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Northern Renaissance or International Gothic


Flanders

Northern Renaissance


Northern Renaissance Artists Limbourg Brothers Matthias Grunewald Jan Van Ecyk Rogier Van Der wayden Hieronymous Bosch Pieter Bruegel “The Elder�


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Limbourg brothers, or in Dutch Gebroeders van Limburg were famous Dutch miniature painters from the city of Nijmegen. They were active in the early 15th century in France and Burgundy, working in the style known as International Gothic. They created what is certainly the best known late medieval illuminated manuscript, the Très Riches Heures du Duc de Berry.


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures du Duc de Berry or simply the Très Riches Heures (The Very Rich Hours of the Duke of Berry) is a richly decorated book of hours (containing prayers to be said by the lay faithful at each of the canonical hours of the day) commissioned by John, Duke of Berry, around 1410. It is probably the most important illuminated manuscript of the 15th century, "le roi des manuscrits enluminés" ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures (The Very Rich Hours of the Duke of Berry) around 1410 The most important illuminated manuscript of the 15th century ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures (The Very Rich Hours of the Duke of Berry) around 1410 The most important illuminated manuscript of the 15th century ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures (The Very Rich Hours of the Duke of Berry) around 1410 The most important illuminated manuscript of the 15th century ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures (The Very Rich Hours of the Duke of Berry) around 1410 The most important illuminated manuscript of the 15th century ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)

The Très Riches Heures (The Very Rich Hours of the Duke of Berry) around 1410 The most important illuminated manuscript of the 15th century ("the king of illuminated manuscripts").


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)


The Limbourg Brothers (Herman, Paul, and Johan; fl. 1385 – 1416)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)

Crucifixion


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)

Crucifixion


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)

Crucifixion


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


Matthias Grßnewald Or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528)


n Ecyk (before c. 1395 – before 9 July 1441) was a Flemish painter active in Bruges

considered one of the best Northern European painters of the 15th century.


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


an Ecyk (before c. 1395 – before 9 July 1441)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden

1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden (1399 or 1400 – 18 June 1464)

r de le Pasture


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


r Van Der weyden or Rogier de le Pasture (1399 or 1400 – 18 June 1464)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


nymous Bosch (c. 1450 – 9 August 1516)


Bruegel “The Elder�

– 9 September 1569)

Pieter Bruegel was a renaissance painter and ker known for his landscapes sant scenes (so called genre ). He is sometimes referred e "Peasant Bruegel" to ish him from other members rueghel dynasty, but he is one generally meant when ext does not make clear rueghel is being referred to. 559 he dropped the 'h' from e and signed his paintings as .


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel der�

eptember 1569)


Bruegel “The Elder”

– 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Bruegel “The Elder” (c. 1525 – 9 September 1569)


Late Renaissance and Mannerism

Mannerism is a period of European art that emerged from later years of the Italian High Renaissance around 1520. 1520. It ed until about 1580 in Italy, when a more Baroque style ted gan to replace it, but Northern Mannerism continued into the ly 17th 17th century throughout much of Europe.Stylistically, nnerism encompasses a variety of approaches influenced and reacting to, the harmonious ideals and restrained uralism associated with artists such as Leonardo da Vinci, phael, and early Michelangelo. Mannerism is notable for its ellectual sophistication as well as its artificial (as opposed to uralistic) qualities.


Late Renaissance and Mannerism

The definition of Mannerism, and the phases within it, ntinues to be the subject of debate among art historians. For ample, some scholars have applied the label to certain early dern forms of literature (especially poetry) and music of the h and 17th 17th centuries. The term is also used to refer to some e Gothic painters working in northern Europe from about 00 to 1530, 1530, especially the Antwerp Mannerists— Mannerists—a group elated to the Italian movement. Mannerism also has been plied by analogy to the Silver Age of Latin.


Late Renaissance and Mannerism

ain Presentation Parmigianino Pontormo Bronzino Giuseppe Arcimboldo El Greco


migianino (11 January 1503 – 24 August 1540) 1540)

Girolamo Francesco Mazzola, also known as cesco Mazzola or more monly as Parmigianino (a ame meaning "the little rom Parma") or times "Parmigiano", was lian Mannerist painter rintmaker active in nce, Rome, Bologna, and ative city of Parma. His is characterized by ation of form and des Vision of Saint me(1527) and the


e painting depicts the Virgin Mary d on a high pedestal and swathed urious robes, holding a rather large Jesus on her lap. On her left are six angels crowding around the nna and adoring the Christ. The shed face of the angel on the m left (from the viewer's perspective) e seen more clearly in recent ductions (top), following a ation of the painting.


po Carucci

4, 1494 – January 2, 1557)

y known as Jacopo da Pontormo, o Pontormo or simply Pontormo, n Italian Mannerist painter and itist from the Florentine school. His epresents a profound stylistic shift he calm perspectival regularity that cterized the art of the Florentine ssance. He is famous for his use of g poses, coupled with ambiguous ective; his figures often seem to n an uncertain environment, mpered by the forces of gravity.


