2016-03-09
4 –
Séc. XVI – 2ª parte
Parmigianino (1503 – 1540), Bronzino (1503 – 1572), Tintoretto (1518 – 1594), El Greco (1541 – 1614), Bruegel (c. 1525-30 – 1569)
Renascimento tardio – ultrapassar o equilíbrio do alto renascimento...
Multiplicidade de tendências: maneirismo; proto-barroco; etc.
Maneirismo?... Anti-classicismo, afetação, exagero, estravagância?...
Parmigianino (1503 – 1540), Bronzino (1503 – 1572), Tintoretto (1518 – 1594), El Greco (1541 – 1614), Bruegel (c. 1525-30 – 1569)
Renascimento tardio – ultrapassar o equilíbrio do alto renascimento...
Multiplicidade de tendências: maneirismo; proto-barroco; etc.
Maneirismo?... Anti-classicismo, afetação, exagero, estravagância?...
Cenas
de género (vida quotidiana) …
Pieter
Bruegel, Country Wedding, c. 1565 Oil on wood 114 x 164 cm
(Paul and Jean de Limbourg, Book of Hours painted
for the Duke of Berry, January, 1399–1416, ink, tempera, and gold leaf on
vellum)
Pieter
Bruegel, Os provérbios flamengos, 1559, óleo sobre madeira, 117 x 163 cm
(Bosch, As Tentações de Santo Antão, painel
central, c. 1505, pormenor)
Peter Bruegel, The Corn Harvest (August), 1565, oil on panel, 119 x 162 cm
Peter Bruegel, The Corn Harvest (August), 1565, oil on panel, 119 x 162 cm
Maneirismo;
superação do modelo natural; anti-norma; intensificação expressiva; deformação,
desequilíbrio, estranheza espacial…
(Raphael, The Granduca Madonna, 1504, 84 x 55
cm)
Parmigianino, Madonna with the Long Neck, c. 1534-1540, oil on canvas, 216 x 132 cm
Parmigianino, Madonna with the Long Neck, c. 1534-1540, oil on canvas, 216 x 132 cm
(Madonna and
child ou Pietà?)
(Ticiano, Vénus de Urbino, 1538, óleo sobre
tela, 120 x 165 cm)
Bronzino, An Allegory with Venus and Cupid, c. 1545, oil on wood, 146 x 116 cm
Bronzino, An Allegory with Venus and Cupid, c. 1545, oil on wood, 146 x 116 cm
Presente
de Cosimo I de Medici para Francisco I de França; nudez, erotismo – apelo ao
observador masculino; Vénus e Cupido (Eros) – abraço incestuoso (?); Eros
ajoelhado em almofada de seda (símbolo da luxúria); criança (prazer) lança
pétalas de rosas; menina por trás, com corpo de monstro e mãos invertidas
segura favos de mel numa mão e ferrão de escorpião na outra (prazer e engano);
figura que grita com mãos na cabeça (ciúme? Desespero? Sífilis?); figura sem
cérebro no canto superior esquerdo – esquecimento; velho com ampulheta – tempo…
Pontormo,
TheVisitation, 1528-29, oil on canvas, 202 x 156 cm
Pontormo, Descida da cruz, c 1526-28, óleo s madeira, 313 x 192 cm
Figuras em poses inesperadas (pouco naturais), como numa dança; figuras sem peso (Virgem parece flutuar) acumulam-se, sobrepõem-se num espaço frontalizado, esquemático, simplificado (cena de interior? Palco? Núvem é real ou está pintada num pano de fundo?); cromatismo não naturalista…
Pontormo, Descida da cruz, c 1526-28, óleo s madeira, 313 x 192 cm
Figuras em poses inesperadas (pouco naturais), como numa dança; figuras sem peso (Virgem parece flutuar) acumulam-se, sobrepõem-se num espaço frontalizado, esquemático, simplificado (cena de interior? Palco? Núvem é real ou está pintada num pano de fundo?); cromatismo não naturalista…
(Leonardo da Vinci, The Last Supper, 1495-1498,
460 x 880 cm)
Tintoretto, The Last Supper, 1592-94, oil on
canvas, 365 x 568 cm
Anticlassical… to contrast dramatically the natural
with the supernatural…to make visible the institution of the Eucharist, the
transubstantiation of earthly into Divine food… (H. W. Hanson, A History of
Art)
Clashing contrasts of light and shade… Lack of harmony
in gestures and movement… (E. Gombrich, The Story of Art )
dramatic style… romantic pathos… contrasted
movements… instability… light in its
most lyrical meaning…spatial conception has a dynamic character… space is
multiplied… succession of perspectives … diaphanous brushstrokes…
deep spiritual bent… (http://www.britannica.com/EBchecked/topic/596682/Tintoretto)
(Miguel
Ângelo, cena da criação – tecto da Capela Sistina, c. 1510)
El Greco (1541-1614), Laocoon, 1610-1614, oil
on canvas, 142 x 194 cm
Intensidade
/ emoção / alongamento das figuras…
The painting depicts the Greek and Roman mythological
story of the deaths of Laocoon, a Trojan priest of Poseidon, and his two
sons, who were strangled by sea
serpents, a punishment sent by the gods after Laocoön attempted to warn his countrymen
about the Trojan Horse.
