly studied Michelangelo, heavy substantial bodies painted for the council of Nuremburg, supported Martin Luther says: don't be misguided by false human words, all you need is the word of god John=red, Peter=one with key |
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El Greco, "Burial of Count Orgaz", 1530, Late Spanish Renaissance
looked a lot at mannerists, tinteretto, light/dark, drama, busy, supernatural, coffin itself is right below painting, moving towards baroque idea of coextensive space foreshortening, elongated figures |
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Gossaert, "Neptune and Aphrodite", 1530, Late Northern Renaissance
became fascinated by antiquity/greek mythology architecture/perspective also very classical inspired by durer |
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Grunewald, "Isenheim Alterpiece (outside)", 1530, Late Northern Renaissance
in a hospital, point of meditation (+prayer to christ) crucifixion in middle, but jesus not centered, when opens, jesus' arm is cut off (amputated like patients) has a sort of skin disease on outside too and then it's gone st. anthony on right--->curer of diseases |
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Grunewald, "Isenheim shrine Inside" 1530, Late Northern Renaissance
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Holbein, Francis I, 1530, Late Northern Renaissance
like older northern renaissance with detail, skill, oil paint Jewels, Fur symbols of wealth shoulders and hugeness are signs of power |
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Holbein, "The French Ambassadors", 1530, Late Northern Renaissance
arts/sciences symbols everywhere--->well learned, distinguished and proud of it skull=anamorphic skill, visual pun, funny momento mori, death is inevitable, so be good |
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"Juan de Herrera Escorial" 1530, Spanish Late Renaissance
classical in style, severe doric, plain walls/massive towers complex with mausoleum, church, monastery, palace all in one "dynamic pantheon" gridlike plan sense of overwhelming weight and strength, heroic |
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Teerlinc, "Elizabeth I as a Princess", 1530, Late Northern Renaissance
successful female painter, made a lot of money on commissions |
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Massys, "Money-Changer and His Wife", 1530, Late Northern Renaissance
everyday man, but message about how money worries etc distract good men from christian values she has more interest in watching his transactions than the religious book she is reading lots of spiritual physical symbols |