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QUIZ 2 STUDY GUIDE

• 
• Artist: Hans Memling
• Title: Portrait of Tommaso and Maria Portinari
• Date: c. 1470
• F: Probably commissioned these portraits from Memling upon the couple’s marriage in 1470. Part of triptych, middle displaying the virgin and child. Shows piety
• I: Maria’s elaborate necklace and gown display their wealth and social status.
• S: Oil on wood. Memling's early portraits the backgrounds tend to be plain, as was invariably the case in the work of Jan van Eyck and Rogier van der Weyden. Northern Renaissance style
• H:

Diapositiva 2

• 
• Artist: Hans Memling
• Title: Portrait of a Man with Coin of the Emperor Nero
• Date: c. 1473-4
• F: In the left hand of subject, he is showing a roman coin of emperor Nero, a symbol of his attention to Humanism.
• I: This portrait is a typical example of Memling’s use of a landscape backdrop, but it is unusual in being one of his only works to feature details that may be emblematic of the sitter’s identity. These include the Roman coin or sestertius that bears the image of emperor Nero, the pair of laurel leaves at the bottom edge of the image, and the prominent if somewhat incongruous palm tree in the background. While other identifications have been proposed, the most likely connection is with Bernardo Bembo (1433–1519), whose personal emblem consisted of a wreath of laurel and palm leaves.
• S: Oil on oak panel. Northern Renaissance
• H: Only Memling portrait in which the subject looks directly at the viewer

Diapositiva 3

• 
• Artist: Jean Fouquet
• Title: Melun Diptych
• Date: c. 1450
• F: The former left panel, features a portrait of the donor Étienne Chevalier a treasurer to King Charles VII and a representation of Saint Stephen. The right panel, depicting the Virgin and Child Surrounded by Angels. Hung in the church where Chevalier and his wife were buried. serving as a memorial. Frame was covered in blue velvet, decorated with love knots, the Chevalier's initials formed in pearls, and small enamels, one which had Fouquet's portrait. Shows how memorials served religious, familial, political, and artistic ambitions. Opulent materials would have testified to patrons wealth, but the virgin bears facial features corresponding to that of the King's recently departed mistress.
• I: This oil painting on panel depicts the donor kneeling alongside his patron saint, Stephen. The saint, dressed in a deacon's robe, is holding a book, upon which sits a jagged stone, as a symbol of his martyrdom, while blood drips from his death wound on the top of his head
• S: Northern Renaissance
• H:

Diapositiva 4

• 
• Artist: Master of the Playing Cards
• Title: King of the Wild Men
• Date: c. 1430-40
• F: The stocky, hairy man-creature of the forest, the brunt of much coarse humour, is superbly characterised in the short, sketchy strokes describing his rough contours and textures. The origin of the Master in the goldsmith's art are evident in the precise rendering of the plants in the foreground, where they appear more like intricate designs for jewelry than natural details of a rustic setting.
• I:
• S: Engraving
• H:

Diapositiva 5

• 
• Artist: Israel van Meckenem
• Title: Double Portrait of the Artist and his Wife Ida
• Date: c. 1490
• F: Israhel's image of himself and his wife Ida is the first known engraved portrait of an artist and one of the first portrait engravings in the history of art. Ida is garbed in a fur-trimmed robe befitting the wife of a newly elected member of the town council, while he wears a merchant's cap. The most prolific engraver of his time displays his talent in the richly brocaded background. His pride in his accomplishments is proclaimed in the Latin inscription of his name in addition to his more usual monogram. He represented himself here with his wife, who in all likelihood helped him run his business - and it was a business for this enterprising couple. They sold prints from their own studio, as well as those of other artists.
• I:
• S: Engraving
• H: One must realize that these early craftsmen made their livelihood from the creation, the printing, and the sale of their engravings. They often copied favourite works by other artists-prints by Schongauer, the young Dürer, and others. Thus, the success of many prints derived from their popularity as models for other artists and workshops.
• Israel van Meckenem copied many of the best works of his day. There must have been a fair amount of larceny in him (one might detect it in his face), for he added the marks and signatures of the original artists to his copies, having no ethical or legal right to do so. No other fifteenth-century engraver produced as many plates as he, and 624 are known to us today.

