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5. with the early Renaissance, the gold grounds of medieval images were finally replaced by landscapes,
initially as a backdrop-like arrangement of individual motifs, or as a view through a window or similar …
6. Van Eyck was especially successful in a natural-seeming progression from the foreground to the distant view ...
7. behind the three figures …
a small garden with lilies and roses symbolizing Mary's virtues
a crenellated castle wall, witch two figures, near them are two
peacocks, symbols of immortality
a city with a profusion of buildings, an imposing Gothic church,
a bridge and countless tiny figures
in the distance, the horizon is closed off by snow-capped
mountains under a pinky-yellow sky
Jan van Eyck
The Madonna of Chancellor Rolin
La Vierge du chancelier Rolin
1435
Musée du Louvre, Paris
8.
9. beyond the pillars, a couple stares down at a scene of a town
along a river ...
Weyden uses the same space as Eyck, with an opening
supported by two columns through which the main scene opens
out onto a landscape in the background
Rogier van der Weyden
Saint Luke Drawing the Virgin
Saint Luc dessinant la Vierge
1435 -1440
Boston Museum of Fine Arts, Boston
10.
11.
12.
13. the three panels show a chronological reading of the birth, death
and resurrection of Jesus ...
the right panel:
in the background the resurrection on Easter morning, with three
sleepy soldiers, Christ standing beside his empty tomb, a winged
angel, the three Marys
and
an winding road from the tomb to the building in the foreground
with the risen Christ appearing to the Virgin Mary
Rogier van der Weyden
The Altar of Our Lady, Miraflores Altar, right panel
Le retable de Notre-Dame, Retable de Miraflores, panneau de droite
1442-1445
Gemäldegalerie der Staatlichen Museen zu Berlin, Berlin
14.
15.
16. an very van Eyckian landscape ...
crowds crossing a bridge, a boat on the river,
a cart led along a road on the proximate riverbank,
a pair of swans float serenely on the mirror-like surface of the water
Jan van Eyck, and workshop, atelier
The Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos
La Vierge à l’Enfant avec Sainte Barbe, Jan Vos et Sainte Elisabeth
1441-1443
The Frick Collection, New York
17.
18.
19.
20. a delightfully detailed landscape ...
a stone bridge arches across a river,
a town on the bank with a walled fortress up on the hill,
a small group of figures under the trees,
and
another pair of swans on its water
Rogier van der Weyden, Workshop, atelier de
A Man Reading, Saint Ivo
Un homme lisant, Saint Yves
1450
The National Gallery, London
21.
22.
23. the small windows at each side of the saint reveal a miniature
landscape of green countryside:
a castellated house, figures,
a flock of sheep and distant rolling hills
Antonello da Messina
Saint Jerome in his Study
aint Jérôme dans son étude
1475
The National Gallery, London
24.
25.
26.
27. a distant landscape, a rustic delight ...
a softly lit domestic interior with a window looking on to a mill copied
from the Netherlandish painter Hans Memling (Pagagnotti
triptych,Uffizi, Florence, and National Gallery, London) ...
Fra Bartolomeo
Madonna and Child with the Young Saint John the Baptist
Vierge à l'Enfant avec le jeune saint Jean-Baptiste
1497
Metropolitan Museum of Art, New York
28.
29.
30. a river, a multi-towered, mediaeval castle rises on a bizarrely
shaped mountain ...
an idealised landscape
Sandro Botticelli
Cestello Annunciation
L'Annonciation du Cestello
1489-1490
Galleria degli Uffizi, Florence
31.
32.
33.
34. a landscape whith a castle, a bridge, a watermill ...
an man crosses the bridge
and
a fashionably dressed horseman rides off on a white
horse ...
(behind Saint John a bystander peers round a column
at the scene in the central panel, it has been suggested
that it might be Memling himself)
Hans Memling
The Donne Triptych
Triptyque Donne
1480
National Gallery, London
35.
36.
37.
38.
39. the first Italian portrait with a landscape background, and the first double
portrait in Italian art ...
the viewer's glance travels through the window and down a country road
past some houses and villas to a distant range of mountains
Filippo Lippi
Portrait of a Woman with a Man at a Casement
Portrait d’une femme et d’un homme
1440
Metropolitan Museum of Art, New York
40.