El
Greco, O enterro do Conde de Orgaz, 1586, 480 x 360 cm, óleo sobre tela,
1586, igreja de S Tomé, Toledo
Visão contemporânea de acontecimento distante (1323); fusão de aspetos do maneirismo numa única visão estática; 3 níveis espaciais – pedra tumular (por baixo da pintura); encenação contemporânea do enterro; visão da glória celestial.
Visão contemporânea de acontecimento distante (1323); fusão de aspetos do maneirismo numa única visão estática; 3 níveis espaciais – pedra tumular (por baixo da pintura); encenação contemporânea do enterro; visão da glória celestial.
El Greco, View of Toledo, c. 1596-1600, oil on
canvas, 121,3 x 108,6 cm
5 – Séc. XVII – Barroco 1
Caravaggio (1573 – 1610), Poussin (c.1593 – 1665), Velázquez (1599 – 1660), Lorrain (1600 – 1682)
Rubens (1577 – 1640), Peter Claesz (c. 1597 – 1661), Rembrandt (1606 – 1669), Jan Steen (c. 1625 – 1679), van Ruisdael (c. 1628 – 1682), Vermeer (1632 – 1675)
Barroco; anti-maneirismo; regresso ao natural/ideal; ilusionismo; síntese/unificação de princípios (real/ideal, etc.); teatralidade/dramatização; obra de arte total; alargamento temático (retrato individual, retrato de sociedade, paisagem, natureza morta, pintura de género, caricatura…); alegoria…
Caravaggio (1573 – 1610), Poussin (c.1593 – 1665), Velázquez (1599 – 1660), Lorrain (1600 – 1682)
Rubens (1577 – 1640), Peter Claesz (c. 1597 – 1661), Rembrandt (1606 – 1669), Jan Steen (c. 1625 – 1679), van Ruisdael (c. 1628 – 1682), Vermeer (1632 – 1675)
Barroco; anti-maneirismo; regresso ao natural/ideal; ilusionismo; síntese/unificação de princípios (real/ideal, etc.); teatralidade/dramatização; obra de arte total; alargamento temático (retrato individual, retrato de sociedade, paisagem, natureza morta, pintura de género, caricatura…); alegoria…
1517 – … |
Reforma (Lutero, Calvino, etc.); rejeição do culto das imagens – iconoclastia;
artistas perdem a principal fonte de sustento (pintura religiosa)
1545 – 63 | Contra-reforma – Concílio de Trento
(1633 – Galileo Galilei arrives in Rome for his trial before the Inquisition)
The Protestant Reformation began in 1517. It was led by Martin Luther, John Calvin and other Protestants, who objected to the doctrines, rituals and ecclesiastical structure of the Roman Catholic Church, and created new national Protestant churches. The Catholics responded with a Counter Reformation, led by the Jesuit order. In general, northern Europe, with the exception of Ireland, turned Protestant, and southern Europe remained Catholic.
Última obra religiosa de Holbein: Hans Holbein (c.1497-1543), The Virgin and Child with the Family of Burgomaster Mayer, 1528, oil on wood, 146,5 x 102 cm
1545 – 63 | Contra-reforma – Concílio de Trento
(1633 – Galileo Galilei arrives in Rome for his trial before the Inquisition)
The Protestant Reformation began in 1517. It was led by Martin Luther, John Calvin and other Protestants, who objected to the doctrines, rituals and ecclesiastical structure of the Roman Catholic Church, and created new national Protestant churches. The Catholics responded with a Counter Reformation, led by the Jesuit order. In general, northern Europe, with the exception of Ireland, turned Protestant, and southern Europe remained Catholic.
