Ap Art History Northern Europe in 17th Century Vocab Key Concepts Quizlet

The Northern Renaissance

Before 1450, Renaissance humanism had little influence outside Italy; after 1450, these ideas began to spread throughout Europe.

Learning Objectives

Describe how the Northern Renaissance differed from the Italian Renaissance

Fundamental Takeaways

Key Points

• Humanism influenced the Renaissance periods in Federal republic of germany, France, England, holland, 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 besides had a cracking impact on their work.
• Although Renaissance humanism and the large number of surviving classical artworks and monuments in Italian republic encouraged many Italian painters to explore Greco-Roman themes, Northern Renaissance painters developed other field of study matters, such as landscape and genre painting.

Key Terms

• Romanists: A group of artists in the late 15th and early 16th century from holland who began to visit Italia and started to incorporate Renaissance influences in their piece of work.
• Northern Renaissance: The Northern Renaissance describes the Renaissance equally information technology occurred in northern Europe.

The Northern Renaissance describes the Renaissance in northern Europe. Before 1450, Renaissance humanism had little influence exterior Italy; however, after 1450 these ideas began to spread beyond Europe. This influenced the Renaissance periods in Germany, France, England, the Netherlands, and Poland. There were also other national and localized movements. Each of these regional expressions of the Renaissance evolved with dissimilar characteristics and strengths. In some areas, the Northern Renaissance was distinct from the Italian Renaissance in its centralization of political power. While Italy and Germany were dominated by independent metropolis-states , parts of central and western Europe began emerging every bit nation-states. The Northern Renaissance was also closely linked to the Protestant Reformation , and the long series of internal and external conflicts betwixt various Protestant groups and the Roman Catholic Church building had lasting effects.

Every bit in Italy, the turn down of bullwork opened the way for the cultural, social, and economic changes associated with the Renaissance in northern Europe. Northern painters in the 16th century increasingly looked to Rome for influence, and became known equally the Romanists. The Loftier Renaissance fine art of Michelangelo and Raphael and the stylistic tendencies of Mannerism had a significant impact on their piece of work. Although Renaissance humanism and the big number of surviving classical artworks and monuments in Italy encouraged many Italian painters to explore Greco-Roman themes, Northern Renaissance painters adult other bailiwick matters, such as mural and genre painting.

Danae past Jan Mabuse: One of the most well-known Romanists was Jan Mabuse. The influence of Michelangelo and Raphael showed in the use of mythology and nudity in this particular piece.

Every bit Renaissance art styles moved through northern Europe, they were adjusted to local community. For example, in England and the northern Netherlands, the Reformation nearly ended the tradition of religious painting. In French republic, the School of Fontainebleau, which was originally founded past Italians such equally Rosso Fiorentino, succeeded in establishing a durable national manner. Finally, by the end of the 16th century, artists such every bit Karel van Mander and Hendrik Goltzius collected in Haarlem in a cursory but intense stage of Northern Mannerism that besides spread to Flanders .

Bear on of the Protestant Reformation

The Reformation was a religious movement in the 16th century that resulted in the theological divide between Roman Catholics and Protestants.

Learning Objectives

Describe the Protestant Reformation and its effects on Western European fine art of the 16th century

Primal Takeaways

Key Points

• Fine art that portrayed religious figures or scenes followed Protestant theology by depicting people and stories accurately and clearly and emphasized conservancy through divine grace, rather than through personal deeds, or by intervention of church hierarchy.
• Reformation art embraced Protestant values , although the corporeality 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 .
• The Protestant Reformation induced a wave of iconoclasm , or the destruction of religious imagery , among the more than radical evangelists.

Key Terms

• Protestant Reformation: The 16th century schism within Western Christianity initiated by Martin Luther, John Calvin, and other early Protestants; characterized past the objection to the doctrines, rituals, and ecclesiastical structure of the Roman Catholic Church and led to the creation of Protestant churches, which were outside of the control of the Vatican.
• iconoclasm: The belief in, participation in, or sanction of destroying religious icons and other symbols or monuments, ordinarily with religious or political motives.