Diapositiva 6

• 
• Artist: Martin Schongauer
• Title: Temptation of Saint Anthony
• Date: c. 1470-75
• F: Saint Anthony (c. AD 251–356) was an Egyptian hermit known for having established the ideal of monasticism, seclusion, and meditation in Christianity. According to his biographer, the rigorous asceticism practiced by St Anthony in the Egyptian desert allowed him to levitate in the air, where he was assaulted by several demons and tormented by erotic visions during his retreat to the Eastern Desert of Egypt. Martin Schongauer's print marks the very moment in which a highly animated demonic attack took place in the sky. Nine whimsical monsters—composed of reptilian, mammalian, and fish- and bird-like parts—flap, blow, and grasp a stiff and indifferent Saint Anthony. With his firm discipline, the saint epitomizes the Christian's struggle to resist evil temptations.
• I:
• S: Engraving
• H: A generation later their example must have nourished the fantastic inventions of Hieronymous Bosch.

Diapositiva 7

• 
• Artist: Matthias Grünewald
• Title: Resurrection from the Isenheim Altar
• Date: c. 1512-1515
• F:
• All three scenes are highly idiosyncratic and personal visions of Biblical exegesis. The Resurrection panel is the strangest of these inner visions. Christ is wreathed in orange, red and yellow body haloes and rises like a streaking fireball, hovering over the sepulchre and the bodies of the sleeping soldiers, a combination of Transfiguration, Resurrection and Ascension. In sharp contrast to the darkness and suffering of the crucifixion painting, Grunewald’s Resurrection panel is a burst of color, light, and joy. An intriguing combination of the Transfiguration, Resurrection and Ascension, Grunewald has given us a vision of the victorious Christ that radiates his glory.
• https://www.kellybagdanov.com/2021/03/31/grunewalds-resurrection-from-the-isenheim-altarpiece/
• I:
• S: Oil on panel
• H:

Diapositiva 8

• 
• Artist: Albrecht Dürer
• Title: Four Horsemen of the Apocalypse
• Date: c. 1498
• F: The third and most famous woodcut from Dürer's series of illustrations for The Apocalypse, the Four Horsemen presents a dramatically distilled version of the passage from the Book of Revelation (6:1–8) Transforming what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects motion and danger into this climactic moment through his subtle manipulation of the woodcut. The parallel lines across the image establish a basic middle tone against which the artist silhouettes and overlaps the powerful forms of the four horses and riders—from left to right, Death, Famine, War, and Plague (or Pestilence). Their volume and strong diagonal motion enhance the impact of the image, offering an eloquent demonstration of the masterful visual effects Dürer was able to create in this medium.
• I:
• S: Woodcut
• H:

Diapositiva 9

• 
• Artist: Albrecht Dürer
• Title: Self-Portrait
• Date: c. 1500
• F: Just before 29th b-day. The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises his hands to the middle of his chest as if in the act of blessing.
• I: Styles himself like Christ, with exaggerated symmetry, in a style that unmistakably recalls depictions of Christ. The painting's Latin inscription, composed by Celtes' personal secretary,[8] translates as: "I, Albrecht Dürer of Nuremberg portrayed myself in appropriate [or everlasting] colours aged twenty-eight years". A further interpretation holds that the work is an acknowledgement that his artistic talents are God-given. Late Northern medieval painting often portrayed Christ in a symmetrical pose looking directly out of the canvas
• S: oil on panel
• H:

Diapositiva 10

• 
• Artist: Albrecht Dürer
• Title: Adam and Eve
• Date: c. 1504
• F: Adam seducing eve, eve is about to drop apple (seduction.) The engraving of Adam and Eve of 1504 by the German renaissance artist Albrecht Dürer recasts this familiar story with nuances of meaning and artistic innovation. In the picture, Adam and Eve stand together in a dense, dark forest. Far from the garden evoked in Genesis, this forest is distinctly German, the dark woods of the devils and spooks of Grimm’s fairy tales. Foreign and unexpected motifs intrude into this German wood.
• I: A seemingly astutely observed tree becomes distinctly odd, as we recognize that Eve is plucking an apple from a tree with fig leaves. A parrot, a tropical bird, perches on a branch to the viewer’s left. Six other animals stroll disinterestedly through or stand about—an elk, ox, cat, rabbit, mouse, and goat. Colorful, tropical parrots were collectors items in Germany, and they were also symbols in art. The other animals bear other symbolic meanings. The elk, ox, rabbit, and cat exemplify the four humors or human personality types, all of which correlate with specific fluids in the body. The answer is that the picture tells us primarily about the Renaissance, about Germany, and about Dürer himself rather than the text of Genesis, from which it departs most strikingly. The poses of the two human figures are contrived to show off this German artist’s knowledge of classical (Greco-Roman) proportions.
• S: Engraving. Despite the chill of the forest, the two human figures appear nude. Their bodies are frontal, and they stand in a classical contrapposto, or counterpoise, where the weight of the body is shifted onto one foot. The corresponding shift in hips and shoulders creating a convincing illusion of a body capable of movement but temporarily at rest.
• H: The print allows Dürer to express his personal and cultural concerns. Proud of his German identity (Albert Dvrer Noricvs or “Albert Dürer of Nuremberg”), the artist is nonetheless enthralled by Italian and classical tradition.

Diapositiva 11

• 
• Artist: Albrecht Dürer
• Title: Knight, Death, and the Devil
• Date: c. 1513
• F: Dürer's Knight, Death, and the Devil is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). The prints are closely interrelated and complementary, corresponding to the three kinds of virtue in medieval scholasticism—theological, intellectual, and moral.
• Called simply the Reuter (Rider) by Dürer, Knight, Death, and the Devil embodies the state of moral virtue. Riding steadfastly through a dark Nordic gorge, Dürer's knight like the soldier described in Erasmus’ Instructions for the Christian Soldier) rides past Death on a Pale Horse, who holds out an hourglass as a reminder of life's brevity, and is followed closely behind by a pig-snouted Devil. As the embodiment of moral virtue, the rider—modeled on the tradition of heroic equestrian portraits with which Dürer was familiar from Italy—is undistracted and true to his mission.
• I: monogram, Dürer utilizes imagery to highlight its theme—the hourglass and skull serve as a reminder of the brevity of life, the lizard represents danger and the dog symbolizes loyalty. While Death stands behind and the devil trails the soldier, he does not indulge the distractions of temptation or fear and forges on undeterred while riding in a heroic stance that was likely inspired by equestrian statues Dürer saw while touring Italy.
• S: engraving
• H:

Diapositiva 12

• 
• Artist: Hans Baldung Grien
• Title: Witches’ Sabbath
• Date: c. 1510
• F: A masterpiece of German chiaroscuro, this woodcut is one of Hans Baldung Grien's best known prints, produced soon after he had worked as a journeyman with Albrecht Dürer from about 1503 to 1507. Hans Grien was among the very earliest and most effective practitioners of the medium.
• I:
• S: Woodcut
• H: In 1510 another Strasbourg artist, Hans Wechtlin, employed the new technique of colour woodcut to suggest light and shade. Baldung however has used his tone block to establish the mood of his sinister subject, which he could vary from impression to impression by changing the ink colour, or by printing from the black line block alone. Hans Baldung Grien explored the darker sides of human nature in this woodcut, with its terrifying vision of the diabolic power of six witches. Their sabbath occurs at night amid a desolate forest.
• The dead, moss-covered tree-trunk on the right is emblematic of their destructive perversity. Interestingly, witches were only rarely depicted in art before the end of the fifteenth century. The pictures of witches concocted by Baldung and his German peers fixed the public's conception for the next several hundred years.