Última obra religiosa de Holbein: Hans Holbein (c.1497-1543), The Virgin and Child with the Family of Burgomaster Mayer, 1528, oil on wood, 146,5 x 102 cm
Mapa da Europa – 1600
Contrastes:
Norte (Países Baixos) / Sul; protestantes / católicos
Vermeer, The Kitchen-maid, c.1660 / Peter
Claesz, Vanitas Still-Life, 1630
Gaulli, The Worship of the Holy Name of Jesus,
1670-83. Jesuit church Il Gesù, Rome
Países Baixos – protestantes (autonomização política / conflito com a coroa de Castela)
1618 – interdição do culto católico; iconoclastia
(?) (interdição da representação do sagrado excepto para culto privado);
Pintura – objecto móvel, transacionável; emergência de mercado da arte (comerciantes, peritos, leiloeiros, exposições-venda); arte torna-se investimento; especialização nos géneros e temas / repartição de tarefas (pintores especializados em determinados tipos de imagem)…
Retrato – auto-retrato - retrato de Sociedade | Rembrandt, Portrait of Haesje Cleyburg, 1634; Rembrandt, Auto retrato, 1669; Rembrandt, The Syndics of the Drapers' Guild, 1661
Pintura – objecto móvel, transacionável; emergência de mercado da arte (comerciantes, peritos, leiloeiros, exposições-venda); arte torna-se investimento; especialização nos géneros e temas / repartição de tarefas (pintores especializados em determinados tipos de imagem)…
Retrato – auto-retrato - retrato de Sociedade | Rembrandt, Portrait of Haesje Cleyburg, 1634; Rembrandt, Auto retrato, 1669; Rembrandt, The Syndics of the Drapers' Guild, 1661
Cenas
de género (de costumes) |
Vermeer, The Kitchen-maid, c.1660 / Jan Steen, Topsy-turvy World,
1663
Natureza-morta | Peter Claesz, Vanitas Still-Life, 1630, oil
on canvas, 39,5 x 56 cm
Paisagem | Vermeer,
View of Delft, c 1660-61, oil on canvas, 96,5 x 117,5 cm
Sul: países católicos – pintura de história; temas religiosos; temas e figuras
da antiguidade; alegoria; retrato; retrato de estado; paisagem; pintura como
decoração; etc…
Caravaggio, A Crucificação de S. Pedro, 1601,
óleo sobre tela, 230 x 175 cm
Annibale Carracci, The Virgin Mourning Christ, 1599-60, oil on canvas
Rubens, Arrival of Marie de Medici at Marseilles, 1622-24, oil on canvas, 394 x 293 cm
Velasquez, Queen Dona Mariana of Austria, 1652-53, oil on canvas, 234,2 cm x 132 cm
Poussin, Et in Arcadia ego, c 1637-38, oil on canvas, 87 x 120 cm
Claude Lorrain, The Embarkation of the Queen of Sheba, 1648, oil on canvas, 149 c 194 cm,
Gaulli, The Worship of the Holy Name of Jesus, 1670-83. Ceiling of the Jesuit church Il Gesù in Rome
Annibale Carracci, The Virgin Mourning Christ, 1599-60, oil on canvas
Rubens, Arrival of Marie de Medici at Marseilles, 1622-24, oil on canvas, 394 x 293 cm
Velasquez, Queen Dona Mariana of Austria, 1652-53, oil on canvas, 234,2 cm x 132 cm
Poussin, Et in Arcadia ego, c 1637-38, oil on canvas, 87 x 120 cm
Claude Lorrain, The Embarkation of the Queen of Sheba, 1648, oil on canvas, 149 c 194 cm,
Gaulli, The Worship of the Holy Name of Jesus, 1670-83. Ceiling of the Jesuit church Il Gesù in Rome
Roma – Centro das artes
Carracci e Caravaggio: recusa do maneirismo
Carracci: seguidor de Rafael; culto da beleza clássica, ideal; harmonia; (sentimentalismo?)…
Carracci: seguidor de Rafael; culto da beleza clássica, ideal; harmonia; (sentimentalismo?)…
Caravaggio: realismo; busca da verdade
na imagem; desrespeito pelos ideais clássicos…
Parmigianino, Madonna with the Long Neck, c.
