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| The outstanding representative of this short-lived school, what is known as the Bergundian school |
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| His observation of reality was revolutionary (carried us from international gothic to the humanism we see in the renaissance) |
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| Revitalizes manuscript illumination |
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| His illuminations begin to take on the character of independent painting (they expand to the ends of the page and knock out the text so its just pictures) |
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| He stands out in the eyes of his contemporizes, one of the greatest artist who ever lived |
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| Turned to independent painting of portraits |
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| Secularizes portraits (no more saints, angels, halos, just people) |
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| Leading Northern Painter of the early 15th Century |
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| Leading Northern Painter of the middle 15th Century |
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| Leading Northern Painter of the late 15th Century |
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| The Most influential graphic artist in the north of the last quarter of the 15th Century |
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| Elevates the print to a position of artistic rivalry like fresco and painting |
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| German “Leonardo da Vinci” |
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| Found it difficult to reconcile his tradition, his northern tendency for realism and detail and his theoretical pursuit along with the Italian high renaissance |
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| Never outgrows his German linear characters |
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| First northern artist who fully understood the basic aims of the Italian renaissance |
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| First northern artist to concern himself with classism and the human form |
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| Chiefly known for his portraits (one of the greatest) |
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| Strong sense of composition, subtle linear patterns, gifts for portrait, sensitivity to color, faultlessly firm technique |
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| Invents a new kind of romantic landscape of mood |
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| Human activities remain the dominant theme in his landscapes |
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| No cast shadows are typical for him |
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| Also produces prints that anticipate surrealism |
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| Best portrait painter of the French royal court |
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| Luminous and coloristic achievements and nuances of brush strokes |
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| Influenced by Roman Mannerism |
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| Last and one of greatest of these byzantine painters |
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| His style is a blending of byzantine elements and Italian mannerism along with 16 th century venetian influences, His personal style died when he did |
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| He did not influence any Spanish painters |
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| Style: Revolt against mannerism |
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| Style: Interest in dynamic movement and theatrical effects |
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| Style: Combines various things: architectural, sculpture, and painting |
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| Style: 17th Century style |
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| Style: Michelangelo lays ground for this! |
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| Style: New group of Northern Italian artist in Rome, heralds this new style |
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| First true baroque façade in Rome |
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| One of the greatest innovators of using water and light |
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| His sculpture expresses the essence of the Baroque spirit, while in his architecture, he is relatively conservative |
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| A countercurrent of Bernini, he resists embelishments |
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| Has a theme on his architecture that has a push and pull of concave and convex |
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| Uses new kind of brick architecture (uses terracotta, leaves it brown) |
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| The pioneers of Baroque painting in Rome |
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| the most important and most gifted of the Carracci family |
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| Style: a revival of Italian renaissance itself |
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| synthesis of vigor of Michelangelo with harmony of Raphael, with color of Titian and the mystery of Correggio (inspiration) |
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| Created his synthesis not through imitation, but through emulation of idealized nature |
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| First significant institution of its kind in the history of art |
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| Materials of instruction had to include: study of antique, renaissance, and anatomy |
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| Called academic (intellectual) or eclectic (pulling from different sources) |
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| Assumed a development of a “correct” style in painting |
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| Uses Quattro reportato in his work and one of his works was the first major understanding of baroque in rome |
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| His aurora inspired a new wave of enthusiasm for illusionistic ceiling frescos |
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| First artist on record who goes out of his way to shock conventional people (religious scenes in daily life) |
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| Abandons beauty and is interested in depicting reality |
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| Imitated nature instead of just imitating other painters |
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| Called “The Antichrist of Painting” |
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| His type of chiascuro is known as tenebrism (dark manner, art emphasizing night affects and strong shadows) |
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| Had influence on European art and an important aspect of illusionistic baroque |
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| His followers were named “tenebrists” |
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| Establishes a new type of landscape |
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| No aerial perspective and real landscape (not imaginary) |
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| Creates “ideal or classical landscape” it becomes the accepted pictorial representation of nature |
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| Didn't like Raphael,classical realism, baroque, or religious subjects |
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| early 17th Century Flanders |
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| was not a period conducive to large scale building |
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| No the major European architects or sculptors of this period were |
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| A stylistic authority in Flandrs like Michaelangelo in Italy |
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| Scholar, Diplomat, Painter |
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| Was a colorist and works A La Prima |
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| solid forms no longer described in terms of light and dark values, now everything is built up in layers of colors and defined by light |
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| His style is the style of Baroque Flanders |
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| Sensitivity to color and shape unlike rubens |
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| Country: Predominantly Calvinist, doesn’t believe in religious pictures |
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| Country: No aristocracy or royal power |
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| Country: No large pictures, everything is living room size |
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| Country: Concentrate on images of daily life and genre and the environment around them |
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| Country: No economic pictures, wanted pictures of leisure |
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| Leading painter of the Harlem School in Holland |
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| Concern with Human Character |
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| Master of stage direction and excels in group portraits |
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| Eventually this “death” mood or mystery will become a primary role or theme in his work |
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| Generally aimed at revealing who the artist is (about self portraits) |
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| One of the little dutch masters of the 17th Century, V |
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| Uses local colors and color science |
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| His interest in light is scientific but also poetic |
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| One of the little dutch masters of the 17th Century, K |
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| Style: turn their back on Italian baroque, o See it as excess, and forge their own style |
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| Style: stately and reserved classicism in place of the lavish and emotional baroque of Italy (europe) |
