Tintoretto and Verona are not only the last two great painters in Venice, but also the last two painters in the Italian Golden Age. Once they stop painting, Italy will no longer be the art center of Europe. So far, although the context of this art river and its tributaries is clear, it is difficult to trace back now. A man named Dominicus? Theodore Coprio of Crete first received painting training in Venice and Rome, and then somehow went to Spain, where his paintings exude strange attraction, so that he is still one of the most unconventional figures among all painters.
A man named Peter? Paul. The Flemish people in Rubens went to Italy with great enthusiasm to study the works of Michelangelo and Titian, and later returned to Antwerp to set up their own studio and created a series of paintings full of amazing vitality. In this way, the seeds of17th century painting took root in Spain and Flanders.
Dominicus. Theodore Copreo has a more widely known name? El? Greco is the first important figure in Spanish painting history, but Rubens is by no means the first important figure in Flanders painting history. From about 1400, Flanders painting has been pursuing the parallel development with Italian painting, but it is slightly attached to the latter.
Due to various complicated reasons (most importantly, the relatively peaceful environment, the protection of duke of burgundy, and the prosperity of trade), at the beginning of the15th century, the Netherlands was only more suitable for developing art than France, and the performance of the Renaissance spirit in Italy hardly affected Northern Europe. There, you can't find the fresh and charming driving force of Florence at all, but there are still some things brewing. There, some Gothic spirits have died out, while others still exist, which injected vitality into the early Flemish painters.
Although people have awakened from their preference for the Gothic spirit, such as superstition, grotesque and grotesque, on the whole, people's strong curiosity about things still exists. At least something in Italian humanism began to slowly move north across the Alps? What we are talking about here is not the nobleness of people emphasized by Italians, but a new understanding of the importance of people. Renaissance will naturally bring novel and attractive themes to artists? Portrait painting
Shall we go to the crossroads first? Sluetter (created in Dijon in the last decade of the14th century) found this in his sculptures, and his feelings about portraits were even implied in the religious paintings of Flemish artists in the early15th century. Swiss painter Conrad? In his painting Jesus Walking on the Sea, Witz thoroughly developed the concept of portrait painting and truly described the scenery of Lake Geneva, which is the first time in European altar painting.
Therefore, although the Flemish painters are not as noble or quiet as Ma Saqiao and Piero, their energy and passion for expressing details are amazing. Yang? Where is it? Ike is one of the earliest painters in Flanders. He perfected the application of oil painting pigments. Although oil painting pigments add depth of field and brightness to his paintings, he still grasps the outline and thinks from the line like a master of egg painting.
There is no Italian painter like Fan. Ike Roger. Where is it? Del? Vuitton, Merlin or Peter? Bruegel, eager and patient to capture the intricate and fascinating scenes in life. Their pictures all have one thing in common, that is, they never take pains to describe what they see. On the portrait of the Anofini couple, the author signed "Yang? Where is it? Ike is here ",just like a reporter might write an article on the topic" Someone witnessed it ". It is appropriate to use the word "witness" to summarize the characteristics of the whole painting school. Painters are witnesses, and no one will doubt their accuracy, because they are determined to show all the visual truth, not anything else.
Where is it? In 1432, Ike completed a great altar painting "Praise for the Lamb", which is incomparable in Italy. Although the theme of this painting is mysterious, the painting itself is not mysterious. By contrast, Mymrin is quieter, Roger? Where is it? Del? Verdun is more gentle and lyrical, Gustav Hugo? Where is it? De? Gus is more dramatic, Gerald? David is more interested in creating landscape paintings. They are all hungry and tireless witnesses. They formed a close group, and they were the last defenders of Gothic art in the world which was about to be impacted by the Renaissance.
This is not to say that Nordic artists who believe in Gothic art consciously resist this influence. Throughout Burgundy and Holland at that time, there must be a feeling that Italy was somehow more fashionable in art than other parts of Europe, and closer contact with Italy might make up for this defect.
/kloc-In the late 5th century and the early 6th century, artists started from Holland and crossed the Alps to find the latest painting trends in their minds, which is the same as the psychology of fashion designers today that the latest fashion trends can only be found in Paris. Although many artists completed this journey, they found nothing in the end.