The Protestant Reformation and Art

The Protestant Reformation was a religious movement that occurred in Western Europe during the 16th century that resulted in the theological split up between Roman Catholics and Protestants. This motility created a North-South split in Europe, where mostly Northern countries became Protestant, while Southern countries remained Cosmic. Protestant theology centered on the individual relationship betwixt the worshiper and the divine, and accordingly, the Reformation's artistic movement focused on the private'south personal human relationship with God. This was reflected in a number of common people and twenty-four hour period-to-day scenes depicted in art.

The Reformation ushered in a new artistic tradition that highlighted the Protestant conventionalities system and diverged drastically from southern European humanist art produced during the High Renaissance . Reformation art embraced Protestant values, although the amount of religious art produced in Protestant countries was hugely reduced (largely considering a huge patron for the arts—the Catholic Church—was no longer active in these countries). Instead, many artists in Protestant countries diversified into secular forms of art like history painting, landscapes, portraiture, and still life.

Art that portrayed religious figures or scenes followed Protestant theology by depicting people and stories accurately and clearly and emphasized conservancy through divine grace, rather than through personal deeds, or past intervention of church building bureaucracy. This is the direct influence of ane major criticism of the Catholic Church during the Reformation—that painters created biblical scenes that strayed from their truthful story, were difficult to identify, and were embellished with painterly furnishings instead of focusing on the theological bulletin. In terms of subject matter, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Instead, narrative scenes from the Bible and moralistic depictions of mod life became prevalent.

The Protestant Reformation also capitalized on the popularity of printmaking in northern Europe. Printmaking immune images to be mass produced and widely available to the public at low cost. The Protestant church was therefore able to bring their theology to the people through portable, inexpensive visual media . This allowed for the widespread availability of visually persuasive imagery. With the slap-up development of the engraving and printmaking market place in Antwerp in the 16th century, the public was provided with attainable and affordable images. Many artists provided drawings to volume and print publishers.

Iconoclasm and Resistance to Idolatry

All forms of Protestantism showed a caste of hostility to religious images, especially sculpture and large paintings, because them forms of idol worship. Later the early years of the Reformation, artists in Protestant areas painted far fewer religious subjects for public display, partly because religious art had long been associated with the Catholic Church. Although, there was a conscious try to develop a Protestant iconography of Bible images in volume illustrations and prints. During the early Reformation, some artists made paintings for churches that depicted the leaders of the Reformation in means very similar to Catholic saints. Later, Protestant gustation turned away from the display of religious scenes in churches, although some continued to exist displayed in homes.

There was also a reaction against images from classical mythology, the other manifestation of the High Renaissance at the time. This brought about a style that was more directly related to accurately portraying the present times. For example, Bruegel's Wedding Feast portrays a Flemish-peasant hymeneals dinner in a barn. It makes no reference to any religious, historical, or classical events, and only gives insight into the everyday life of the Flemish peasant.

Bruegel'south Peasant Wedding : Bruegael'southward Peasant Wedding is a painting that captures the Protestant Reformation creative tradition: focusing on scenes from modern life rather than religious or classical themes.

The Protestant Reformation induced a wave of iconoclasm, or the devastation of religious imagery, among the more radical evangelists. Protestant leaders, especially Huldrych Zwingli and John Calvin, actively eliminated imagery from their churches and regarded the great majority of religious images as idolatrous—even obviously crosses. On the other hand, Martin Luther encouraged the display of a restricted range of religious imagery in churches. For the most office, however, Reformation iconoclasm resulted in a disappearance of religious figurative fine art, compared with the amount of secular pieces that emerged.

Iconoclasm: Catholic Altar Piece: Altar piece in St. Martin'due south Cathedral, Utrecht, attacked in the Protestant iconoclasm in 1572. This retable became visible again after restoration in 1919 removed the false wall placed in front of it.

Antwerp: A Centre of the Northern Renaissance

Antwerp, located in Kingdom of belgium, was a middle for fine art in the Netherlands and northern Europe for much of the 16th and 17th centuries.