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| Style: Classism becomes standard by which all things are judged |
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| Style: Its during the Reign of Louis XIV that the French Art Academy was established to standardized the arts |
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| Most classical painter of the 17th Century |
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| Eliminates all emotion and motion |
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| Several contradictory elements come together in his work: Classical composure, Fervent Spirituality, Element of genre or realism |
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| Beginning of 17th Century |
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| etching bursts into a great flower |
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| Not since Goya would there be another artist be capable of transforming horrific scenes into universal appeals of humanity |
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| First etcher, printmaker, before Rembrandt, to acquire a national reputation or have any influence on the general arts |
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| Greatest French painter of the 17th Century |
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| Attempts to take the viewer back to antiquity |
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| Early Style Inspired by Titian color and Venetian School |
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Changes into a classic and intellectual style, Influenced by Raphael, Carracci, and Bolognese School
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| Believes highest aims of a painting is to represent noble and serious human action (must be logically and orderly way, and how they would have happened if nature were perfect) |
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| Believes artist must appeal to the mind and not the senses |
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| Stresses form and composition |
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| Visual arts draws very close to literature (no analogy between painting and literature before him) |
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| Creates grand manner of French classism but becomes its exceeding exponent in Rome |
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| Uses the “dorian” mood: things that are stable, grave, and severe. A noble landscape for a noble theme |
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| greatest modern authority and encourages an academic view which puts severe limitations on artistic development |
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| brings out idealistic lanscape aspects |
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| Little interest in narrative of story |
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| Would have great appeal to landscape painters of the 18th and 19th Centuries |
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| greatest architectural project of its day |
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| Maverick, most original French sculpture of his day but did not find much acceptance from the academy |
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| although he was chronologically in the 16th century, he was the last greatest medieval artist |
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| Country: in the early 16th century competes with the High Renaissance with Italy and influences great Italian masters |
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| founder of German High Renaissance |
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| first northern artist to travel to Italy to study the art |
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| the last of the German painters of Northern Renaissance |
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| first Netherlandish landscape painter, comparable to altdorfer |
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| Greatest and most original Flemish Painter of the 16th Century |
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| undisputed master or King of roman high Baroque |
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| First definitive steps of urban baroque architecture are by |
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| engaged all the leading architects of the Renaissance and the Baroque periods |
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| The heir to Borromini’s architectural style |
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| fresco, Triumph of Bacchus and Ariadne |
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| The first major undertaking of Baroque painting in Rome is |
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| Final Bolognese painter of this early 17th Century style of Baroque |
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| The one giant of 17th Century Baroque painting in Italy |
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produces a style that revolutionizes European Painting
o Not based on realism, but on his psychological realism |
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| although Carracci and Caravaggio, powerfully influenced the art of figure painting, he largely determined the dominant course of lanscape painting for the next 200 years |
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| Master of Illusionistic Ceiling decorations |
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| The most important link between Spain and Italy |
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| Spains greatest contribution to European art |
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| supreme native master of painting in Spain before Francisco Goya |
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| For the first time in recorded history, artist are thrown entirely on their own in the open market in the 17th Century (had a positive affect) |
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| The greatest etcher who ever lived, uses natural forms for emotional power |
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| first important French Painter of the 17th Century |
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| his work has a contemporary setting, lots of shadows, and show the influence of sluter in the drapery |
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| not seen in others, his work features disorder, linear drawing, and color. |
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| His work impressed people in late 15th century Florence with its emotion and character. |
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| fear of death is always present in his work |
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| his work leads to protestant predestination dream symbolism and surrealism |
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| never before had there been seen intoxicating imagination coupled with great painting ability |
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| this french artist was influenced by the Italian and northern renaissances. the military chaos in France not good for painting. |
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| he followed the development of Italy and the Netherlands in the early 16th century, his inventiveness both competes with and influences the Italian renaissance |
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| this country never fully understood oil painting or the anatomy of Italian art. |
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| his provincial/naive painting feature the danube mood/style |
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| his self portraits have line and surface quality not mass |
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| even though his composition is close to Italian static grouping it still has movement |
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| in his adam and eve work he shows contempt for the human body |
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| at the end of his life he finaly reconciles northern realism with southern monumentality |
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| he transforms German line quality into a major instrument of visual and psychological reality through portraiture |
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| the school of German renaissance fades with his death |
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| his work shows man frailty and the power of nature |
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| this work has contrasting french Gothic roof and Italian monumentality in the body |
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| the plan for this building became the universally adopted plan and prepares for richly decorate baroque style |
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| the facade of this work is a synthesis of already existing motifs |
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| they changed the "pagan" plan of bramante and Michelangelo in this building to better suit large assemblies |
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| few architects match the unity found in his works |
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| his proto-romantic style influence 18th century taste for the sublime and terror |
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| his harsh reality is a precursor to Goya |
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| his portrait impressed Italians with the structure of the face, technique, and simple compostion |
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| his forms were formed with layers of paint and glaze, they seem to pulse with life and blood |
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| in the early 17th century, he sets the tone for portraits for the next 100 years, the blue boy is a homage to him |
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| his still life appeals to the eye and palate. It is scientific and poetic at the same time |
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| Orlean's wing of the chateau de blois |
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| this building has secular contributions by 17th french and the polishes dignity that is the hallmark of french classical baroque |
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| this building set the stage for Blenheim palace and cheswick |
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