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Page 1: ARTH 335 Week 6 Review Presentation

REMBRANDT VAN RIJNREMBRANDT VAN RIJN

--Born in Leiden, 1606--Born in Leiden, 1606--Originally studied under van--Originally studied under van SwanenburghSwanenburgh--At the age of 17 or 18, went to--At the age of 17 or 18, went to Amsterdam to study underAmsterdam to study under Lastman, a more capableLastman, a more capable mastermaster

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The Money Changer The Money Changer by Rembrandt (1627)by Rembrandt (1627)

Chiaroscuro, “Tenebrism”Chiaroscuro, “Tenebrism”

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The Money Changer The Money Changer by Rembrandt (1627)by Rembrandt (1627)

Chiaroscuro, “Tenebrism”Chiaroscuro, “Tenebrism”

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Silverpoint drawing of Saskia van Silverpoint drawing of Saskia van Uylenburgh by Rembrandt (1633)Uylenburgh by Rembrandt (1633)

“ “This was drawn after my wife, This was drawn after my wife, when she was 21 years old, the when she was 21 years old, the third day after our betrothal—the third day after our betrothal—the 88thth of June, 1633.” of June, 1633.”

REMBRANDT: SASKIA REMBRANDT: SASKIA

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Saskia van Uylenburgh Saskia van Uylenburgh -Cousin of an art dealer with whom -Cousin of an art dealer with whom Rembrandt lived and rented studio Rembrandt lived and rented studio space when he moved to space when he moved to Amsterdam.Amsterdam.-From a well-connected family, she -From a well-connected family, she brought him a large dowry and an brought him a large dowry and an entrée into social circles which entrée into social circles which benefited his career.benefited his career.-Frequently served as Rembrandt’s -Frequently served as Rembrandt’s model.model.

REMBRANDT: SASKIA REMBRANDT: SASKIA

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

““The Militia Company ofThe Militia Company ofCaptain Banning Cocq”Captain Banning Cocq”

A group portrait for theA group portrait for theKloveniers militiaKloveniers militia

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

18 members involved 18 members involved in the commission, butin the commission, butRembrandt paints 30+Rembrandt paints 30+

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Powder boy Powder boy

Extra figures: adds visualExtra figures: adds visualinterest, and also providesinterest, and also providesactive figuresactive figures

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Banning Cocq: Banning Cocq: gesturing, speaking; gesturing, speaking;

as if ordering the men as if ordering the men to march out to march out

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Glove: Glove: challenge challenge

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Musketry:Musketry:The musket wasThe musket wasthe specialthe specialweapon of theweapon of theKloveniers militiaKloveniers militia

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Laurel leaves: Laurel leaves: victory victory

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Chicken, tied by its claws Chicken, tied by its claws

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REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

Insignia of the Kloveniers militiaInsignia of the Kloveniers militia

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Saskia: dies in 1642. Holding a joint Saskia: dies in 1642. Holding a joint estate with Rembrandt, her will estate with Rembrandt, her will stipulated that her half did not go to stipulated that her half did not go to him, but to Titus when he married or him, but to Titus when he married or came of age, Rembrandt got only any came of age, Rembrandt got only any interest off of her half until that time. interest off of her half until that time. Further, if he were to remarry, her half Further, if he were to remarry, her half was to go to one of her sisters, and was to go to one of her sisters, and Titus’s share would be forfeit, as Titus’s share would be forfeit, as Rembrandt’s stake in the interest. Rembrandt’s stake in the interest.

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Rembrandt—Financial Insolvency:Rembrandt—Financial Insolvency:-Had taken a large loan in 1639 to -Had taken a large loan in 1639 to buy the house; after 15 years had buy the house; after 15 years had only managed to pay off about only managed to pay off about a quarter of what he owed, and a quarter of what he owed, and had also been ignoring taxes and had also been ignoring taxes and interest.interest.-Selling the house would have -Selling the house would have caused potential difficulties due caused potential difficulties due to the terms of Saskia’s will, sinceto the terms of Saskia’s will, since they had owned it jointly and thus they had owned it jointly and thus it was part of Titus’s inheritance.it was part of Titus’s inheritance.-Forced in 1656 to apply for a -Forced in 1656 to apply for a cessation of goods, whereby his cessation of goods, whereby his possessions were auctioned off possessions were auctioned off by his creditors, including his by his creditors, including his paintings, drawings, and prints.paintings, drawings, and prints.

