Week 12: NORTHERN EUROPEAN ART IN THE 16TH ...
November 26, 2012
Week 12: NORTHERN EUROPEAN ART IN THE 16TH CENTURY Outline: • women became more known in history of European Art in the 17th Century
BOSCH Background of artist: • born in the town of Hertogenbosch ca. 1450 • used last segment of town’s name to sign his paintings • last name was actually Van Aken • had lay association • confraternity dedicated to the Virgin Mary • when he died in 1516 the memebers of the confraternity took care of his arrangements • devout religious artist, although he had his own take on the religious doctrine of his time Hieronymus Bosch, Adoration of the Magi triptych, closed: Mass of St. Gregory, ca. 1510; Madrid, Prado • subject: mass of St. Gregory • vision that St. Gregory had of Christ as a man of sorrow during mass • moment in which St. Gregory was praying when he has a vision of Christ • “grisile” colours - mostly black and white • body of Christ, main figure of painting, painted between two opening parts of the triptych - hard to do • when triptych is opened, body will be divided into parts as a kind of metaphor of subject of host at moment of mass (?) • substantive theological message Adoration of the Magi - open • typical and standard subject for a triptych • St. Peter accompanies male donor on left flank • St. Agnes accompanies female donor on the right flank • “sinister details” - not as normal as it seems • Madonna and Child are located under a broken down house/cottage • no light within house • sinister figure in doorway - half-naked with strange horns, Anti-Christ? Devil? • Madonna dressed in black • Magi: each age of man is represented as well as; Asia, Africa, Europe represented by each of them • Black Magus has weird vessel - unusual gift - not standard
• New Testament subject which is usually serene and hopeful for salvation moment of recognition of Christ as the saviour by the Magi, but “sinister” details take away from those typical evocations • St. Joseph is also present, but set aside - role not important to whole of painting • unconventional elements How was this painting received? • “...Bosch never in his life painted anything unnatural, except in terms of Hell or Purgatory...He endeavored to find for his fantastic pictures the rarest objects, but they were always true to nature...” from Karel Van Mander’s Life of Bosch 1604 • this kind of subject matter was not often seen • keep passage in mind for other paintings Comparison to Triptych of the Annunciation by Workshop of Master of Flemalle • unity of 3 scenes - connected together by landscape in Magi • in Annunciation different scenes somewhat • Magi has bell shaped triptych opposed to rectangular shaped one Interpretations • coming of Christ intended as salvation and hope • here, coming of Christ does not bring these things • Anti-Christ present here, “forces of evil” never defeated by Christ • moral content Closed vs. Open • open: colourful • closed: not colourful, sinister elements Triptych of St. Anthony, closed: Arrest of Christ • technique used here is similar to previous triptych • limited colour palette • covers two biblical subjects which are very important • point where people did not recognize Christ as saviour and condemn him - dark, against idea of Christ as saviour Open • scenes from life of St. Anthony • spent much of his life (more than 20 years) fighting “demons” and his “temptations” • rendered with variety of creatures all over painting • narrative doesn’t quite follow from left to right • scenes of Anthony’s temptations cast in many different ways • message to be strong in “our” faith, as St. Anthony was Left panel: exhaustion of St. Anthony - the end
• has been suggested that this St. Anthony on left is portrait of Bosch and that he was also exhausted - only speculation • landscape again filled with sinister figures • hybrid figure under bridge • egg with a bird on top Comparison to Demons Tormenting St. Anthony - Schongauer • also see demons and creatures surrounding St. Anthony • but Bosch increases amount of figures • in painted form, Bosch makes Anthony exhausted by his own life • opposed to Schongauer’s Anthony who looks serene and like he can withstand the evil forces surrounding him Central Panel • contrast between Anthony, inside innovative building in ruins, praying in front of altar • crucified Christ is in front of him • outside this is dark subject matter • Priest administering what may be identified as a mass • altar is not rectangular, but a round table • female figure administering this • monks and nuns surrounding, but almost with no body, no presence? also hybrid figures • scene has been interpreted by scholars as a “black” mass • characters within painting dealing with magic substances • fire in background - is this biblical fire? or fire alluding to life of St. Anthony? unclear • duality between central images of possible black mass against the St. enclosed within his own space while chaos ensues around him Right Panel • St. Anthony sitting • temptations surrounding him • women bathing in front of him, naked, trying to allure/distract him • St. looks toward audience to avoid temptation Comparison of Bosch’s two closed altarpieces • similar colour schemes • two triptychs by same artist Haywain Triptych, closed: the Peddler • thinking about how to innovate triptych as a genre of painting • peddler is representation of the typical person on the “trajectory of life” • life represented in subject matter with difficulties that come with it • Peddler is defending himself against a dog with a stick • bridge he’s on is small