Learning Objectives

Describe the characteristics of Antwerp Mannerism

Key Takeaways

Key Points

• The Antwerp School for painting flourished during the 16th and 17th centuries. The Antwerp School comprised many generations of artists and is known for portraiture, animal paintings, even so lifes, and prints.
• Antwerp Mannerism bore no relation to Renaissance Mannerism, but the proper name suggests a reaction to the "archetype" style of the earlier Flemish painters. Although attempts accept been made to identify individual artists, most paintings remain attributed to bearding masters.
• Antwerp was an internationally significant publishing heart, with biggy production of onetime master prints and book illustrations. Furthermore, Antwerp animaliers, or animal painters, such as Frans Snyders, Jan Fyt, and Paul de Vos, dominated animal painting in Europe.

Key Terms

• Antwerp School: The Antwerp School is a term for the artists agile in Antwerp, first during the 16th century when the city was the economical center of the Low Countries, and and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.
• Antwerp: A province of Flanders, Belgium.

Antwerp, located in present-mean solar day Belgium, was a center for art in the Netherlands and northern Europe for much of the 16th and 17th centuries. The and then-chosen Antwerp Schoolhouse for painting flourished during the 16th century when the city was the economic center of the Low Countries, and again during the 17th century when it became the creative stronghold of the Flemish Baroque . The Antwerp School comprised many generations of artists and is known for portraiture, animal paintings, still lifes, and prints.

Antwerp became the chief trading and commercial centre of the Low Countries around 1500, and the boost in the economy attracted many artists to the cities to bring together craft guilds . For example, many 16th century painters, artists, and craftsmen joined the Guild of Saint Luke, which educated apprentices and guaranteed quality. The get-go school of artists to emerge in the urban center were the Antwerp Mannerists , a grouping of anonymous late Gothic painters active in the city from virtually 1500 to 1520.

Antwerp Mannerism diameter no straight relation to Renaissance or Italian Mannerism, but the name suggests a style that was a reaction to the "classic" style of the earlier Flemish painters. Although attempts have been made to identify private artists, almost paintings remain attributed to anonymous masters. Characteristic of Antwerp Mannerism are paintings that combine early on Netherlandish and Northern Renaissance styles, and comprise both Flemish and Italian traditions into the same compositions . Practitioners of the style frequently painted subjects such every bit the Admiration of the Magi and the Nativity, both of which are generally represented as night scenes, crowded with figures and dramatically illuminated. The Admiration scenes were especially pop with the Antwerp Mannerists, who delighted in the patterns of the elaborate dress worn by the Magi and the ornamentation of the architectural ruins in which the scene was set.

The Adoration of the Kings past January Gossaert: This painting captures the Antwerp Mannerist tradition of using religious themes, particularly the Adoration of the Magi, for inspiration.

The iconoclastic riots ("Beeldenstorm" in Dutch) of 1566 that preceded the Dutch Revolt resulted in the destruction of many works of religious art , after which time the churches and monasteries had to exist refurnished and redecorated. Artists such as Otto van Veen and members of the Francken family, working in a late Mannerist style, provided new religious decoration. These also marked the outset of economic pass up in the city, equally the Scheldt river was blockaded by the Dutch Republic in 1585 and trade restricted.

The city experienced an artistic renewal in the 17th century. The large workshops of Peter Paul Rubens and Jacob Jordaens, along with the influence of Anthony van Dyck, made Antwerp the centre of the Flemish Baroque. The metropolis was an internationally pregnant publishing middle, with prodigious production of old master prints and book illustrations. Furthermore, Antwerp animaliers or creature painters, such as Frans Snyders, Jan Fyt ,and Paul de Vos, dominated animate being painting in Europe for at to the lowest degree the first half of the century. Simply equally the economy continued to decline, and the Habsburg nobility and the Church reduced their patronage , many artists trained in Antwerp left for kingdom of the netherlands, England, France, or elsewhere. Past the end of the 17th century, Antwerp was no longer a major creative center.

Hunting Trophies: Jan Fyt, a member of the Antwerp Schoolhouse, was well known for the apply of animal motifs in his paintings.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-northern-renaissance/

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