Diapositiva 13

• Artist: Hans Baldung Grien
• Title: The Bewitched Groom
• Date: c. 1544
• F: Although the scene is enigmatic, presumably the witch has worked her magic through the physical power of the horse, who rendered the groom unconscious and now glowers at him. Witches were thought to be able to control both humans and animals through demonic possession. Representations of witchcraft were becoming common during the early 16th century, a period of emerging moral reform and religious fervor. Baldung seemed to be obsessed with the evil power of female sexuality: representations of women with sinister or malicious connotations and their association with vulnerability and death are features of his work. Bewitched Groom presents a pessimistic view of man—or perhaps Baldung himself—who cannot resist the superior and evil forces of nature. The inevitability of physical passion, and its connection with the frailty of human nature, is a recurring theme in the artist's work.
• I: Baldung's coat of arms appears on the wall behind the groom, who also bears some facial resemblance to portraits of the artist, some autobiographical reference may have been intended.
• S: Woodcut
• H:
• 

Diapositiva 14

• 
• Artist: Lucas Cranach the Elder
• Title: Portrait of Martin Luther
• Date: c. 1529
• F: Lucas Cranach and his workshop produced many printed and painted portraits of Martin Luther, with whom the artist was well acquainted. In this small panel, the Reformer is shown close up, in three-quarter profile, wearing the distinctive black Protestant vestments. Blue background was strange at time, usually dark backgrounds.
• I:
• S: Oil on panel
• H:

Diapositiva 15

• 
• Artist: Lucas Cranach the Elder
• Title: Allegory of Law and the Gospel
• Date: c. 1529
• F: In consultation with Martin Luther, Lucas Cranach the Elder produced The Law and the Gospel(below). All of Cranach’s Lutheran painting rests upon this pictorial type, which also influenced other artists. The Law and the Gospel explains Luther’s ideas in visual form, most basically the notion that heaven is reached through faith and God’s grace. The Law and the Gospel is concerned with two roles that God plays, to judge and to show mercy.
• In The Law and the Gospel (below), two nude male figures appear on either side of a tree that is green and living on the “Gospel” side to the viewer’s right, but barren and dying on the "law" side to the viewer’s left. Six columns of Bible citations appear at the bottom of the panel.
• I: On the "gospel" side of the image (the right side), John the Baptist directs a naked man to both Christ on the cross in front of the tomb and to the risen Christ who appears on top of the tomb (see detail at top of page). The risen Christ stands triumphant above the empty tomb, acting out the miracle of the Resurrection. This nude figure is not vainly hoping to follow the law or to present a tally of his good deeds on the judgment day. He stands passively, stripped down to his soul, submitting to God’s mercy.
• In the left foreground a skeleton and a demon force a frightened naked man into hell, as a group of prophets, including Moses, point to the tablets of the law. The motifs on the left side of the composition are meant to exemplify the idea that law alone, without gospel, can never get you to heaven. Christ sits in Judgment as Adam and Eve (in the background) eat the fruit and fall from grace. Moses beholds these events from his vantage point toward the center of the picture, his white tablets standing out against the saturated orange robe and the deep green tree behind him, literally highlighting the association of law, death, and damnation.
• S: Oil on panel
• H: The Law and the Gospel is the single most influential image of the Lutheran Reformation. The Reformation, initiated by Martin Luther in 1517, was originally an attempt to reform the Catholic Church. A decisive difference between Catholics and followers of Luther was the question of how to get to heaven, and what role, if any, religious art could play. The Catholic Church insisted that believers could take action to vouchsafe their salvation by doing good deeds, including making financial donations and paying for elaborate art to decorate Christian churches. Luther, however, insisted that salvation was in God’s hands, and all the believer had to do was to open up and have faith.
• https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/a/cranach-law-and-gospel-law-and-grace

Diapositiva 16

• 
• Artist: Albrecht Altdorfer
• Title: Landscape with Woodcutter
• Date: c. 1510
• F: Albrecht Altdorfer produced the very first pure landscapes in the history of European art. Imagined landscape, with settings from missing stories.
• I: Signed with a monogram cut into the tree:
• S: pen, watercolour and gouache on paper
• H:

Diapositiva 17

• 
• Artist: Hieronymus Bosch
• Title: The Garden of Earthly Delights
• Date: c. 1503-1520
• Oil on panel
• F: Strongly influenced by the religious conventions of the day- The Garden of Earthly Delights is one of Bosch's best known works - all of which depict sin and moral failing. The story starts, left-to-right, with the Genesis account of original sin, the proliferation of that sin during human life, and ends with images of the nightmarish penalties which the sinful can justly expect to receive in hell.
• Left Hand Painting: Garden of Eden
• The left panels portray the Garden of Eden and the moment when Adam meets Eve through the Almighty. According to historian Walter S. Gibson, the intensity of Adam’s gaze towards Eve depicts his lust more than love and a desire to procreate.
• The surrounding landscape contains a vast array of creatures and spurting fountains. The rabbit behind Eve depicts fecundity and the dragon tree represents eternity.
• The historians discovered the swarming of birds through the cavities of a hut-shaped form to be obscure and whimsical.
• Centre Painting: The Human World
• The landscape continues into the central panel of this extraordinary painting, which suggests a natural progression from one sin to many. The name of the triptych comes from the garden in this central panel, which features cavorting nudes, giant birds, oversized fruit and several strange objects or contraptions. In the background is the Fountain of Flesh, where naked women seduce male riders who circle around them. It is the sinful counterpart to the Fountain of Life in the Garden of Eden. In general, the panel depicts mankind engaged in a range of depraved activities, all of which are clearly deemed sinful by the artist, who shows (in the right-hand panel) that they lead to the torments of hell. Symbolism is everywhere. The fruits, animals and exotic mineral structures in the background, for instance, have all been identified as erotic symbols based on popular songs, sayings and slang expressions of Bosch's era. Thus plucking fruit or flowers was a metaphor for copulation, while the peelings, which the lovers find so fascinating, was a byword for worthlessness.
• Curiously, the centre panel contains only young men and women: there are no children and no senior citizens to be seen. Also, the scene contains no focal point and no linear narrative, which enhances the overall mood of abandonment. Note the absence of God in this panel, which highlights what happens when mankind is given complete freedom. As we can see, under such circumstances, Bosch predicts a playground of corruption.
• Right-Hand Painting: Hell
• In the right-hand panel, Bosch's hell (the only picture to be set at night) is divided into three levels or tiers: in the top tier, a ravaged landscape is lit by the macabre glow of an eerie fire. Huge crowds can be seen marching endlessly. In the middle level, Bosch has painted a mocking self-portrait, in the guise of a man/tree whose arms/roots are set in two boats. The hollow torso contains a sort of hellish tavern, frequented by resting 'devils'. On his head is a rotating platform with a bagpipe - a symbol of evil and lust. Two enormous ears on the left are pierced by an arrow and cut by the blade of a knife. The contraption symbolizes Man's deafness to the New Testament exhortation: "If any man have ears to listen, let him hear." In the bottom tier, the guilty are confronted by their sins. Thus personifications of the Seven Deadly Sins are made to suffer. The vain woman is doomed to stare for eternity at her reflection in a demon's rump; a glutton is forced to vomit into a pit; a miser is forced to excrete gold coins into a cesspool. Various musicians are tortured on gigantic versions of their instruments. Similarly, a hunter is impaled by a hare, while another is devoured by his own hounds.Neither beauty nor warmth are on show anywhere in this panel: a tone which reflects Bosch's chilling view, that the guilty who have succumbed to the temptations of the devil must reap eternal damnation.
• Summary
• To sum up The Garden of Earthly Delights in one sentence, one might say it pictorializes the progression of sin, shows what would happen to Man if it wasn't for God, and offers a moral warning against the perils of temptation, notably lust.
• Centre Painting: The Human World
• The landscape continues into the central panel of this extraordinary painting, which suggests a natural progression from one sin to many. The name of the triptych comes from the garden in this central panel, which features cavorting nudes, giant birds, oversized fruit and several strange objects or contraptions. In the background is the Fountain of Flesh, where naked women seduce male riders who circle around them. It is the sinful counterpart to the Fountain of Life in the Garden of Eden. In general, the panel depicts mankind engaged in a range of depraved activities, all of which are clearly deemed sinful by the artist, who shows (in the right-hand panel) that they lead to the torments of hell. Symbolism is everywhere. The fruits, animals and exotic mineral structures in the background, for instance, have all been identified as erotic symbols based on popular songs, sayings and slang expressions of Bosch's era. Thus plucking fruit or flowers was a metaphor for copulation, while the peelings, which the lovers find so fascinating, was a byword for worthlessness.
• Curiously, the centre panel contains only young men and women: there are no children and no senior citizens to be seen. Also, the scene contains no focal point and no linear narrative, which enhances the overall mood of abandonment. Note the absence of God in this panel, which highlights what happens when mankind is given complete freedom. As we can see, under such circumstances, Bosch predicts a playground of corruption.
• Right-Hand Painting: Hell
• In the right-hand panel, Bosch's hell (the only picture to be set at night) is divided into three levels or tiers: in the top tier, a ravaged landscape is lit by the macabre glow of an eerie fire. Huge crowds can be seen marching endlessly. In the middle level, Bosch has painted a mocking self-portrait, in the guise of a man/tree whose arms/roots are set in two boats. The hollow torso contains a sort of hellish tavern, frequented by resting 'devils'. On his head is a rotating platform with a bagpipe - a symbol of evil and lust. Two enormous ears on the left are pierced by an arrow and cut by the blade of a knife. The contraption symbolizes Man's deafness to the New Testament exhortation: "If any man have ears to listen, let him hear." In the bottom tier, the guilty are confronted by their sins. Thus personifications of the Seven Deadly Sins are made to suffer. The vain woman is doomed to stare for eternity at her reflection in a demon's rump; a glutton is forced to vomit into a pit; a miser is forced to excrete gold coins into a cesspool. Various musicians are tortured on gigantic versions of their instruments. Similarly, a hunter is impaled by a hare, while another is devoured by his own hounds.Neither beauty nor warmth are on show anywhere in this panel: a tone which reflects Bosch's chilling view, that the guilty who have succumbed to the temptations of the devil must reap eternal damnation.
• Summary
• To sum up The Garden of Earthly Delights in one sentence, one might say it pictorializes the progression of sin, shows what would happen to Man if it wasn't for God, and offers a moral warning against the perils of temptation, notably lust.
• http://www.visual-arts-cork.com/famous-paintings/garden-of-earthly-delights.htm