• cracked bridge, not a solid path for Peddler • in background • criminals that are hanged on trees • not positive subject matter • idea is that idea is difficult and full of bad things Open • left panel: • paradise, but not a happy one • Adam and Even contained within • moment in which Adam and Eve begin to sin, which is the source of our “difficult” lives • right wing: • depiction of Hell • damnation of those who enter Hell • central panel: • hay wagon heading towards Hell • people surrounding hay wagon are trying to reach onto hay wagon • displayed around hay wagon are major sins in life (incl. gluttony, lust, etc) • this life will lead us to Hell which is in the panel that follows • angel on top of wagon - praying for salvation • small detail that is not perceived immediately because of chaos surrounding • his role in peoples’ salvation is ineffective • image of Christ as man of sorrow and saviour • isn’t intervening in the three panels • is far away • three images in the panels are “indifferent” to Christ • members of Christian Church (monks, nuns) embedded within other sinners • scholars have interpreted this as Bosch’s critique towards his society and the Christian doctrine Garden of Earthly Delights • inscription: “For he spoke, and it came to be; he commanded, and it stood firm.” Psalm 33.9 • minimal amount of colour, again • surreal representation: cosmos on the third day of creation • within static globe we see emerging natural things • black background, void Open • ethical meditation on scenes • audience can learn what a life dedicated to wrong passions and lust can lead them (sins) • heaven and hell, rendered in very interesting way with hybrid animals • very colourful - post modern with pink colouring
• • • • •
Adam and Eve on left central garden “overpopulated” with many female creatures sexually charged piece central panel’s bright colours vs. right panel’s dark colours and subject matter notice measurements: quite large work of art • came from Philip II, King of Spain in the late 16th Century • collected a lot of Bosch’s works (at least 26 paintings) • triptych arrived to Prado (museum?) • King sent triptych to monastery that he founded • artist used triptych measurements, but original patron was Count Hendrick III of Nassau - so the work was not originally meant to be displayed in a Church, but in a private home in Brussels • so Bosch is using a type of painting, triptych, in an unusual way, for personal viewing and not meant to be used during mass like most altarpieces • “for its own beauty”
Interpretations • interpreted as manifestation of power of women - highly doubtful according to Periti • may be alchemic interpretation: alchemy in Renaissance was intended as practice of turning things from one substance to another (ex. stone to gold, silver to liquid) so could see this as transformation of humans to creatures also not convincing to Periti • what does Hell have to do with alchemy?
GOSSAERT Background • born in small town in Netherlands • known well because he was first artist who traveled to Italy with Philip of Burgundy • met with Pope Julius II with Philip • Rome at this time was excavating and looking to antiquity • time of Raphael and Michelangelo • made drawings of antique buildings Malvagna Triptych • “standard” triptych • centre: Madonna and child • St. Catherine on left • St. Barbara on right • architectural framing is important - Gothic Renaissance framing elements • although it is the Renaissance, Gothic elements still coming through
Adoration of the Kings • for a long time, painting has been attributed only to Gossaert, but was done in collaboration with Gerard David • not a teacher/student collaboration, but with two artists at same level • Madonna and Child: David • can tell it is done by David because there is a painting done by Gossaert around same time with picture of Madonna and Child which looks nothing alike - different physical features and styles • although commission was to Gossaert, David contributes to painting at an equal level that Gossaert has - unusual St. Luke Drawing Virgin • two different versions • one is background that is “Italianized” • reminiscent of Gossaert’s trip to Rome • encorporates images of antiquity to Roman architecture • other version: • angel is guiding st. Luke • Madonna and Child are a vision, whereas in other version seems as if it is reality • similarities: artist and subject • ability to render same subject matter in two, very different ways Comparison to van der Weyden’s St Luke Drawing • transformation from Netherlandish painting over century Comparison between Vellert’s rendition • same subject rendered into different medium, engraving • circulated as print Neptune and Amphitrite • mythological subject, but may derive from Durer’s prints from earlier • bodies magnified and made more beautiful • placed into “refined, architectural background” although they are mythological • background is ancient Roman monument, Basilica Aemilia Danae • mythological figure • daughter of King who had to remained chased • Jupiter transforms himself into gold rain to be with Danae • background again comes from Roman architecture (Temple of Vesta), appropriate placing • chased and virgin women could come to Temple of Vesta to celebrate virginity and tend to fire which would be held Comparison of Gossaert and Tischen (?)