1534-1540
Annibale Carracci, The
Virgin Mourning Christ, 1599-60
Caravaggio
(1573 – 1610), A Crucificação de S. Pedro, 1601
Caravaggio,
A Crucificação de S. Pedro, 1601
Caravaggio:
profundo conhecimento da Bíblia; busca da verdade na imagem; desrespeito por
ideais clássicos; representação naturalista (fidelidade à observação), realismo
(cenas e figuras reais, tangíveis), luz naturalista, observação meticulosa da
luz/sombra; novo ponto de vista (pintor e/ou observador aproximam-se das
personagens representadas, como numa fotografia com grande angular, onde a
figura mais próxima é muito maior)…
Pintava
as narrativas a partir de encenações em espaços fechados […], iluminava
artificialmente os seus modelos vivos habituais, pessoas de baixo estrato social
colocadas em poses dramáticas. Não fazia estudos, pintava directamente… (I.
Sabino)
“ A
particularidade da escola de Caravaggio é o emprego de uma fonte luminosa
constante aclarando de cima sem reflexos; como poderia produzir-se numa sala
sem uma única janela e cujas paredes fossem pintadas de negro de tal maneira
que as luzes fossem muito brilhantes e as sombras muito escuras […]. Todos
estes processos não me parecem convir à composição da história e à expressão
das emoções…”. Mancini, 1619-21
(Jacopo
Pontormo, Descida da cruz, c. 1526-28, óleo sobre madeira, 313 x 192 cm)
Caravaggio, The Entombment of Christ, 1602-03, oil on canvas, 300 x 203 cm
Caravaggio, The Entombment of Christ, 1602-03, oil on canvas, 300 x 203 cm
Caravaggio, St Matthew and the Angel, 1602, oil on
canvas, 295 x 195 cm
Caravaggio, The Inspiration of Saint Matthew, 1602, oil on canvas, 296 x 189 cm
Caravaggio, The Inspiration of Saint Matthew, 1602, oil on canvas, 296 x 189 cm
It is instructive to compare the two versions: 1 – The
angel invades St Matthew's personal space and indulges in what appears more an
erotic nudging than divine inspiration; the nubile angel intertwines with the
old man, apparently whispering inspiration into his ear; 2 – The angel belongs
to an aerial and sublime dimension, enveloped in an encircling rippled sheet;
the restless Matthew leans to work, as the angel enumerates for him the work to
come.
Caravaggio, Doubting Thomas, c. 1600, oil on
canvas, 107 x 146 cm
Thomas is one of Jesus' twelve apostles. When Jesus shows himself to his followers after his resurrection, Thomas refuses to believe that this man really is his master. He demands evidence. Jesus shows him the wound caused by a Roman soldier's lance before his crucifixion. He invites Thomas to put his finger on it. Caravaggio shows that Thomas soon casts aside all doubt.
Thomas is one of Jesus' twelve apostles. When Jesus shows himself to his followers after his resurrection, Thomas refuses to believe that this man really is his master. He demands evidence. Jesus shows him the wound caused by a Roman soldier's lance before his crucifixion. He invites Thomas to put his finger on it. Caravaggio shows that Thomas soon casts aside all doubt.
