HISTORY OF EUROPEAN PAINTING

The history of painting represents a continuous, though disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on
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Representational: representing humans, heroes with their characteristics of the age, social status, trades, etc. Religious/Sacred art: imagery intended to uplift the mind to the spiritual; objects to be venerated not for what it is but for what it represents; properly called sacramentals. The use of art in religion is essential, as it symbolizes understanding and feelings that words simply can't describe. Classical: broad term for a long period of cultural history centered on the Mediterranean Sea, comprising the interlocking civilizations of Ancient Greece and Ancient Rome. "Classical antiquity" typically refers to an idealized vision of later people of what was, in Edgar Allen Poe's words, "the glory that was Greece, the grandeur that was Rome!" o Immensely influential on the language, politics, educational systems, philosophy, science, art and architecture of the Renaissance and again during various neo-classical revivals in the 18th and 19th centuries. Abstract: a visual language of form, color and line to create a composition which exists independently of visual references to the world. o By the end of the 19th century many artists felt a need to create a 'new kind of art' which would encompass the fundamental changes taking place in technology, science and philosophy. Conceptual: art in which the concept(s) or ideas(s) involved in the work take precedence over traditional aesthetics and material concerns.

MEDIEVAL AGE Byzantine art:

- the 6th century, placed great emphasis on traditional iconography and style, - continued traditions in the Greek, Romanian and Russian orthodox icon painting o icons = a reflection of the divine o a particularly hieratic feeling and - wall-paintings in fresco, - mosaics. - flatness and highly stylized depictions of figures and landscape -

BYZANTINE PAINTING ART

BYZANTINE MOSAIC

ANDREJ RUBLIOV: continuation of the Byzantine art in Orthodox icon painting

Illuminated manuscripts: the text is supplemented by decorated initials, borders and miniature with gold or silver. - the term is now used to refer to any decorated or illustrated manuscript from the Western or Islamic traditions.

The Book of Kelles

ROMANESQUE ART - Panel painting becomes more common under the heavy influence of Byzantine icons - the middle of the 13th century, painting became more realistic,
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interest in the depiction of volume and perspective

o more realistic and dramatic approach o a new innovative and free composition approach

in Italy with Cimabue and then his pupil Giotto: considered to be the two great medieval masters of painting in western culture; pioneers in the move towards naturalism.

CIMABUE

GIOTTO

RENAISSANCE AND MANERISM (XIV-XVII)

Fra Angelico

Filippo Lippi

Andrea Mantegna

Paolo Ucello: Nicolo Mauruzi da Tolentino at the Battle of San Romano (National Gallery)

Leonardo da Vinci: Mona Lisa, La Gioconda, Luvre, Paris

Raphael: Madona et Banbino

Giovani Bellini: Saint Francisc in the Dessert

Titian - Self Portrait: Museo del Prado,Madrid

Leonardo da Vinci: The Last Supper (1498) Convent of Sta. Maria Delle Grazie, Milan

Pierro delaFrancesca: Resurrection

GIORGIONE: Gallerie dellAccademia, Venice

TINTORETTO: Finding of the Body of St. Mark (1548)

SANDRO BOTICELLI: The Birth of Venice (Uffizi, Florence)

Rogier van den Weyden: Saint Ivo. Oil on Panel (National Gallery)

Hieronymus Bosh: The Garden of Earthly Delights (Tryptich)

Pieter Breugel: Babel Tower, Brussels

HIGH RENAIISANCE MANNERISM The early Mannerists in Florence Andrea del Sarto Jacopo da Pontormo and Roso Fiorentino Parmigianino Corregio El Greco o elongated forms, precariously balanced poses, irrational settings, and theatrical lighting

Outside of Italy, mannerism continued into the seventeenth century.

o o o o

France - Rosso traveled to work for the court at Fontainebleau, Henry II style) Prague court Rudolf II, as well as Haarlem and Antwerp. Great Britain expressed by the local categories of Elizabethan and Jacobean art of painting

Jacopo Pontormo: Joseph in Egypt. Oil on Wood, (National Gallery)

El Greco: The Assumption of the Virgin. Art Institute of Chicago

Hans Holbein the Younger: Portrait of Sir Thomas More. The Frick Collection, New York

Hans Holbein: The Ambassadors, National Gallery

Anthony van Dyck: Susana and the Elders

Anthony van Dyck: Self Potrait