Joseph in Egypt


it of a Halberdier, 1528-1530


zino (November 17, 17, 1503 – November 23, 23, 1572), 1572),

Agnolo di Cosimo usually known as Il Bronzino, or Agnolo Bronzino aken attempts also have been made in the past to assert his name was lo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist er from Florence. Bronzino was born in Florence, the son of a butcher. rding to his contemporary Vasari, Bronzino was a pupil first of ellino del Garbo, and then of Pontormo, to whom he was apprenticed Pontormo is thought to have introduced a portrait of Bronzino as a (seated on a step) into one of his series on Joseph in Egypt now in the nal Gallery, London. Pontormo exercised a dominant influence on


zino

r 17, 1503 – November 23, 1572)


Bronzino (November 17, 1503 – November 23, 1572)


zino

r 17,1503 – November 23,1572)


Bronzino (November 17, 1503 – November 23, 1572)


zino

r 17,1503 – November 23,1572)


Bronzino (November 17, 1503 – November 23, 1572)

Portrait of Lorenzo LenziVenus,


etto

ber 29, 29, 1518 – May 31, 31, 1594) 1594)

Tintoretto, real name po Comin, was a Venetian er and a notable exponent Renaissance school. For henomenal energy in ng he was termed Il so. His work is cterized by its muscular s, dramatic gestures and use of perspective in the erist style, while aining color and light al of the Venetian School


Tintoretto (September 29, 29, 1518 – May 31, 31, 1594) 1594)


etto

ber 29, 29,1518

1,1594) 1594)


Tintoretto (September 29, 29, 1518 – May 31, 31, 1594) 1594)


Tintoretto

(September 29, 29,1518 – May 31, 31,1594) 1594)


Tintoretto (September 29, 29, 1518 – May 31, 31, 1594) 1594)


Tintoretto (September 29, 29, 1518 – May 31, 31, 1594) 1594)


ppe Arcimboldo

July 11, 11, 1593) 1593)

Giuseppe Arcimboldo spelled Arcimboldi) was an n painter best known for ng imaginative portrait s made entirely of such ts as fruits, vegetables, rs, fish, and books – that is, inted representations of objects on the canvas ged in such a way that the e collection of objects formed ognizable likeness of the ait subject.


ppe Arcimboldo

July 11, 11, 1593) 1593)

In 1562 he became court portraitist to Ferdinand I at the Habsburg in Vienna, and later, to Maximilian II and his son Rudolf II at the court ague. He was also the court decorator and costume designer. King stus of Saxony, who visited Vienna in 1570 and 1573, saw mboldo's work and commissioned a copy of his "The Four Seasons" h incorporates his own monarchic symbols.

Arcimboldo's conventional work, on traditional religious subjects, allen into oblivion, but his portraits of human heads made up of ables, plants, fruits, sea creatures and tree roots, were greatly admired s contemporaries and remain a source of fascination today. Art critics e whether these paintings were whimsical or the product of a deranged [1] A majority of scholars hold to the view, however, that given the issance fascination with riddles, puzzles, and the bizarre (see, for ple, the grotesque heads of Leonardo da Vinci), Arcimboldo, far from mentally imbalanced, catered to the taste of his times.


Giuseppe Arcimboldo (1527 – July 11, 11, 1593) 1593)


useppe Arcimboldo

(1527 – July 11, 11, 1593) 1593)


Giuseppe Arcimboldo (1527 – July 11, 11, 1593) 1593)


seppe Arcimboldo

(1527 – July 11, 11, 1593) 1593)


Giuseppe Arcimboldo (1527 – July 11, 11, 1593) 1593)


seppe Arcimboldo

(1527 – July 11, 11, 1593) 1593)


Giuseppe Arcimboldo (1527 – July 11, 11, 1593) 1593)


Giuseppe Arcimboldo

(1527 – July 11, 11, 1593) 1593)


Giuseppe Arcimboldo (1527 – July 11, 11, 1593) 1593)


eco

7 April 1614) 1614)

Greco was a painter,sculptor and ect of the Spanish Renaissance. "El " (The Greek) was anickname, a reference ethnic Greek origin, and the artist normally d his paintings with his full birth name in letters, Δομήνικος Θεοτοκόπουλος énikos Theotokópoulos).

El Greco was born on Crete, which was at that time part of the blic of Venice, and the centre of Post-Byzantine art. He trained and me a master within that tradition before travelling at age 26 to Venice, er Greek artists had done. In 1570 he moved to Rome, where he d a workshop and executed a series of works. During his stay in Italy, eco enriched his style with elements of Mannerism and of the Venetian ssance. In 1577, he moved to Toledo, Spain, where he lived and


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541– 1541–7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


El Greco

(1541– 1541–7 April 1614) 1614)


El Greco (1541– 1541–7 April 1614) 1614)


El Greco

(1541– 1541–7 April 1614) 1614)


El Greco

(1541 – 7 April 1614) 1614)


707111 History of Western Art