Rembrandt, Auto-retrato, 1628
Rembrandt, Self Portrait as the Apostle St. Paul, 1661
Rembrandt, Self Portrait as the Apostle St. Paul, 1661
Rembrandt,
Auto-retrato (aos 63 anos de idade), 1669
Rembrandt, A Woman Bathing in a Stream, 1655
Rembrandt,
O Regresso do Filho Pródigo, c. 1669,
262 x 205 cm
Rembrandt, The Night Watch, 1642, oil on canvas, 359 x
438 cm
Cópia
de A ronda da noite; anterior ao corte da tela efectuado em 1715
Titian,
Pope Paul III, 1546, oil on canvas, 210 × 176 cm
Velasquez, O Papa Inocêncio X, c. 1650, óleo sobre tela
Velasquez, O Papa Inocêncio X, c. 1650, óleo sobre tela
Velasquez,
Las Meninas, 1656-1657, óleo sobre tela, 328 x 276 cm
Las Meninas is set in Velázquez's studio in Philip IV's Alcázar
palace in Madrid…
three focal points: the Infanta Margaret Theresa, the self-portrait and the half-length reflected images of King Philip IV and Queen Mariana…
Velázquez presents nine figures—eleven if the king and queen's reflected images are included—yet they occupy only the lower half of the canvas… This is the painter's most thoroughly rendered architectural space, and the only one in which a ceiling is shown… The bareness of the dark ceiling, the back of Velázquez's canvas, and the strict geometry of framed paintings contrast with the animated, brilliantly lit and sumptuously painted foreground entourage… There is the appearance of natural light within the painted room and beyond it. The pictorial space in the midground and foreground is lit from two sources: by thin shafts of light from the open door, and by broad streams coming through the window to the right… light divides the scene into three distinct parts, with foreground and background planes strongly illuminated, between which a darkened intermediate space includes silhouetted figures…
three focal points: the Infanta Margaret Theresa, the self-portrait and the half-length reflected images of King Philip IV and Queen Mariana…
Velázquez presents nine figures—eleven if the king and queen's reflected images are included—yet they occupy only the lower half of the canvas… This is the painter's most thoroughly rendered architectural space, and the only one in which a ceiling is shown… The bareness of the dark ceiling, the back of Velázquez's canvas, and the strict geometry of framed paintings contrast with the animated, brilliantly lit and sumptuously painted foreground entourage… There is the appearance of natural light within the painted room and beyond it. The pictorial space in the midground and foreground is lit from two sources: by thin shafts of light from the open door, and by broad streams coming through the window to the right… light divides the scene into three distinct parts, with foreground and background planes strongly illuminated, between which a darkened intermediate space includes silhouetted figures…
Jan Steen, Topsy-turvy World (The World Upside
Down), 1663, oil on canvas, 105 x 145 cm
Steen combines humorous narration with a moralizing message: this house is ruled by a complete lack of restraint - the inscription on the slate tablet at the lower right laments this state of affairs with the first part of a Dutch saying "in weelde sie toe" ("Be careful in living the good life", which continues: "and fear the iron rod"). A sword and a crutch hang threateningly in a basket suspended from the ceiling.
Steen combines humorous narration with a moralizing message: this house is ruled by a complete lack of restraint - the inscription on the slate tablet at the lower right laments this state of affairs with the first part of a Dutch saying "in weelde sie toe" ("Be careful in living the good life", which continues: "and fear the iron rod"). A sword and a crutch hang threateningly in a basket suspended from the ceiling.
Natureza-morta
Peter Claesz, Still
Life with a Skull and a Writing Quill, 1628, oil on wood, 24 x 36 cm
Peter Claesz, Vanitas Still-Life, 1630, oil on canvas, 39,5 x 56 cm
Peter Claesz, Vanitas Still-Life, 1630, oil on canvas, 39,5 x 56 cm
Art with a moral (much admired by Calvinists)
Nearly all Dutch still-lifes include the aspect of vanitas, a lament about the transience of all things. It is often symbolized by objects such as a skull or a clock, as in this painting, where the effect is enhanced by an overturned wine glass and an extinguished candle. Claesz's metaphysical criticism concentrates on book knowledge and its futility in the face of eternity. The claim that books contain knowledge, experience and thoughts permanently valid beyond the life-span of an individual is met with resigned skepticism
Nearly all Dutch still-lifes include the aspect of vanitas, a lament about the transience of all things. It is often symbolized by objects such as a skull or a clock, as in this painting, where the effect is enhanced by an overturned wine glass and an extinguished candle. Claesz's metaphysical criticism concentrates on book knowledge and its futility in the face of eternity. The claim that books contain knowledge, experience and thoughts permanently valid beyond the life-span of an individual is met with resigned skepticism
Trompe l’oeil
Samuel van Hoogstraten, Still-life
Samuel van Hoogstraten, Peepshow with Views of Interior, Dutch House, c. 1660
Samuel van Hoogstraten, Still-life
Samuel van Hoogstraten, Peepshow with Views of Interior, Dutch House, c. 1660
Câmara
obscura
Vermeer, The Music Lesson, 1662-64, oil on
canvas, 73,3 x 64,5 cm
Ver: David
Hockney, Rediscovering the lost
techniques of the Old Masters, 2001
Velazquez: retrato de Estado (?)
Vermeer: retrato (?) – pintura de género (?) – extensão da natureza-morta (?)
Vermeer: retrato (?) – pintura de género (?) – extensão da natureza-morta (?)