• Gossaert’s Danae is maintained within ancient architecture • Jupiter as gold rain, instead of corporeal figure Quentin Massys, Money-Changer and his wife • at first looks like contrast between man so interested in his business that his wife is distracted from her prayers • obvious to think it is a contrast between business and the devoted life • inscription that ran around original frame: You shall have honest balances and honest weights • comes from Leviticus 19.36 • encourages followers to be honest and use honest ways • comment on male figure • mirror placed in front • can see man with a red turban who is reading and praying with his prayer book in front of couple • possibly subject about appropriate devotional meditation vs. way female sitter is praying • what is the correct way to contemplate the words of God? Peter Bruygel, Return of the Hunters • piece of 6 about the changing seasons • months displayed here are December and January • “skating” activity happening at centre • hunters coming after a day of hunting • subject: more full landscape rather than hunters • Bruygel also traveled to Italy, but wasn’t interested in antiquity, but in painting landscape The Harvesters • interpretation of August and September • lunch bread where workers • hot season Comparison of Harvesters and Hunters • Katherina van Hemessen, Self-Portrait • after all of the male painters, see self-portrait of female painter • male painters trained by fathers, same as female painters • but, did become her own individual artist - had her own style • inscription: “I Caterina van Hemessen painted myself in 1548, her age 20.” • became quite famous for painting portraits • her portraits often have inscription: giving us information about the sitter and date that it was painted • Katherina is looking at audience, but would have been a mirror used to render herself
• reflection of what she sees in the mirror of herself
Week 12: NORTHERN EUROPEAN ART IN THE 16TH CENTURY Outline: • women became more known in history of European Art in the 17th Century
BOSCH Background of artist: • born in the town of Hertogenbosch ca. 1450 • used last segment of town’s name to sign his paintings • last name was actually Van Aken • had lay association • confraternity dedicated to the Virgin Mary • when he died in 1516 the memebers of the confraternity took care of his arrangements • devout religious artist, although he had his own take on the religious doctrine of his time Hieronymus Bosch, Adoration of the Magi triptych, closed: Mass of St. Gregory, ca. 1510; Madrid, Prado • subject: mass of St. Gregory • vision that St. Gregory had of Christ as a man of sorrow during mass • moment in which St. Gregory was praying when he has a vision of Christ • “grisile” colours - mostly black and white • body of Christ, main figure of painting, painted between two opening parts of the triptych - hard to do • when triptych is opened, body will be divided into parts as a kind of metaphor of subject of host at moment of mass (?) • substantive theological message Adoration of the Magi - open • typical and standard subject for a triptych • St. Peter accompanies male donor on left flank • St. Agnes accompanies female donor on the right flank • “sinister details” - not as normal as it seems • Madonna and Child are located under a broken down house/cottage • no light within house • sinister figure in doorway - half-naked with strange horns, Anti-Christ? Devil? • Madonna dressed in black • Magi: each age of man is represented as well as; Asia, Africa, Europe represented by each of them • Black Magus has weird vessel - unusual gift - not standard
• New Testament subject which is usually serene and hopeful for salvation moment of recognition of Christ as the saviour by the Magi, but “sinister” details take away from those typical evocations • St. Joseph is also present, but set aside - role not important to whole of painting • unconventional elements How was this painting received? • “...Bosch never in his life painted anything unnatural, except in terms of Hell or Purgatory...He endeavored to find for his fantastic pictures the rarest objects, but they were always true to nature...” from Karel Van Mander’s Life of Bosch 1604 • this kind of subject matter was not often seen • keep passage in mind for other paintings Comparison to Triptych of the Annunciation by Workshop of Master of Flemalle • unity of 3 scenes - connected together by landscape in Magi • in Annunciation different scenes somewhat • Magi has bell shaped triptych opposed to rectangular shaped one Interpretations • coming of Christ intended as salvation and hope • here, coming of Christ does not bring these things • Anti-Christ present here, “forces of evil” never defeated by Christ • moral content Closed vs. Open • open: colourful • closed: not colourful, sinister elements Triptych of St. Anthony, closed: Arrest of Christ • technique used here is similar to previous triptych • limited colour palette • covers two biblical subjects which are very important • point where people did not recognize Christ as saviour and condemn him - dark, against idea of Christ as saviour Open • scenes from life of St. Anthony • spent much of his life (more than 20 years) fighting “demons” and his “temptations” • rendered with variety of creatures all over painting • narrative doesn’t quite follow from left to right • scenes of Anthony’s temptations cast in many different ways • message to be strong in “our” faith, as St. Anthony was Left panel: exhaustion of St. Anthony - the end