Diapositiva 18

• Chiaroscuro woodcut
• Some collectors preferred the aesthetic and emotional intrigue of colored prints. In the sixteenth century, printmakers in northern Europe and Italy capitalized on that interest by making colored woodblock prints known as chiaroscuro woodcuts because they imitate the appearance of chiaroscuro drawings.
• In this type of drawing, the colored paper serves as the middle tone to which an artist adds white pigment to produce light (chiaro) tones and renders darker (scuro) values by incorporating hatch marks with a pen or areas of dark wash with a brush. The same concept applies to chiaroscuro woodcuts.
• Lucas Cranach’s Saint Christopher, for example, was made with two different woodblocks. One woodblock, referred to as the tone block, created the orange mid-tone. The second woodblock, called the line block, produced the black lines, that is the base design and hatching. The unprinted areas of the paper act as highlights.
• Woodcut
• A type of relief process, a woodcut is produced by inking the raised surface of the matrix ( The object upon which a design has been carved), which will result in a mirror impression of the composition when the block is pressed onto a sheet of paper using manual or mechanical (a printing press) pressure.
• To create the design on the block of wood, an artist uses a knife or gouge to cut away sections of the wood in between the lines and shapes that are to be printed.
• By the late fifteenth century, the German artist Albrecht Dürer found a way to portray impressive textural and tonal subtleties in his prints. By carving a series of thin lines close together in his Samson and the Lion, he convincingly represented shadows on the hillside.

