Dutch Republic

Dutch Republic

REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Fig. 10-22.

Dutch RepublicExample: • Civic group portrait• Challenge to represent

participants• Selection of spontaneous

moment• Light as dramatic device• Subtle modulation of light

and shadow for mood

REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night

Watch), 1642. Fig. 10-22.

Dutch Republic

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Fig. 10-25.

Dutch RepublicExample: • Landscape popular

theme • Nationalistic pride in

country• Symbols: church towers,

windmills, farmland reclaimed from sea

• Realistic sky and land

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Fig.

10-25.

Dutch Republic

JAN VERMEER, Allegory of the Art of Painting,

1670–1675. Fig. 10-26.

Dutch RepublicExample: • Genre scenes of everyday

life popular • Careful rendering of

homes, things• Study of light, reflections• Camera obscura• Allegory of the art of

painting• Symbols of creative act:

model, costume, laurelJAN VERMEER, Allegory of the Art of

Painting, 1670–1675. Fig. 10-26.

Dutch Republic

PIETER CLAESZ, Vanitas Still Life, 1630s. Fig. 10-27.

Dutch RepublicExample: • Still life • Displays wealth and

abundance• Optical renderings of

objects• References to passage of

time, human mortality• Vanitas with memento

mori

PIETER CLAESZ, Vanitas Still Life, 1630s. Fig. 10-27.

FranceDates and Places: • 1600 to 1700• France

People:• Absolute monarch • Court at Versailles• French Royal Academy

CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629.

Fig. 10-30.

FranceThemes:• Portraits • Mythology• Life of Christ, Virgin Mary,

and Saints

Forms:• Classicizing, dynamic, and

realist approaches co-exist

JULES HARDOUIN MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of

Mirrors), ca. 1680. Fig. 10-33.

France

NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Fig. 10-29.

FranceExample: • Classical approach• Worked in Rome• Studied ancient

sculpture• Seeks rational order,

ideal beauty • Followers of classical

approach called Poussinistes

NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Fig. 10-29.

France

HYACINTHE RIGAUD, Louis XIV, 1701. Fig. 10-31.

FranceExample: • Theatrical approach to

absolute monarch• Propaganda and

surrogate for king• Attributes: robe, scepter,

curtain, crown, fleur de lis

• Royal Academy serves king’s artistic needs HYACINTHE RIGAUD, Louis XIV, 1701. Fig.

10-31.

France

JULES HARDOUIN-MANSART, CHARLES LE BRUN, and ANDRÉ LE NÔTRE, Versailles Palace, begun 1669. Fig. 10-32.

FranceExample: • Louis XIV moves court • Proper setting for absolute

monarch• Axes meet at bedroom• Outfitted by Royal Academy• Symbolic vocabulary of

mythology, Apollo• Controlled nature:

fountains, grounds

JULES HARDOUIN-MANSART, CHARLES LE BRUN, and ANDRÉ LE NÔTRE, Versailles

Palace, begun 1669. Fig. 10-32.