• has been suggested that this St. Anthony on left is portrait of Bosch and that he was also exhausted - only speculation • landscape again filled with sinister figures • hybrid figure under bridge • egg with a bird on top Comparison to Demons Tormenting St. Anthony - Schongauer • also see demons and creatures surrounding St. Anthony • but Bosch increases amount of figures • in painted form, Bosch makes Anthony exhausted by his own life • opposed to Schongauer’s Anthony who looks serene and like he can withstand the evil forces surrounding him Central Panel • contrast between Anthony, inside innovative building in ruins, praying in front of altar • crucified Christ is in front of him • outside this is dark subject matter • Priest administering what may be identified as a mass • altar is not rectangular, but a round table • female figure administering this • monks and nuns surrounding, but almost with no body, no presence? also hybrid figures • scene has been interpreted by scholars as a “black” mass • characters within painting dealing with magic substances • fire in background - is this biblical fire? or fire alluding to life of St. Anthony? unclear • duality between central images of possible black mass against the St. enclosed within his own space while chaos ensues around him Right Panel • St. Anthony sitting • temptations surrounding him • women bathing in front of him, naked, trying to allure/distract him • St. looks toward audience to avoid temptation Comparison of Bosch’s two closed altarpieces • similar colour schemes • two triptychs by same artist Haywain Triptych, closed: the Peddler • thinking about how to innovate triptych as a genre of painting • peddler is representation of the typical person on the “trajectory of life” • life represented in subject matter with difficulties that come with it • Peddler is defending himself against a dog with a stick • bridge he’s on is small
• cracked bridge, not a solid path for Peddler • in background • criminals that are hanged on trees • not positive subject matter • idea is that idea is difficult and full of bad things Open • left panel: • paradise, but not a happy one • Adam and Even contained within • moment in which Adam and Eve begin to sin, which is the source of our “difficult” lives • right wing: • depiction of Hell • damnation of those who enter Hell • central panel: • hay wagon heading towards Hell • people surrounding hay wagon are trying to reach onto hay wagon • displayed around hay wagon are major sins in life (incl. gluttony, lust, etc) • this life will lead us to Hell which is in the panel that follows • angel on top of wagon - praying for salvation • small detail that is not perceived immediately because of chaos surrounding • his role in peoples’ salvation is ineffective • image of Christ as man of sorrow and saviour • isn’t intervening in the three panels • is far away • three images in the panels are “indifferent” to Christ • members of Christian Church (monks, nuns) embedded within other sinners • scholars have interpreted this as Bosch’s critique towards his society and the Christian doctrine Garden of Earthly Delights • inscription: “For he spoke, and it came to be; he commanded, and it stood firm.” Psalm 33.9 • minimal amount of colour, again • surreal representation: cosmos on the third day of creation • within static globe we see emerging natural things • black background, void Open • ethical meditation on scenes • audience can learn what a life dedicated to wrong passions and lust can lead them (sins) • heaven and hell, rendered in very interesting way with hybrid animals • very colourful - post modern with pink colouring
• • • • •
Adam and Eve on left central garden “overpopulated” with many female creatures sexually charged piece central panel’s bright colours vs. right panel’s dark colours and subject matter notice measurements: quite large work of art • came from Philip II, King of Spain in the late 16th Century • collected a lot of Bosch’s works (at least 26 paintings) • triptych arrived to Prado (museum?) • King sent triptych to monastery that he founded • artist used triptych measurements, but original patron was Count Hendrick III of Nassau - so the work was not originally meant to be displayed in a Church, but in a private home in Brussels • so Bosch is using a type of painting, triptych, in an unusual way, for personal viewing and not meant to be used during mass like most altarpieces • “for its own beauty”
Interpretations • interpreted as manifestation of power of women - highly doubtful according to Periti • may be alchemic interpretation: alchemy in Renaissance was intended as practice of turning things from one substance to another (ex. stone to gold, silver to liquid) so could see this as transformation of humans to creatures also not convincing to Periti • what does Hell have to do with alchemy?