The outstanding representative of these artists is Quentin? Mathis (1466- 1530), Mabuse (about 1503- 1533), Fan? Ollie (1493- 154 1 year), Lucas? Where is it? Leiden (1494- 1533) and Yang? Where is it? Help the kitchen (1495- 1562). They did learn the Italian style, but they couldn't blend in. They all have excellent skills, but they are all trying to do the impossible. In their works, rough northern traces can be seen everywhere under the appearance of Italian style.
But the three northern artists completely resisted the call of Italy and developed their own style. Patinier (about 1485- 1524), whose peculiar rock landscape paintings were unprecedented in all European countries at that time; Hieronimus？ Bos (1480-1516), the most imaginative visionary, created a world full of demons, half man and half beast, which can only exist in nightmares; Old Peter? Bruegel (about 1526- 1569) is the greatest of the three. He is a maverick painter, and his paintings always give me a special thrill.
His paintings are noisy but not grandiose, bright and not boring. He sticks to his beliefs in a way that describes the countryside. What excites him is always the occasional scenes, such as farmers sweating in the fields, dancing in the country streets, eating at the dining table and skating on the frozen pond. Although he has also been to Italy, it seems that he has not been affected since he returned to China. His description of peasant life has no Italian style.
Another painter I can think of who can give a pleasant impression (or convey a pleasant message) is Stanley, a modern British painter? Spencer. For these two artists, Gothic passion seems to have been divorced from religion and closer to life, especially rural life.
At the same time, the Gothic style of Germany clashed with the Renaissance wave, resulting in a completely different atmosphere. It is worth noting that every region in northwest Europe resisted or accepted the Renaissance in its own way. Except Italy, the Gothic spirit in every other country is hard to die out, and it will not be fully mature until the Renaissance really comes. The whole school of Nederland painting presented us with the last masterpiece of Gothic art, including old Peter? Bruegel was the last climax. Eight years after Bruegel died, Rubens was born. He brought a brand-new artistic trend to Flanders, that is, Baroque style. No one can fill the gap between Bruegel and Rubens.
In Germany, however, there is no such blank, on the one hand, because the last representative work of German Gothic style is more exquisite and complicated than Bruegel's, and on the other hand, because apart from Italy, only one German artist, Diu Lei (147 1- 1528), really absorbed the Renaissance spirit from a deeper level. With the same intellectual mind and scientific spirit as Finch, he grafted some achievements of Italian scholars to German realism.
His famous copperplate "Melancholy Me" magically combines new science with old superstition. As far as temperament is concerned, Diu Lei is more like a cartographer than a painter. He is a lumberjack in Nuremberg, Michel? Wohlgemuth and coated paper Martin? I spent my apprenticeship in Schengel's studio. Compared with other artists, he raised the art of metal engraving and woodcut to a higher level and expanded it into a means of artistic expression.
While appreciating his masterpiece "Revelation" series of woodcuts, we can feel that everything he wants to express is contained in the grand layout and dynamic lines. Although, like Flemish artists, he does not have Italian elegance, but unlike them, he tries hard to gain some Italian nobility. He has been to Venice and seen old Giovanni? Bei Lini's creation envies his ability to show the brilliance and quietness of nature, but his innate boldness and frankness do not allow him to copy what he can't really absorb. It is absurd to think that Diu Lei can't become a classical artist because of his lack of ability.
His achievement is partly due to his success. Finch's mind is partly due to his sincere admiration for Italian painting. He greatly expanded the contribution of German regional art to European mainstream art. Unlike many of his predecessors and contemporary painters, Diu Lei truly integrated German strength and temperament with the grandeur and nobility of the Mediterranean. His masterpiece "Knight, Death and Devil" print reflects the intersection of these two worlds.
The knight riding a horse in the painting is not only an imitation of verrocchio's sculpture Colleoni Riding a Horse, but also a wonderful reproduction of printmaking. Next to the knight in the painting, the skull sitting on a dying horse with an hourglass can only be imagined by northern European artists. This painting is unforgettable, not because it combines the themes of nobility and terror, but because the integration of the two embodies an unprecedented emotional unity.