Visual Analysis
One of the more traditional assignments that students encounter in an introductory Art History class is to go to a museum to observe an object(s) and write a paper that details its stylistic features. Since the Lowe Art Museum on the University of Miami campus has a very fine collection of Renaissance to Rococo paintings, select one painting from this time span to concentrate on.
Once having selected the painting from the Lowe’s collection, pay close attention to stylistic features (i.e., composition, color, use of light/shadow, perspective, figures, pose, gestures, et al). Describe the object and compare/contrast it to pieces we have studied in class, whether in the PowerPoint lectures or in the textbook. When selecting objects to compare the museum piece to, be discerning. That is, try to find objects that share more characteristics than not. The aim of this assignment is for students to develop an eye for style and to locate the subtle differences that distinguish one technique or tendency from another.
Organize the paper, which should be five to seven (5-7) pages in length, into an introductory paragraph, body, and conclusion. The introduction may include some general information (e.g., historical, economic, cultural) about the object’s specific time period, the technique utilized to create the object, etc. More importantly, the introduction should include a thesis statement about the object’s overall aesthetic. Then organize the body in a logical, analytic fashion, and conclude the paper with some remarks about the significance of the object — that is, how it fits into a larger Renaissance to Rococo art historical framework.
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Remember, this is NOT a research paper; however, if you quote a source (e.g., a placard or web site from the museum), be sure to cite it.
ART HISTORY 132
Baroque: Flemish
Baroque: Flemish
- context: military history
- Eighty Years War (c. 1570-1650)
- controversy: six northern provinces of Netherlands sought to separate from Spanish domination
- religious differences Protestant vs. Catholic
- political SP attempt to curtail local autonomy
- outcome: c. 1620 southern Netherlands (Flanders)
- continued to be ruled by staunchly Catholic Spanish regents
- artists relied heavily on commissions from Church & State
Peter Paul Rubens
(1577-1640)
- biography:
- raised Catholic
- classically-educated Humanist scholar
- spent eight (8) years in Italy (c. 1600-08)
- profoundly influenced by Titian
- studied High Ren masters & Caravaggio
- synthesizes Humanism:
- natural & supernatural
- reality & fantasy
- learning & spirituality
- diplomat
- knighted by both Philip IV (SP) and Charles I (England)
- court painter to Spanish regent in Flanders
Rubens
- Raising of the Cross (1610)
- patron: Antwerp Cathedral
- narrative: immediacy; moment of doubt
- perspective: overlapping/foreshortening & aerial
- composition: dynamic
- color: vibrant, localized primaries
- light/shadow: chiaroscuro & tenebrism
- figures: solid, sculptural
- musculature derived from Michelangelo
- dramatic, twisting, contorted poses
- observation of reality
- no trace of Mannerism
- study from live models
Rubens
- Bacchus (c. 1640)
- theme: Humanistic
- figures: idealized & grotesque
- full proportions ventures away from Classical antiquity
- emphasizes rippling, dimpled flesh
- equates fleshiness w/ prosperity
- composition: distilled, synthetic
- CVA
- implicit triangular format
- repeating gestures
- dynamic diagonals
- spatial order: compressed
- perspective: minimal use of aerial & linear
- color: vibrant Venetian qualities
- light/shadow: chiaroscuro
- bleaching effect (see Velazquez)
- emphasizes surface texture
- e.g., wine decanter
Rubens’ The Garden of Love (c. 1625)
(Left) Detail from RUBENS’s Flemish Baroque The Garden of Love (c. 1625)
vs,
(right) detail from Classical Greek Three Goddesses (c. 450 BCE)
Rubens
- Arrival of Marie de’ Medici
- date: c. 1625
- subject: history painting
- Henry IV (King of FR) first wife barren
- obtained permission from Pope to divorce
- de’Medici chosen
- financial reasons
- political convenience
- narrative: moment of recognition
- aesthetic: combines Caravaggio’s realism w/ Carracci’s idealization
- composition: dynamic
- color: vibrant
- light/shadow: dramatic chiaroscuro effects
Rubens
- Arrival of Marie de’Medici (con’t.)
- issue: royal propaganda
- R glossed over truth (re: likeness) in favor of royal patron
- contrapposto
- improved facial features
- ruddy complexion
- surface texture:
- sheen of satin gowns
- lace
Rubens
- Arrival of Marie de’Medici (con’t.)
- theme: Humanist
- allegorical representation of ancient gods & goddesses
- Fame
- Neptune
- figures: idealized
- curvaceous & supple
- males: powerful musculature (re: Michelangelo)
- poses: three views (frontal, ¾, rear)
(Left) detail of sea nymphs from RUBENS’s Arrival of Marie de’ Medici (c. 1625) vs.
(right) detail of Eve from Michelangelo’s High Ren Expulsion from Paradise
(c. 1500) in Sistine Chapel
IMAGE INDEX
- Slide 3: RUBENS. Rubens, his wife Helena Fourment, and their son Peter Paul (c. 1640), Oil on wood, 203.8 x 158.1 cm., Metropolitan Museum of Art, New York.
- Slide 4: RUBENS. The Raising of the Cross (1610), Center panel of a triptych, 15’1” x 11’9 5/8”, Antwerp Cathedral, Belgium.
- Slide 5: RUBENS. Bacchus (c. 1640), Oil on canvas, transferred from panel, 191 x 161.3 cm., Hermitage, St. Petersburg, Russia.
- Slide 6: RUBENS. The Garden of Love (c. 1630), Oil on canvas, 78 x 111 3/8 in., Prado, Madrid.
- Slide 7: (Left) Detail from RUBENS’s Flemish Baroque The Garden of Love (c. 1625); vs. (right) detail from Classical Greek Three Goddesses (c. 450 BCE)
- Slide 8: RUBENS. The Arrival of Marie de’ Medici (c. 1625), Oil on canvas, 155 x 115 1/4 in., Museé du Louvre, Paris.
- Slide 9: Detail of Marie de’Medici and attendants from RUBENS’s The Arrival of Marie de’ Medici (c. 1625).
IMAGE INDEX
- Slide 10: Detail of Neptune and sea nymphs from RUBENS’s The Arrival of Marie de’ Medici (c. 1625).
- Slide 11: (Left) detail of sea nymphs from RUBENS’s Flemish Baroque The Arrival of Marie de’ Medici (c. 1625); and (right) detail of Eve from Michelangelo’s High Renaissance Expulsion from Paradise (c. 1500) in the Sistine Chapel.