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Self-Portrait, 1660 Self-Portrait, 1660 Rembrandt in the 1660s: Rembrandt in the 1660s: -Moves to a small rented -Moves to a small rented house with Titus, Hendrickje, house with Titus, Hendrickje, and his daughter Cornelia.and his daughter Cornelia.-Obliged to turn over future -Obliged to turn over future sales of art to his creditors, sales of art to his creditors, he sets up a dummy he sets up a dummy corporation with Titus and corporation with Titus and Hendrickje as “art dealers” Hendrickje as “art dealers” and Rembrandt as a salariedand Rembrandt as a salaried “ “advisor.”advisor.”-Again starts to receive -Again starts to receive important commissions, important commissions, including the Syndics of the including the Syndics of the Draper’s Guild and JuliusDraper’s Guild and Julius Civilis.Civilis.

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Self-Portrait, 1660 Self-Portrait, 1660

Both Titus and Hendrickje Both Titus and Hendrickje die in 1663, leaving Cornelia die in 1663, leaving Cornelia as his only surviving family.as his only surviving family.

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Rubens and his Wife Rubens and his Wife (Isabella Brant) in the (Isabella Brant) in the

Honeysuckle Bower (1609)Honeysuckle Bower (1609)

PETER PAUL RUBENSPETER PAUL RUBENS

--Born 1577 in Seigen, Germany;--Born 1577 in Seigen, Germany; his father, Jan, was a Calvinist his father, Jan, was a Calvinist and fled his native Antwerp to and fled his native Antwerp to escape religious persecution.escape religious persecution.--Jan Rubens, an attorney, had --Jan Rubens, an attorney, had originally fled to Cologne; afteroriginally fled to Cologne; after an affair with a princess to an affair with a princess to whom he served as secretary whom he served as secretary he was imprisoned and nearly he was imprisoned and nearly executed. He was released and executed. He was released and allowed to settle in Seigen.allowed to settle in Seigen.--Jan Rubens died in 1587, --Jan Rubens died in 1587, leaving his wife Maria to raise leaving his wife Maria to raise Peter Paul and his 13-year-old Peter Paul and his 13-year-old brother Philip.brother Philip.--Maria Rubens returned with --Maria Rubens returned with her sons to Antwerp.her sons to Antwerp.

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RUBENS: ITALY—The Duke of MantuaRUBENS: ITALY—The Duke of Mantua

--In Venice meets Vincenzo I, --In Venice meets Vincenzo I, Duke of Mantua, who was a Duke of Mantua, who was a great patron of the arts, and is great patron of the arts, and is offered a job as one of his offered a job as one of his painters.painters.--His tasks consisted mostly of --His tasks consisted mostly of copying famous works of artcopying famous works of art and painting original portraits and painting original portraits of beautiful women for the of beautiful women for the Duke’s “Gallery of Beauties.”Duke’s “Gallery of Beauties.”--The job also gave him access --The job also gave him access to important people and art to important people and art collections (including the collections (including the Duke’s own) and the Duke’s own) and the opportunity to travel around opportunity to travel around Italy.Italy.

Self Portrait with a CircleSelf Portrait with a Circleof Friends from Mantuaof Friends from Mantua

(early 1600s)(early 1600s)

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RUBENS: ITALY—Copies of Roman and Italian masters RUBENS: ITALY—Copies of Roman and Italian masters

Drawing after the central group of Drawing after the central group of Leonardo’s Battle of AnghiariLeonardo’s Battle of Anghiari

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RUBENS: ITALY—PortraitsRUBENS: ITALY—Portraits

Marchesa BrigadaMarchesa BrigadaSpinola Doria (c.1606)Spinola Doria (c.1606)

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RUBENS: ANTWERPRUBENS: ANTWERP

Rubens and his Wife Rubens and his Wife (Isabella Brant) in the (Isabella Brant) in the Honeysuckle Bower (1609)Honeysuckle Bower (1609)