Velasquez, Queen Dona Mariana of Austria, (2ª esposa de Felipe IV), 1652-53, oil on canvas, 234,2 cm x 132 cm
Vermeer, The Kitchen-maid, c.1660, oil/canvas, 45,5x41 cm
Vermeer, The Kitchen-maid, c.1660, oil/canvas, 45,5x41 cm
El Greco, View of Toledo, c. 1596-1600, oil on
canvas, 121,3 x 108,6 cm
Vermeer, View of Delft, c 1660-61, oil on canvas, 96,5 x 117,5 cm
Vermeer, View of Delft, c 1660-61, oil on canvas, 96,5 x 117,5 cm
van Ruisdael, O Moínho de Wijkc, 1670, óleo sobre
tela
Claude Lorrain, Landscape with the Marriage of
Isaac and Rebecca, 1648
The painting is a generalized Arcadian scene. Its only
connection with the biblical story of Isaac and Rebecca is Claude's inscription
on the tree stump in the centre of the picture. The Duc de Bouillon, general of
the Papal army, commissioned Claude to paint both this painting and the ‘Seaport
with the Embarkation of the Queen of Sheba’... The pictures complement each
other, showing joyful and fulfilling occasions taken from Old Testament
stories. ‘Seaport with the Embarkation of the Queen of Sheba’ is a port scene
and the Marriage of Isaac and Rebecca takes place inland.
Claude Lorrain, The Embarkation of the Queen of
Sheba, 1648, oil on canvas, 149 x 194 cm
Poussin, Et in Arcadia ego (Even in Arcadia I am),
c 1637-38, oil on canvas, 87 x 120 cm
Poussin estuda aprofundadamente a escultura clássica –
Neo-clássico…
Et in Arcadia ego – Alegoria… figuras em solene meditação sobre a morte… quietude; quase total ausência de movimento… a figura de joelhos lê a inscrição… simplicidade de composição e da paisagem concentram atenção no tema… sombra projetada no túmulo pode aludir ao mito de Plínio sobre a origem da pintura (registo da sombra)?…
Et in Arcadia ego – Alegoria… figuras em solene meditação sobre a morte… quietude; quase total ausência de movimento… a figura de joelhos lê a inscrição… simplicidade de composição e da paisagem concentram atenção no tema… sombra projetada no túmulo pode aludir ao mito de Plínio sobre a origem da pintura (registo da sombra)?…
Poussin, Bacchanal before a Herm, c. 1634, oil
on canvas, 100 × 143 cm
Poussin,
O Rapto das Sabinas, c. 1637, óleo sobre tela, 157 x 203 cm
Poussin,
O Rapto das Sabinas, caneta e tinta castanha sobre papel, 16,4 x 22,4 cm
Poussin follows closely the account given by Plutarch
(Life of Romulus, XIV). The Roman warriors led by Romulus, legendary
founder of Rome, have invited the neighboring Sabines to a sporting
competition. At a given signal from Romulus, the Romans carry off the unmarried
Sabine women. According to Plutarch 'they did not commit this rape wantonly,
but with a design purely of forming alliance with their neighbors by the
greatest and surest bonds'.
Poussin,
Sete Sacramentos, Sacramento do Crisma, 1638-40, 95,5 x 121 cm
Poussin
adapta cuidadosamente o estilo de cada obra ao tema escolhido…comprime numa
imagem única, estática, uma narrativa complexa onde se combinam diversos
momentos da acção…
(Tintoretto,
The Last Supper, 1592-94, oil on canvas, 365 x 568 cm)
Rubens, Arrival of Marie de Medici at Marseilles, 1622-24, oil on canvas, 394 x 293 cm
Proximidade com espaço maneirista… síntese: real/ideal, estabilidade/dinamismo… teatralidade, espetacularidade… combinação de figuras reais e alegóricas…
The Marie de' Medici Cycle is a series of twenty-one paintings by Rubens, commissioned by Marie de Medici, wife of Henry IV of France, for the Luxemburg Palace in Paris.
Rubens, Arrival of Marie de Medici at Marseilles, 1622-24, oil on canvas, 394 x 293 cm
Proximidade com espaço maneirista… síntese: real/ideal, estabilidade/dinamismo… teatralidade, espetacularidade… combinação de figuras reais e alegóricas…
The Marie de' Medici Cycle is a series of twenty-one paintings by Rubens, commissioned by Marie de Medici, wife of Henry IV of France, for the Luxemburg Palace in Paris.