41.
42. an extraordinary landscape …
the spatial element is suggested by the light and the continuity
of the rolling landscape in the background, representing the area
of the Marches over which the Duke and Duchess ruled
Piero della Francesca
The double portrait of the Dukes of Urbino, or Diptych of Federico da
Montefeltro and Battista Sforza
Le Triomphe de la chasteté ou Double Portrait des ducs d'Urbino
1465
Galleria degli Uffizi, Florence
43.
44.
45.
46. an landscape with swans, a horseman and a palm tree,
in the air a stork and a flock of birds
Memling is the first artist north of the Alps to situate a portrait within
a landscape
Hans Memling
Bernardo Bembo, Statesman and Ambassador of Venice, Man with a Roman coin
Bernardo Bembo, Homme avec une pièce de monnaie romaine
1480
Koninklijk Museum voor Schone Kunsten, Antwerp
47.
48.
49. a Florentine craftsman ...
a city with pointed towers,
small trees and a lake
Pietro Perugino
Portrait of Francesco delle Opere
Portrait de Francesco delle Opere
1494
Galleria degli Uffizi, Florence
50.
51.
52. a window opens out onto an exquisite landscape ...
green fields give way to a tree-ringed lake and beyond are snow-capped
mountains, probably a reminder of Dürer's journey over the Alps three
years earlier
Albrecht Dürer
Self-Portrait
Autoportrait aux gants
1498
Museo del Prado, Madrid
53.
54.
55. an landscape full of erudite symbolism …
the fire,
an owl with prey in its talons being mobbed by a flock of birds,
an eagle and a swan locked in combat,
the parrot on the tree ...
Lucas Cranach the Elder, Lucas Cranach l'Ancien
Portraits of Johannes and Anna Cuspinian
Portraits de Johannes et Anna Cuspinian
1502
Oskar Reinhart Collection, Winterthur
56.
57.
58.
59.
60. a rich fabric merchant and prominent figure among
the Florentine upper class, and his wife ...
the composition resembles that of the Mona Lisa:
but Raphael distances himself from Leonardo's
model by preferring to use a solid, clear approach
to space, lowering the horizon behind the figures
and bringing them strongly to the foreground
the fascinating use of the sfumato technique,
as seen on the Mona Lisa has been replaced
by an absolutely clear use of shape and colour
Raphael
The portraits of Agnolo and Maddalena Doni
Portraits d’Agnolo Doni et Maddalena Doni
1506
Galleria Palatina, Palazzo Pitti, Florence
61.
62.
63.
64.
65. a fascinating and typically “Leonardesque” composition ...
the background landscape, whose crags are seemingly replicated
in Anne's veil, virtually melts in its sfumato haze
the colossal sense of depth created by the mountainous
landscape gives the painting a perceptible peacefulness
and greatness
Leonardo da Vinci
The Virgin and Child with St Anne
Sainte Anne, la vierge et l'enfant Jésus
1503
Musée du Louvre, Paris
66.
67.
68. a landscape of water and trees ...
Humanity and nature are inextricably linked.
The scenery is not simply a backdrop for the sitter.
The inner world of the sitter is actually reflected in the landscape.
Leonardo da Vinci
Ginevra de' Benci
Portrait de Ginevra de Benci
1474-1478
National Gallery of Art, Washington DC
69.
70.
71.
72. one of the first portraits to depict the sitter in front of an
imaginary landscape ...
a chaotic, imaginary, strange, fantastic landscape,
a vast landscape recedes to icy mountains ...
winding paths, a distant bridge give only the slightest indications
of human presence
Leonardo da Vinci
La Joconde
Mona Lisa
1503-1505
Musée du Louvre, Paris
73.
74.
75.
76. olga_oes
Landscape painting in the Renaissance (1) Figures and the landscape
La peinture de paysage à la Renaissance (1) Personnages et le paysage
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77. the landscape will take an increasingly important place ...
the Venetian Giorgione has the distinction of painting what was probably the first landscape painting
of the Renaissance. The Tempest, from just after 1500, marked the start of a new and wholly secular genre
Landscape painting in the Renaissance (2) The landscape and Figures