Engraving

• Not long after the first woodcuts were made, the intaglio process of engraving emerged in Germany in the 1430s and was used throughout other areas of northern and southern Europe by the second half of the fifteenth century.
• Unlike the relief process of woodcut, an engraving is produced by sculpting into a copper plate using a tool with a lozenge-shaped tip called a burin, which leaves behind a V-shaped groove. Once the design has been fully incised, the entire surface of the plate is inked. Next, the plate will be wiped clean so that only the ink deposited into the incised lines will remain. Now the matrix is ready to be run through the printing press with a damp sheet of paper. The pressure from the press pushes the paper into those grooves and picks up the ink, resulting in a mirror impression of the image engraved on the copper plate.
• In comparison to the difficulty of carving a relief design into a woodblock, the technique of engraving allowed skilled artists to create magnificently detailed and stylistically varied compositions without the fear of producing too narrow of lines that would break under the pressure of a mechanical press. One of the greatest engravers in renaissance Europe was Martin Schongauer. His St. Anthony Tormented by Demons shows off his versatile engraving technique.
• Engraving has its roots in the tradition of gold- and silversmith workshops where niello plaques—small plates of gold or silver—were made by incising a linear design into the metal surface and inlaying those carved grooves with a dark paste-like substance to render a clear representation.

Diapositiva 20

• New subjects and formats (think Hans Baldung Grien, witchcraft, etc)
• Before 1450, Renaissance humanism had little influence outside Italy; after 1450, these ideas began to spread throughout Europe.
• Key Points
• Humanism influenced the Renaissance periods in Germany, France, England, the Netherlands, and Poland. There were also other national and localized movements, each with different characteristics and strengths.
• Northern painters in the 16th century increasingly looked to Rome for influence, and became known as the Romanists . The High Renaissance art of Michelangelo and Raphael and the stylistic tendencies of Mannerism also had a great impact on their work.
• Although Renaissance humanism and the large number of surviving classical artworks and monuments in Italy encouraged many Italian painters to explore Greco-Roman themes, Northern Renaissance painters developed other subject matters, such as landscape and genre painting.
• Key Terms
• Romanists: A group of artists in the late 15th and early 16th century from the Netherlands who began to visit Italy and started to incorporate Renaissance influences in their work.
• Northern Renaissance: The Northern Renaissance describes the Renaissance as it occurred in northern Europe.

Martin Luther and Reformation

• What were the 3 main ideas of Martin Luther?
• Terms in this set (6)
• Luther’s main ideal 1. Salvation by faith alone.
• Luther’s main ideal 2. The bible is the only authority.
• Luther’s main ideal 3. The priesthood of all believers.
• Salvation by faith alone. Faith in god was the only way of salvation.
• The bible is the only authority.
• The priesthood of all believers.
• What did Martin Luther want to reform?
• He did not believe the Catholic Church had the power to pardon people sins. Rather, Luther thought that salvation could be achieved only through God’s mercy. And because they wanted to reform the Catholic Church, that is, improve it by making changes, their movement is known as the Reformers.
• Indulgences
• Although there were many causes of the Reformation, the immediate issue that sparked Luther into the position of a reformer was the sale of indulgences. Indulgences were remissions or exemptions for punishment due to an individual for the sins he had committed in life. Basically, by purchasing an indulgence, an individual could reduce the length and severity of punishment that heaven would require as payment for their sins, or so the church claimed.

Diapositiva 22

• How did the Catholic Counter-Reformation affect art?
• The Counter-Reformation Movement While the Protestants largely removed public art from religion and moved towards a more “secular” style of art, embracing the concept of glorifying God through depictions of nature, the Counter-Reformation Catholic Church promoted art with “sacred” or religious content. Reformation art embraced Protestant values , although the amount of religious art produced in Protestant countries was hugely reduced. Instead, many artists in Protestant countries diversified into secular forms of art like history painting , landscapes, portraiture, and still life .
• What was written in the 95 theses?
• His “95 Theses,” which propounded two central beliefs—that the Bible is the central religious authority and that humans may reach salvation only by their faith and not by their deeds—was to spark the Protestant Reformation. His writings changed the course of religious and cultural history in the West.

New subjects and formats (think Hans Baldung Grien, witchcraft, etc)