Rubens, Minerva Protects Pax from Mars (‘Allegory
of Peace and War’), 1630, oil on canvas, 203 x 298 cm
The painting was probably executed in England in 1629-30, illustrating Rubens's hopes for the peace he was trying to negotiate between England and Spain in his role as envoy to Philip IV of Spain. Rubens presented the finished work to Charles I of England as a gift. The central figure represents Pax (Peace) in the person of Ceres, goddess of the earth, sharing her bounty with the group of figures in the foreground. The children have been identified as portraits of the children of Rubens's host, Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I. To the right of Pax is Minerva, goddess of wisdom. She drives away Mars, the god of war, and Alecto, the fury of war. A winged cupid and the goddess of marriage, Hymen, lead the children (the fruit of marriage) to a cornucopia, or horn of plenty. The satyr and leopard are part of the entourage of Bacchus, another fertility god. Two nymphs or maenads approach from the left, one brings riches, the other dances to a tambourine. A putto holds an olive wreath, symbol of peace, and the caduceus of Mercury, messenger of the gods. ( http://www.nationalgallery.org.uk/paintings/peter-paul-rubens-minerva-protects-pax-from-mars-peace-and-war )
The painting was probably executed in England in 1629-30, illustrating Rubens's hopes for the peace he was trying to negotiate between England and Spain in his role as envoy to Philip IV of Spain. Rubens presented the finished work to Charles I of England as a gift. The central figure represents Pax (Peace) in the person of Ceres, goddess of the earth, sharing her bounty with the group of figures in the foreground. The children have been identified as portraits of the children of Rubens's host, Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I. To the right of Pax is Minerva, goddess of wisdom. She drives away Mars, the god of war, and Alecto, the fury of war. A winged cupid and the goddess of marriage, Hymen, lead the children (the fruit of marriage) to a cornucopia, or horn of plenty. The satyr and leopard are part of the entourage of Bacchus, another fertility god. Two nymphs or maenads approach from the left, one brings riches, the other dances to a tambourine. A putto holds an olive wreath, symbol of peace, and the caduceus of Mercury, messenger of the gods. ( http://www.nationalgallery.org.uk/paintings/peter-paul-rubens-minerva-protects-pax-from-mars-peace-and-war )
Rubens, Toilette der Venus, 1612-1615, oil on canvas, 124
x 98 cm
Velazquez, Vénus ao espelho (Rokeby Venus), c. 1647-51, óleo sobre tela,122 x 177 cm
Velazquez, Vénus ao espelho (Rokeby Venus), c. 1647-51, óleo sobre tela,122 x 177 cm
Rubens:
beleza nórdica; sensualidade (Vénus voluptuosa, maciça); olhar confronta o
espectador…
Velazquez:
sensibilidade; fragilidade das figuras; imprecisão dos contornos e desfocagem
da cara reflectida…
Velazquez’s work depicts the goddess Venus in a
sensual pose, lying on a bed and looking into a mirror held by the Roman god of
physical love, her son Cupid. The Rokeby Venus is the only surviving
female nude by Velázquez. Nudes were extremely rare in seventeenth-century
Spanish art, which was policed actively by members of the Inquisition. Despite
this, nudes by foreign artists were keenly collected by the court circle (this
painting was hung in the houses of Spanish courtiers until 1813).
Epílogo
Pontormo, TheVisitation, 1528-29, oil on
canvas, 202 x 156 cm
Bill Viola, The Greeting, 1995, video
Bill Viola, The Greeting, 1995, video
Velasquez,
Las Meninas, 1656-1657, óleo sobre tela, 328 x 276 cm
Picasso, Las Meninas, 1957, oil on canvas, 194 x 260 cm
Picasso, Las Meninas, 1957, oil on canvas, 194 x 260 cm
Caravaggio,
Doubting Thomas, c. 1600, oil on canvas, 107 x 146 cm
Francis Ford Coppola, Apocalypse Now, 1979, filme com Martin Sheen, Marlon Brando, etc.
Francis Ford Coppola, Apocalypse Now, 1979, filme com Martin Sheen, Marlon Brando, etc.