Rubens’s own wedding Rubens’s own wedding portraitportrait

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RUBENS: ANTWERP—Religious paintings RUBENS: ANTWERP—Religious paintings

The Elevation of the The Elevation of the Cross (1610-11), anCross (1610-11), analtarpiece for thealtarpiece for theChurch of St. Walburga, Church of St. Walburga, AntwerpAntwerp

Rubens’s first altarpiece Rubens’s first altarpiece in Antwerp in Antwerp

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RUBENS: MYTHOLOGICAL AND HISTORY PAINTINGS RUBENS: MYTHOLOGICAL AND HISTORY PAINTINGS

Prometheus BoundPrometheus Bound(1611-12)(1611-12)

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RUBENS: HUNTING SCENES RUBENS: HUNTING SCENES

Lion Hunt (c.1620?)Lion Hunt (c.1620?)

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE --Commissioned in 1621-22 by --Commissioned in 1621-22 by Marie de’Medici to paint a large Marie de’Medici to paint a large cycle of paintings at her new cycle of paintings at her new residence, the Palais de residence, the Palais de Luxembourg, designed in 1620 Luxembourg, designed in 1620 by Solomon de Brosse.by Solomon de Brosse.--Marie was the widow of the --Marie was the widow of the previous king, Henri IV, and the previous king, Henri IV, and the mother of the current king, Louis mother of the current king, Louis XIII. She had also served as XIII. She had also served as regent in Louis’s youth, but wasregent in Louis’s youth, but was generally disliked by the French generally disliked by the French people, even by her son. people, even by her son. --Rubens’s cycle was intended to --Rubens’s cycle was intended to glorify her and present a glorify her and present a positive image of her role in positive image of her role in French politics and society.French politics and society.

Marie de’Medici Marie de’Medici by Rubens (c.1622) by Rubens (c.1622)

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MARIE DE’MEDICI MARIE DE’MEDICI

--Born in Florence, Italy, in 1573.--Born in Florence, Italy, in 1573.--Her father was Grand Duke of --Her father was Grand Duke of Tuscany and a member of the Tuscany and a member of the wealthy Medici family; upon wealthy Medici family; upon the death of Henri IV’s first wife,the death of Henri IV’s first wife, her father secured for her the her father secured for her the title of Queen of France by the title of Queen of France by the payment of a huge dowry.payment of a huge dowry.--She married Henri IV by proxy --She married Henri IV by proxy in 1600, but upon her arrival in in 1600, but upon her arrival in France things went poorly—she France things went poorly—she quarreled not just with Henri quarreled not just with Henri but openly and violently with hisbut openly and violently with his mistresses.mistresses.--Bore him a son, Louis XIII.--Bore him a son, Louis XIII.Marie de’Medici Marie de’Medici

by Rubens (c.1622) by Rubens (c.1622)

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MARIE DE’MEDICI MARIE DE’MEDICI --Upon Henri’s assassination in --Upon Henri’s assassination in 1610—which she reputedly may1610—which she reputedly may have had a role in—she was have had a role in—she was recognized as the Regent of recognized as the Regent of France, who would rule the France, who would rule the country in the place of Louis XIIIcountry in the place of Louis XIII (then 9-years-old). She placed at(then 9-years-old). She placed at the head of her government her the head of her government her own lover Concini, also an own lover Concini, also an Italian.Italian.--In 1617, Louis attained full --In 1617, Louis attained full powers of king and had Concinipowers of king and had Concini assassinated and Marie assassinated and Marie banished. banished. --In 1621, due to the influence of --In 1621, due to the influence of Cardinal Richelieu, Louis Cardinal Richelieu, Louis allowed her to return to Paris. allowed her to return to Paris.

Marie de’Medici Marie de’Medici by Rubens (c.1622) by Rubens (c.1622)

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE The commission:The commission:--24 paintings—21 scenes --24 paintings—21 scenes showing events from Marie’s showing events from Marie’s life and portraits of herself and life and portraits of herself and her parents (a second planned her parents (a second planned series, of events from Henri’s series, of events from Henri’s life, was never completed).life, was never completed).--Begun in 1622, completed 1625.--Begun in 1622, completed 1625.--In order to mask the often --In order to mask the often mundane and contentious mundane and contentious reality of Marie’s life, Rubens reality of Marie’s life, Rubens surrounded her with allegorical surrounded her with allegorical figures and used metaphors figures and used metaphors from classical mythology to from classical mythology to create scenes implying triumph create scenes implying triumph and apotheosis, and justified and apotheosis, and justified Marie as a symbol of virtue.Marie as a symbol of virtue.

