you can download my presentations at http://www.authorstream.com/MyUploaded-Presentations/All http://www.authorstream.com/Presentation/guimera-4733810-landscape-painting-renaissance-figures/

3. but the painter's ambition is to paint a vast landscape ...

4. Landscape painting in the Renaissance
(2)
The Landscape and Figures

6. The landscape is a not a mere backdrop, but forms a notable contribution to early landscape painting.

7. an fascinating landscape ...
the human figures, absorbed in private reverie
the little town half-hidden behind the luxuriant vegetation,
the lazy, tortuous course of the stream to the ancient ruins,
the houses, the towers and the buildings in the distance
which pale against the blue of the sky
a 'silent' atmosphere which continues to fascinate modern viewers …
Giorgione
The Tempest
La tempête
1505
Gallerie dell'Accademia, Venice

10. within a deep landscape meeting the horizon in a startling band of blue,
two travelers halt besides a pool, from whose murky waters a little
beaked monster emerges …
(the painting is very damaged and many areas are not original:
the two figures they may represent Saint Roch and his attendant
Gothardus; the devil emerging from the water seems to be genuine,
although its meaning is unclear )
… the rocky landscape, the isolated and mysterious figures, the barely
visible, perhaps imaginary monsters, the alpine town in the distance,
combine to create a sense of profound yet indefinable emotion
Giorgione
Il Tramonto
The Sunset
Le coucher de soleil
1505
National Gallery, London

14. the Muses of poetry,
the young poet playing a lute,
an lyricist,
the elegant, slim trees,
a multi-levelled villa,
a shepherd playing a bagpipe ...
the presence of the beautiful Muses provides inspiration;
the harmony of scenery and figures, colours and forms
proclaims the close interrelationship between man and nature,
poetry and music
Titian, Titien
Pastoral Concert
Le Concert champêtre
1510
Musée du Louvre, Paris

17. an illustration of a poetic approach ...
a pastoral landscape,
two children,
two young adults,
two older men
and
the long-eared goats that spy on young lovers
Dosso Dossi
The Three Ages of Man
Les trois âges de la vie
1515
Metropolitan Museum of Art, New York

20. Leda's seduction by Jupiter, who has taken the form of a swan,
in three scenes:
first meeting,
love making,
the swan flying away whilst Leda gets dressed
and
the landscape as an essential element :
the water’s edge,
a grove of trees
Antonio da Correggio
Leda and the Swan
Léda et le Cygne
1532
Gemäldegalerie, Berlin

23. an allegorical landscape ...
and
high figures of the time:
Diana is Catherine de Medici,
the two nymphs Diane de Poitiers and Marie Stuart
François Clouet
Le bain de Diane
The Bath of Diana
1558-1559
Musée des Beaux-arts de Rouen, Rouen

26. a splendid landscape ...
with gently steeped hills, many trees with light foliage
the greens dominate, the reds, yellows and blues of old tunics
offer a chromatic counterpoint
a vast landscape with numerous mythological figures
are Minerva, Diana, Venus, Anteros, nymphs, fauns …
Pietro Perugino
Combat of Love and Chastity
Le Combat entre l'Amour et la Chasteté
1503
Musée du Louvre, Paris

30. Mantegna uses the landscape setting to capture the momentum
and tension of the event ...
a long band of soldiers, led by Judas, emerges from the city gates,
two egrets stand in the stream, symbolic of the purification of baptism,
plants and grasses sprout from the rich brown soil,
minute details like the individual bricks of the city walls
Andrea Mantegna
The Agony in the Garden
L'Agonie dans le jardin
1455-1456
National Gallery, London

33. a kind of splendid naturalistic compilation ...
the fig-tree, bare tree,
the ivy, the layered, agglomerated, crumbling rocks,
a lizard, a squirrel and hare,
a ruined Roman bridge and a walled city
and
another city on an island
Giovanni Bellini
Saint Jerome reading
Saint Jérôme lisant
1505
National Gallery of Art, Washington

36. the harsh, barren landscape …
a hill with an imposing fortress, intended to represent
the city of Jerusalem,
large expanses of sandy earth, swirling dirt tracks,
cliff faces which look as though they have been eroded
by desert winds
Christ’s pink tunic blends with the peach light of the dawn
sky ...
Giovanni Bellini
Agony in the Garden
Agonie dans le Jardin des Oliviers
1465
National Gallery, London

39. an almost completely realist landscapes
and
Saint Anthony with two naked women,
a madam
a pot-bellied man,
a creature with an inverted funnel on its head,
and
a little group which seem to have invaded from the mind
of Bosch …
Cornelis Massys, Corneille Metsys (attribué à)
The Temptation of Saint Anthony
La tentation de saint Antoine
1540
Musées Royaux des Beaux Arts de Belgique, Brussels