Rembrandt,
Auto-retrato, 1628
Jorge
Molder, Série La Reine nous salue: o tamanho da memória, 2001
Rembrandt,
Auto-retrato, 1669
Gerhard Richter, Auto-retrato, 1996, óleo sobre tela, 51,1 x 46,4 cm
Gerhard Richter, Auto-retrato, 1996, óleo sobre tela, 51,1 x 46,4 cm
Velasquez,
O Papa Inocêncio X, c. 1650
Francis Bacon, Study after Velasquez's Portrait of Pope Inocence X, 1953, óleo sobre tela, 153 x 118
Eisenstein, Battleship Potemkin, 1925, film still
Francis Bacon, Study after Velasquez's Portrait of Pope Inocence X, 1953, óleo sobre tela, 153 x 118
Eisenstein, Battleship Potemkin, 1925, film still
Vermeer, The Kitchen-maid, c. 1660, oil on
canvas, 45,5 x 41 cm
Michael Borremans, Anna, 2003, óleo sobre tela, 70 x 60 cm
Michael Borremans, Anna, 2003, óleo sobre tela, 70 x 60 cm
Bellini, The Madonna of the Meadow, 1505, oil
on canvas
Gerhard Richter, S. with Child, 1995, oil on canvas, 61 x 51 cm
Gerhard Richter, S. with Child, 1995, oil on canvas, 61 x 51 cm
Bellini, The Madonna of the Meadow, 1505, oil
on canvas
Rineke Dijkstra, Tecla, Location; Amsterdam, May 16 1994, fotografia
Rineke Dijkstra, Tecla, Location; Amsterdam, May 16 1994, fotografia
Bellini, The Madonna of the Meadow, 1505, oil
on canvas
Luc Tuymans, Dusk, 2004, oil on canvas,166 cm x 260 cm
Luc Tuymans, Dusk, 2004, oil on canvas,166 cm x 260 cm
Claude Lorrain, Landscape with the Marriage of
Isaac and Rebecca, 1648
Ceal Foyer, Overgrowth, 2004, large format slide projection, installation view
Ceal Foyer, Overgrowth, 2004, large format slide projection, installation view
Edgar Martins, The Accident
Jacob van
Ruisdael, Rough Sea at a Jetty, 1650's
Wolfgang
Tillmans (vista da instalação, Serralves, Porto, 2016)
Hiroshi Sugimoto, Baltic Sea, Rügen, 1996
Hiroshi Sugimoto, Aegean Sea, Pilion, 1990
Poussin, Et in Arcadia ego (Even in Arcadia am I),
c. 1637-38, oil on canvas, 87 x 120 cm
Rui Sanches, Et in Arcadia Ego, after Poussin, 1984
Christian Boltanski, Altar to Chases High School, 1986-87, photographs, lamps, tin boxes
Rui Sanches, Et in Arcadia Ego, after Poussin, 1984
Christian Boltanski, Altar to Chases High School, 1986-87, photographs, lamps, tin boxes
The photos used in Altar to Chases High School
were taken from a real-world source, the school photograph of the graduating
class of 1931 from a Viennese high school for Jewish students. These students
were coming of age in a world dominated by war and persecution, and it is
likely that many perished over the next decade in the German concentration
camps. At once personal and universal in reference, Boltanski’s work serves as
a monument to the dead, hinting at the Holocaust without naming it.
Peter Claesz, Vanitas Still-Life, 1630, oil on
canvas, 39,5 x 56 cm
Gerhard Richter, Skull with Candle, 1983, óleo
s tela, 100 x 150 cm
Damien Hirst, For the Love of God, 2007,
platina, diamantes, caveira e dentes, altura aprox. 17 cm
Damien Hirst, For Heaven's Sake, 2010, human baby skull cast in platinum and covered in 8128 diamonds
Damien Hirst, For Heaven's Sake, 2010, human baby skull cast in platinum and covered in 8128 diamonds
Damien
Hirst, A Thousand Years, 1990, vidro, aço, cabeça de vaca, moscas,
larvas, açúcar, água, etc., 213 x 427 x 213 cm
Sam Taylor-Wood, Still-Life,
2001, video, 3'44'‘ – http://www.youtube.com/watch?v=MIzXWGcb3u0
El Greco, O enterro do Conde de Orgaz, 1586, 480
x 360 cm, óleo sobre tela
Elmgreen & Dragset, Death of a Collector, 2009 (The Collectors, Danish and Nordic Pavilions, Venice Biennale 2009)
Elmgreen & Dragset, Death of a Collector, 2009 (The Collectors, Danish and Nordic Pavilions, Venice Biennale 2009)
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