Marie de’Medici Marie de’Medici by Rubens (c.1622) by Rubens (c.1622)

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 1: The DestinyScene 1: The Destinyof Marie de’Mediciof Marie de’Medici

Zeus and Hera look onZeus and Hera look on from abovefrom above

The Fates spin the The Fates spin the thread of Marie’s thread of Marie’s

destiny destiny The job of the third Fate, The job of the third Fate, Atropos, was to cut the Atropos, was to cut the thread of life, and her usual thread of life, and her usual attribute was scissors. Here attribute was scissors. Here she is without them, she is without them, implying the privileged and implying the privileged and immortal nature of Marieimmortal nature of Marie

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 2: The BirthScene 2: The Birthof Marie de’Mediciof Marie de’Medici

The goddess Juno presents the The goddess Juno presents the infant Marie to an allegorical infant Marie to an allegorical figure of the city of Florencefigure of the city of Florence

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 3: The Education Scene 3: The Education of Marie de’Mediciof Marie de’Medici

Apollo (the Greek patron of the arts) and Apollo (the Greek patron of the arts) and Athena (Goddess of Wisdom) help attend Athena (Goddess of Wisdom) help attend to Marie’s educationto Marie’s education

The Three Graces offerThe Three Graces offerher beautyher beauty

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 6: The Arrival of Scene 6: The Arrival of Marie de’Medici in Marie de’Medici in MarseillesMarseilles

A personification of FranceA personification of France welcomes herwelcomes her

Fame trumpets to alert Fame trumpets to alert France of her arrival France of her arrival

Sea gods, tritons, and Sea gods, tritons, and sirens lead her ship to sirens lead her ship to shore shore

MarieMarie

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 21: The Triumph of TruthScene 21: The Triumph of Truth

An allegorical figure of Truth is An allegorical figure of Truth is unveiled by time, to show that in the unveiled by time, to show that in the end time will reveal that the rupture end time will reveal that the rupture between Marie and Louis was due to between Marie and Louis was due to the falsity and scheming of others the falsity and scheming of others

Marie and Louis in Heaven; he offers Marie and Louis in Heaven; he offers her a laurel crown with two joined her a laurel crown with two joined hands and a heart inside of it hands and a heart inside of it

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RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Louis XIIILouis XIII and and MarieMarie de’Medicide’Medici by Rubensby Rubens

1630: Marie plots a coup against Louis and his chief 1630: Marie plots a coup against Louis and his chief minister; she is again exiled, this time permanently.minister; she is again exiled, this time permanently.

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NICOLAS POUSSINNICOLAS POUSSIN

--1593/94-1665--1593/94-1665--Trained under various --Trained under various minor paintersminor painters--Arrived in Rome in 1624; --Arrived in Rome in 1624; worked for a time in worked for a time in Domenichino’s studioDomenichino’s studio--By the late 1620s had --By the late 1620s had begun to achieve begun to achieve success, even obtaining success, even obtaining a commission for an a commission for an altarpiece in St. Peter’s altarpiece in St. Peter’s (The Martyrdom of (The Martyrdom of St. Erasmus)St. Erasmus)

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NICOLAS POUSSIN: Early period, RomeNICOLAS POUSSIN: Early period, Rome

--By the late 1620s he began to --By the late 1620s he began to explore a new direction; he gave explore a new direction; he gave up large-scale painting in churchesup large-scale painting in churches and palaces, and started working and palaces, and started working on smaller works mostly derived on smaller works mostly derived from classical subject matter, and from classical subject matter, and intended for a small, erudite circleintended for a small, erudite circle that was sincerely interested in thethat was sincerely interested in the ancient world.ancient world.--His approach was more poetic --His approach was more poetic than archeological, and he favoredthan archeological, and he favored a warmth in color and lighting a warmth in color and lighting inspired by Venetian painters.inspired by Venetian painters.

