ESPAÑA

Diego Velazquez, Las Meninas 1656

Court, reconciliation of strange characters with tradition of high courtly art,
vitality,
Philip IV as Huntsman 1636
own tradition, and also Italian classical monumental Baroque Renaissance tradition,
ghostl, tangibility details
Prince Philip Prosper, 1659
Playful puppy, not Botticelli, hard, opaque linearity, this paint seems to melt without
precision
the Waterseller, 1620
experimenting with two techniques of depiction, pure artifice, but something to
believe, common scene
Paulus Potter, The Bull 1647
nondescript, Dutch, everyday commonplace, livestock, plain landscapes, away from
high Alberti, to genre art, = everyday Protestant embarrassment at riches
Jan Vermeer, View of Delft, 1661

Pieter de Hooch, Woman with child in Interior, 1660s

flourishing economy, urban centers, recently liberated from Spain, no courts,

paintings trying to figure out what it means to be wealthy middle class citizen, shore up
Dutch republic, clean state that won’t be contaminated with commercial ideals
No specific space for us to be looking or placed in relation to painting, freedom of
looking , Dutch Republic, doesn’t want to dictate. Like real life, no orthogonal lines
telling us where to look
Adriaen van de Velde, Frozen Canal 1668
more at eye level, austere colors,
compare to Pieter Bruegel The Elder
Landscape painting—from an overhead view, take in a large vista, as if a wealthy land
owner

Poussin, Landscape with the Funeral of Phocion, 1648

“landscape must come with a story, hopefully ancient Greek
Still lifes, vanitas-the vanity of all things, comment on transcience of all things,
moralizing overtones, Pieter Claesz, Vanitas, 1656
Ambrosius
Jan Miense Molenaar, Woman at her Toilet, 1633
everything in life is vanity, everything must come to an end
Pieter De Hoocch, Courtyard of a House in Delft, 1658, windows and doorways
Nicholas Maes, Eavesdropper, 1657
bounded, outside world vs inside world
Jan Steen, Young Girl with Oysters, 1660
sexuality, guh, dangerous wealth and flesh
Gerald Terborch, Apple Peeler 1660
Dutch ability to describe, nationalist pride
Jan Vermeer, A Maid Asleep, 1656
mundane, prohibit attempts to algorize,
Milkmaid, 1660
transient, common, timeless, same nobility as Greco roman statue, light penetrating
window
woman in blue, reading a letter 1664
you want to assign a meaning to it. Letter +map = from husban

17th c European courts, vs art market 30 Years’ War, bureaucracies, Empires

Diego Velazquez, Las Meninas
versus Ambrosius Bossehaert, Flowers in a Glass, 1606
Age of accumulation of Warfare, and of money

Peter Paul Rubens, Elevation of the Cross, 1610

Baroque, transient climactic moment of elevation to the cross, no more concern with
symmetry, chiaro scuro, figures on side are not idealized, they are fat, old women,
common everyday people. Bodies are EXPLODING into our space as a viewer, visceral,
emotional response to work
Arrival of Marie de Medici at Marseilles, 1625
He was very popular, she was going to be queen, surrounded by allegories of France.
Baroque = excess (curve, voluptuous bodies, pomp and spectacle of court life)
Breugel, Netherlandish Proverbs, 1559
Kermis, 1638
Feminine
Prometheus Bound 1612
existence of punishment, rule of kings, classical subject, emotional level, not rational
Nicolas Poussin, Rape of the Sabine Woman, 1638
clear and crisp
versus
Rubens, Rape of the Sabine Women, 1635
energetic glow of skin
line versus color. rape, sex violence

classical subject matter in unclassical means

Three Graces, 1638 … they’re wrinkley. extremely
Drunken Silenus, 1617 figures of excess
The Artist and his Wife, 1610
Noble himself, northern netherlands
Rembrandt van Rijn, Self-Portrait with his Wife as the Prodigal Son, 1669
 humble, middle-class, striking a pose, rise of historiated tradition Southern
Netherlands
Rembrandt was great.
Expressions studies, great self-portraiter, late:heavy build-up of paint, emothional
device, heavy paint, heavy soulfulness

De Hooch, Courtyard of a House in Delft,

Genre painting
versus
The Jewish Bride, 1665
“Historiated” tenderness, play with hands
Doesn’t fit-in to the culture that made him
manual art versus science
versus van Eyck, visual detail
Hands, lower register of the senses, versus higher appeal to logic

Return of the Prodigal Son 1669

versus Murillo, “”, 1670 very different, everything is visible
Aristotle with a Bust of Homer, 1653
Things that are visible < things that are felt. He liked blind guys
Portrait of a Man, 1632
Portrait of Jan Six, 1654
costumes, frippery, hands=credibility, trustworthiness, wealthy men embarrassment
of riches, this men are virtuous, honest, deep shadows = psychological intensity
Anatomy Lesson of Dr. Tulp, 1632
“Group portrait” this is hilarious.
arm is not usually first

Gerard Terborch, Treaty of Munster, 1648

not narrative or dramatic tension

versus Rubens (Bath of Bathsheba) Rubens:physicality, burst of color, visual stuff of

the world
Remb: interior, contemulative state, psychology, introverted