42. an epic struggle of life and death fought out on a cosmic scale,
whose drama is reflected in the swirling clouds above and the endless beyond ...
a spectacular sky with the sun triumphantly breaking through the clouds
and "defeating" the moon
thousands of horse and foot soldiers immersed in a sea of spears and lances,
Darius' chariot cuts a path through the throng
a rocky environment of the Alps with German cities,
the soldier's armor is unmistakably of the 16th century,
on the battlefield the ladies look like German courtly ladies,
dressed for a hunting party in their feathered toques ("passion for invention")
Albrecht Altdorfer
The Battle of Alexander at Issus
La Bataille d’Alexandre à Issos
1529
Alte Pinakothek, Munich

43. Altdorfer's painting reflected a characteristic feature of the Renaissance:
the reappraisal of Classical antiquity; in quattrocento Italy, spreading north across the Alps during the century that followed
… the saints began to lose their exemplary status

49. Saint Anthony being tempted or assailed in the desert by
three richly dressed young women, a queen and her ladies-in-waiting,
monstrous creatures, a little monkey, symbolizing the Devil, demons ...
in the background a vast landscape:
a large river in the center with bare grey rocks,
a fortified city,
in the sky the menacing clouds which darken
In addition to the panoramic perspective, Patinir uses da Vinci’s aerial
perspective, dividing space into three depths of field by colour:
brownish-ochre, green and blue.
Joachim Patinir, Quentin Metsys
The Temptations of Saint Anthony
Tentation de saint Antoine
1515
Museo Nacional del Prado, Madrid

53. an immense landscape, a spatial continuum that extends
to the far horizon and narrow strip of sky ...
a universal landscape ... a view of the world,
a comprehensive Christian view ...
Joachim Patinir
Landscape with Saint Jerome
Paysage avec saint Jérôme
1516-1517
Museo Nacional del Prado, Madrid

57. a dark forest,
a village in the middle ground and a city in the distance,
Romanesque or Gothic buildings
... a landscape to create a setting for the figures in his scenes
Joachim Patinir
Rest during the Flight to Egypt
Le repos pendant la fuite en Egypte
1518-1520
Museo Nacional del Prado, Madrid

60. a deep vista of a river and its two banks …
on the river that separates heaven from hell,
Charon, a sullen old man, carries a human soul in a
miserable boat;
a luminous fountain and angels, a city and its church
towers and on the right bank hell is waiting
...
a highly contrived landscape, the perspective is applied
inconsistently;
the painting, independent of its subject, is alluring
Joachim Patinir
Crossing the River Styx
La traversée du Styx
1515-1524
Museo Nacional del Prado, Madrid

64. an imaginary Northern European landscape,
above a river valley bordered by craggy peaks ...
a branch fallen against a tree creates a cross, presaging
the crucifixion,
two tiny salamanders, symbols of evil, below the figures
Pieter Brueghel the Elder, Pieter Brueghel l'Ancien
Landscape with the Flight into Egypt
Paysage avec la fuite en Egypte
1563
Courtauld Institute of Art, London

67. Icarus' legs protrude ridiculously from the sea...
the artist laughs,
the serious people, the farmer, the shepherd are not interested
in Icarus, one should not rebel against the laws of the cosmos,
but should be content to fulfil one's tasks in the appointed place
... It is the dreamers who change the world
Beautiful imaginary landscape in any case, harmonious and peaceful
Pieter Brueghel the Elder, Pieter Brueghel l'Ancien
Landscape with the Fall of Icarus
Paysage avec la chute d'Icare
1558
Musées Royaux des Beaux-Arts, Bruxelles

72. three hunters are returning from an expedition accompanied
by their dogs,
crows sitting in the denuded trees,
a watermill with its wheel frozen stiff,
silhouettes
and
a landscape that is the subject itself:
a flat-bottomed valley, a river, jagged mountain peaks
winter colors, synonymous with cold and ice, a superb
alternation of white and green-bluish layers ...
a calm, cold, overcast day
Pieter Bruegel the Elder, Pieter Brueghel l'Ancien
The Hunters in the Snow
Chasseurs dans la neige
1565
Kunsthistorisches Museum, Vienna

77. olga_oes
Landscape painting in the Renaissance (2) The Landscape and Figures
La peinture de paysage à la Renaissance (2) Le paysage et personnages
images and text credit www.
Music The Piano Guys Someone you loved (piano cello)
created olga.e.
thanks for watching