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NICOLAS POUSSIN: Mid-1630s, RomeNICOLAS POUSSIN: Mid-1630s, Rome

Triumph of Pan (1636)Triumph of Pan (1636)

--By the mid-1630s he became --By the mid-1630s he became interested in more active subjectinterested in more active subject matter which provided a sense ofmatter which provided a sense of pageantry and festivity, derived pageantry and festivity, derived from mythology and the Old from mythology and the Old Testament.Testament.--He style and approach also began --He style and approach also began to change. Rather than soft, to change. Rather than soft, coloristic, and poetic, his paintings coloristic, and poetic, his paintings featured firmer drawing and featured firmer drawing and modeling, frieze-like arrangements modeling, frieze-like arrangements of figures, rhetorical gestures, and of figures, rhetorical gestures, and carefully planned compositions. carefully planned compositions. Colors became cool, and more like Colors became cool, and more like a tint. The new influence was a a tint. The new influence was a serious, archeological study of serious, archeological study of classical sculpture.classical sculpture.

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NICOLAS POUSSIN: Mid-1630s, RomeNICOLAS POUSSIN: Mid-1630s, Rome

Ancient Roman Ancient Roman friezesfriezes

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NICOLAS POUSSIN: 1640-42, FranceNICOLAS POUSSIN: 1640-42, France

--Promised a high position if he--Promised a high position if he returned to France, Poussin wentreturned to France, Poussin went back to Paris in 1640. Things didback to Paris in 1640. Things did not go well, and he was back in not go well, and he was back in Rome in 1642, and remained thereRome in 1642, and remained there for the rest of his life.for the rest of his life.--In the 1640s he will become more--In the 1640s he will become more interested in New Testament interested in New Testament subject matter, but presented in subject matter, but presented in the same style as his classical the same style as his classical subjects, with an emphasis on subjects, with an emphasis on firmness, clarity, balance, firmness, clarity, balance, rationality, and archeological rationality, and archeological fidelity.fidelity.

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NICOLAS POUSSIN: 1642 and on, RomeNICOLAS POUSSIN: 1642 and on, Rome

Holy Family on the Steps (1648)Holy Family on the Steps (1648)

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NICOLAS POUSSIN: ART THEORYNICOLAS POUSSIN: ART THEORY

--Painting should deal only with --Painting should deal only with noble and serious subject matter,noble and serious subject matter, presented in logical and orderlypresented in logical and orderly ways. Rather than simply imitating ways. Rather than simply imitating nature or narrating events, the nature or narrating events, the artist should present a perfectedartist should present a perfected version of his subject.version of his subject.

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NICOLAS POUSSIN: ART THEORYNICOLAS POUSSIN: ART THEORY

--Painting should appeal to the--Painting should appeal to the mind rather than they eye, andmind rather than they eye, and decorative trivialities should bedecorative trivialities should be avoided. Color and light shouldavoided. Color and light should be used to express the action, butbe used to express the action, but not in an overly sensuous way. not in an overly sensuous way. --The painter should work in a --The painter should work in a consistent mode; for instance, ifconsistent mode; for instance, if he is dealing with harsh or solemnhe is dealing with harsh or solemn subject matter, the painting subject matter, the painting should appear harsh and solemn,should appear harsh and solemn, and it would be incorrect to and it would be incorrect to introduce sweetness or charm.introduce sweetness or charm.

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NICOLAS POUSSIN: METHODSNICOLAS POUSSIN: METHODS

--Would begin by carefully --Would begin by carefully researching the subject, and researching the subject, and reading all that he could find reading all that he could find about it.about it.--Make a rough sketch of a design--Make a rough sketch of a design as an initial guide.as an initial guide.--Make wax models which would--Make wax models which would be clothed and put on a small be clothed and put on a small stage with a backdrop of the stage with a backdrop of the landscape or architecture.landscape or architecture.--After studying possible --After studying possible compositions, he would makecompositions, he would make a second drawing.a second drawing.

