The Protestant Reformation

Slaughter of the 100 years war led the way to the religious tolerance of the Enlightenment--intellectual trade continued through the wars

Germany

Italian advnaces exported or copied in norhern Europe--in 1528 with the deaths of Dürer and Matthias Grünewald the German art came to an end of its greatness--main German artists were contemporaries of Michelangelo, Rapheal, Giorgione, and Titian

ALBRECHT ALTDORFER (c. 1480-1538)--representative of the Donaustil (Danube) style--depiction of landscape, mood--he was a minuatureist painting larger things

LUCAS CRANCH THE ELDER (1472-1553)-- provincial naiveté in his (one) nude--dresses his greek gods in German armor, not classical dress

MATTHIAS GRÜNEWALD (c. 1480-1528)-- Protestant sympathies--not interested in the idealized figure--color characterized by subtle tones and shocking dissonance--not natural landscapes--celestial or infernal

The Isenheim Alterpiece--1510-1515--dramatic, ghastly rendition of this scene. color and backgroudn contrast are the primary means for description.

Resurrection-- (detail from the alterpiece)--brilliant color, crude body forms--all about color

ALBRECHT DÜRER (1471-1528)--thought German art was crude and uncivilized--Leonardo of the North--first northern artist to travel to Italy to study--first one to learn the meaning of the Italian Renaissance--international figure--sold woodprints to the public which made him popular and rich--master of the woodcut--like Leonardo, observation yeilds truth

The Fall of Man (Adam and Eve) 1504--attempt at Italian perfections of form--Adam comes close but Eve is distinctly German

The Great Piece of Turf 1503--life for life’s sake--no religious connections--scientifically accurate

Portraits instill personality into the people--very intense viewier relatioinship

tension between his Italian knowledge and German background--Knight, Death, and the Devil, 1513--the knight is in renaissance form, the devil and death ar gothic grotesques

The Four Apostles--unites the German miute realism adn the Italina balanced forms, massive and simple--very intense use of color to define forms

HANS HOLBEIN THE YOUNGER (c. 1497-1534)--managed to combine the Italian Reaissnace with the German detial work

The French Ambassadors 1533--strong sense of composition, subtle linear patterning, gife for portraiture, sensitivity to color, firm tecnique

The Netherlands

Spent a generation getting their Rennaisance right--lots of mixed up symbols and unsure technique copied second hadn from Dürer--also begane to move away from religious content

QUENTIN METSYS (c. 1466-1530)-- mixes up Itlian ideas with german styles--architectue remeniscent of Italy, but impractical

JAN GOSSAERT (c. 1478-1535)--first to bring true nudes to the Netherlands--example of the attempt to merege what little they knew about Italy with their own art--

Neptune and Amphierite c. 1516--form copied from Dürer, alsmost classical positioning, architecture is jsut wierd--an attempt at italian sytle, but not quite right--"bizarre and chaotic"

BARTHOLOMEUS SPRANGER (1546-1611)--very different--mannerist excess and concentration on shape rather than form--good use of light and dart for emphesis--overtly erotic

PIETER BRUEGEL THE ELDER (c. 1525-1569)--stronger influence of Bosch than Classical Italian--painted landscapes with most empheis on the human activities

Hunters in the Show--1565--excellent use of lines--distance is blurred gradually and smoothly--drwas the viewer in in a diagonal manner

less concentration ont he traditional Flemish detial and more emphasis on the forms and actions themselves

overall effect was one of less harsh detail, but the accuracy was still there--teh human forms were not as accurate as italian ones, but they were more detailed--large emphaiss on color and light and dark to define forms