GOSSAERT Background • born in small town in Netherlands • known well because he was first artist who traveled to Italy with Philip of Burgundy • met with Pope Julius II with Philip • Rome at this time was excavating and looking to antiquity • time of Raphael and Michelangelo • made drawings of antique buildings Malvagna Triptych • “standard” triptych • centre: Madonna and child • St. Catherine on left • St. Barbara on right • architectural framing is important - Gothic Renaissance framing elements • although it is the Renaissance, Gothic elements still coming through
Adoration of the Kings • for a long time, painting has been attributed only to Gossaert, but was done in collaboration with Gerard David • not a teacher/student collaboration, but with two artists at same level • Madonna and Child: David • can tell it is done by David because there is a painting done by Gossaert around same time with picture of Madonna and Child which looks nothing alike - different physical features and styles • although commission was to Gossaert, David contributes to painting at an equal level that Gossaert has - unusual St. Luke Drawing Virgin • two different versions • one is background that is “Italianized” • reminiscent of Gossaert’s trip to Rome • encorporates images of antiquity to Roman architecture • other version: • angel is guiding st. Luke • Madonna and Child are a vision, whereas in other version seems as if it is reality • similarities: artist and subject • ability to render same subject matter in two, very different ways Comparison to van der Weyden’s St Luke Drawing • transformation from Netherlandish painting over century Comparison between Vellert’s rendition • same subject rendered into different medium, engraving • circulated as print Neptune and Amphitrite • mythological subject, but may derive from Durer’s prints from earlier • bodies magnified and made more beautiful • placed into “refined, architectural background” although they are mythological • background is ancient Roman monument, Basilica Aemilia Danae • mythological figure • daughter of King who had to remained chased • Jupiter transforms himself into gold rain to be with Danae • background again comes from Roman architecture (Temple of Vesta), appropriate placing • chased and virgin women could come to Temple of Vesta to celebrate virginity and tend to fire which would be held Comparison of Gossaert and Tischen (?)
• Gossaert’s Danae is maintained within ancient architecture • Jupiter as gold rain, instead of corporeal figure Quentin Massys, Money-Changer and his wife • at first looks like contrast between man so interested in his business that his wife is distracted from her prayers • obvious to think it is a contrast between business and the devoted life • inscription that ran around original frame: You shall have honest balances and honest weights • comes from Leviticus 19.36 • encourages followers to be honest and use honest ways • comment on male figure • mirror placed in front • can see man with a red turban who is reading and praying with his prayer book in front of couple • possibly subject about appropriate devotional meditation vs. way female sitter is praying • what is the correct way to contemplate the words of God? Peter Bruygel, Return of the Hunters • piece of 6 about the changing seasons • months displayed here are December and January • “skating” activity happening at centre • hunters coming after a day of hunting • subject: more full landscape rather than hunters • Bruygel also traveled to Italy, but wasn’t interested in antiquity, but in painting landscape The Harvesters • interpretation of August and September • lunch bread where workers • hot season Comparison of Harvesters and Hunters • Katherina van Hemessen, Self-Portrait • after all of the male painters, see self-portrait of female painter • male painters trained by fathers, same as female painters • but, did become her own individual artist - had her own style • inscription: “I Caterina van Hemessen painted myself in 1548, her age 20.” • became quite famous for painting portraits • her portraits often have inscription: giving us information about the sitter and date that it was painted • Katherina is looking at audience, but would have been a mirror used to render herself
• reflection of what she sees in the mirror of herself