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NICOLAS POUSSIN: METHODSNICOLAS POUSSIN: METHODS

--Larger models would be made--Larger models would be made and staged; their proportions and staged; their proportions and details would be based on and details would be based on a study of ancient statues; it was a study of ancient statues; it was from these that he would paint from these that he would paint the final picture—he did not the final picture—he did not like to paint from life for fearlike to paint from life for fear of losing his image of the ideal. of losing his image of the ideal.

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CHARLES LE BRUNCHARLES LE BRUN

--1619-90--1619-90--Vouet was among his early --Vouet was among his early instructors.instructors.--Went to Rome in 1642 and--Went to Rome in 1642 and spent a brief period there spent a brief period there studying under Poussin.studying under Poussin.--Returns to France in 1646 and --Returns to France in 1646 and quickly rises to prominence. quickly rises to prominence. Develops a style that shows Develops a style that shows the influence of Poussin in the influence of Poussin in the classical details, gestures, the classical details, gestures, and poses, but is overall less and poses, but is overall less rigorous—gravitates towards rigorous—gravitates towards a freer, more picturesque a freer, more picturesque prettiness, rather than the prettiness, rather than the meticulousness of Poussin.meticulousness of Poussin.

Entrance of Alexander intoEntrance of Alexander intoBablyon (c.1661)Bablyon (c.1661)

Le Brun byLe Brun byCoysevoxCoysevox

(1676)(1676)

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LE BRUN AND THE FRENCH ACADEMYLE BRUN AND THE FRENCH ACADEMY

Charles Le Brun byCharles Le Brun byAntoine Coysevox (1676)Antoine Coysevox (1676)

--French Academy of Painting and--French Academy of Painting and Sculpture founded in 1648;Sculpture founded in 1648; Colbert eventually assumed Colbert eventually assumed control over it and Le Brun was control over it and Le Brun was named director in 1663.named director in 1663.--Colbert and Le Brun also --Colbert and Le Brun also founded the Gobelins Works to founded the Gobelins Works to manufacture tapestries and manufacture tapestries and furniture for the royal palaces.furniture for the royal palaces. Le Brun’s positions at the Le Brun’s positions at the Academy and Gobelins gave himAcademy and Gobelins gave him almost total control of the arts inalmost total control of the arts in France; Le Brun was officially France; Le Brun was officially named by Louis as “the greatestnamed by Louis as “the greatest French artist of all time.” French artist of all time.”

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LE BRUN AND THE FRENCH ACADEMYLE BRUN AND THE FRENCH ACADEMY

Charles Le Brun byCharles Le Brun byAntoine Coysevox (1676)Antoine Coysevox (1676)

Academic Theory:Academic Theory: --Painting is not intended for the --Painting is not intended for the eye, but for the mind, and shouldeye, but for the mind, and should be considered an intellectual artbe considered an intellectual art for educated people.for educated people. --The artist should never simply --The artist should never simply imitate nature, but enrich it by imitate nature, but enrich it by applying the rules of proportion,applying the rules of proportion, perspective, and composition.perspective, and composition. --The artist should concentrate on--The artist should concentrate on “ “permanent” aspects of nature,permanent” aspects of nature, such as form and outline, and such as form and outline, and de-emphasize “ephemeral” de-emphasize “ephemeral” aspects such as color, which aspects such as color, which appeal primarily to the eye.appeal primarily to the eye.

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LE BRUN AND THE FRENCH ACADEMYLE BRUN AND THE FRENCH ACADEMY

Charles Le Brun byCharles Le Brun byAntoine Coysevox (1676)Antoine Coysevox (1676)

Academic Theory:Academic Theory: --The artist should choose only --The artist should choose only “ “noble” subject matter, and avoidnoble” subject matter, and avoid the inclusion of anything “low.”the inclusion of anything “low.” Everything included in a paintingEverything included in a painting should be appropriate to the should be appropriate to the subject and theme chosen.subject and theme chosen. --Students should study only from--Students should study only from appropriate models. The best appropriate models. The best were authentic works of thewere authentic works of the ancient Greeks and Romans,ancient Greeks and Romans, Raphael, and of course Poussin.Raphael, and of course Poussin. --Venetian painters should be --Venetian painters should be avoided as models since they avoided as models since they stressed color; works of Dutchstressed color; works of Dutch and Flemish artists were alsoand Flemish artists were also considered dubious. considered dubious.


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