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Northern Baroque Art: Dutch Golden Age and Loose Brush Strokes - Prof. Karlyn Marie Griffi, Study notes of Art

Florida State University (FSU)Art

Prof. Karlyn Marie Griffith

The northern baroque art movement during the 17th century, marked by the dutch golden age and new heights of realism. The protestant influence led to a lack of religious art, and artists employed loose brush strokes and lighting at the front of the picture plane. Key artists and works discussed include caravaggio's followers, merry company by gerrit van honthorst, the night watch by rembrandt, and bathsheba by rembrandt. Topics covered include daily life, body and psyche, transiential view of reality, and techniques such as tenebrism and the use of the camera obscura.

Typology: Study notes

2012/2013

Uploaded on 04/05/2013

deannayoung1213 🇺🇸

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Northern Baroque (17th century)

*Dutch golden age (started with Carrivaggio’s followers) new heights of realism

o*Protestants in NorthNo religious art

oLoose brush strokes

oLighting at the front of the picture plane-3/4 view

oLook @ Caravaggio fam-painting of Prodigal son story—sons and

inheritance bible story

LOOKED AT IN N. ART:

Daily life

Body/Psyche studied

Tells story

Transistantial view of reality

Vocabulary

Tenebrism: play on lights and darks

Followers of Carrivaggio: began Baroque in N. by bringing his style from the South

Repoussoir: figure at front—effect is backlighting

Camera Obscura: an early form of camera—Used by Vermeer—creates

photographic realism

Merry Company Gerrit van Honthhorst (1620)

Subject: prodigal son at height of fun point with money—focus on youth’s

pitfalls



Everything cut short at front of picture plane, effect we know where we sit

and we do not participate in conversation **you can still turn away from

temptation

Repoussoir: figure at front defines space/obscure light

The Procuress Van Honthhorst (1625)

Subject: a reduced, simplified version of Merry Company

All 3 versions=secular adaptations

Woman showing skin—servant will help her tempt boy

**Begins Dutch golden ageloose brush strokes, creamy, painting with

earthy palette

The Night Watch Rembrandt (1639-42)

oPortrait type: Civil guard—in 3 groups separated by rank

oMilitia=volunteers

oLines, not crisp + no single light source/tenebrism-painting comes to life

oSubtle linear perspective with men coming towards viewer

oLUDOVICO influence-diagonals move eyes around painting

oWhimsical brush strokes-not blended or precise

oNew way to rep. images in canvas

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Northern Baroque (17th^ century) *Dutch golden age (started with Carrivaggio’s followers) new heights of realism o *Protestants in NorthNo religious art o Loose brush strokes o Lighting at the front of the picture plane-3/4 view o Look @ Caravaggio fam-painting of Prodigal son story—sons and inheritance bible story LOOKED AT IN N. ART: Daily life Body/Psyche studied Tells story Transistantial view of reality Vocabulary Tenebrism: play on lights and darks Followers of Carrivaggio: began Baroque in N. by bringing his style from the South Repoussoir: figure at front—effect is backlighting Camera Obscura: an early form of camera—Used by Vermeer—creates photographic realism Merry Company Gerrit van Honthhorst (1620)  Subject: prodigal son at height of fun point with money—focus on youth’s pitfalls  Everything cut short at front of picture plane, effect we know where we sit and we do not participate in conversation ** you can still turn away from temptation  Repoussoir: figure at front defines space/obscure light The Procuress Van Honthhorst (1625)  Subject: a reduced, simplified version of Merry Company  All 3 versions=secular adaptations  Woman showing skin—servant will help her tempt boy  **Begins Dutch golden ageloose brush strokes, creamy, painting with earthy palette The Night Watch Rembrandt (1639-42) o Portrait type : Civil guard—in 3 groups separated by rank o Militia=volunteers o Lines, not crisp + no single light source/tenebrism-painting comes to life o Subtle linear perspective with men coming towards viewer o LUDOVICO influence-diagonals move eyes around painting o Whimsical brush strokes-not blended or precise o New way to rep. images in canvas

o Uses glaze for 3-D look without precision Bathsheba Rembrandt (1654)  Birth of modern painting  Focus on minute moment from beginning of story of Bathsheba  Contrapasto: play on tradition about lust—moralizing take based on bible story  Takes away larger parts of the scene (i.e. David) _*Like Merry Company/Procuress_  Front of picture plane—uses Caravaggio’s tenebrism  Subject: Bathsheba in center holding letter (Sends husband to his death/also symbol of lust adultery) REJECTS: o Idealism of high renaissance o Caravaggio’s crisp brush strokes o Anything that confines the story Loose strokes Undefined rational space Impasto: builds paint in thick layers—literal 3-D  acknowledging medium/viewer unsure of what the picture is upclose In Luxury Beware Jan Steen (1663) o Genre Scene: shows daily life—helps moralizing biblical stories by putting them in contemporary settings o Subject: proverbs o Woman directly engages viewer—acknowledge lust o House in disarray, dog at table eating food o Pig running off with Keg tap—mean they’re drunk o Monkey playing with clock—folly of ignoring one’s duties o Quacking duck—mindless banter Genre Subject Vermeer **(late 1650’s-1660’s) *** 3 diff. paintings o Uses pure hues and loose brush strokes—paints domestic interiors

1. Interior scene—not contrived—girl is playing piano at back of room o *Degree of attachment, scientific approach of subjects as visual data o For the middle class o Artist is doing more than painting a story o Camera obscura: how he creates degree of attachment-early version of camera-hypothesize that he used this and dummies to stage the scene o Has photo-realism—painted “disks of confusion” o Used for precise perfection static, rigid painting o Rigorous use of perspective—draws eyes to back with the girl o Mirror used as device to reflect back