Titian used color and light to produce the luster of the velvet, the stiffness of the linen and the vigor of the flesh (Fig. “Titian adopted Raphael’s general model in terms of pose and tenor but departed from it in a radically original way. Before 1500 the portraits were a mixture of him kneeling in prayer or with his cardinals. Basically Raphael revolutionised the world or portraits of popes with his ¾ pose on the Papal throne in the Papal finery. I was researching Titian’s Pope Paul III when I came across an article covering Papal portraiture by Joseph L Goldstein. Lucas Cranach the Younger: Martin Luther, c. Workshop of Lucas Cranach the Elder (German, Kronach 1472–1553 Weimar) The one in the Met is as stated above, however in the one in Vienna, he is holding a prayer book.
Ap art history coursenotes free#
What the viewer sees is a plain but resolute man, free of the trappings of the Catholic Church or Renaissance academic life by implication, he has rejected all this in favour of a focus on man’s eternal soul.“ (Course notes p 93)Īgain, I found several online. “Martin Luther, on the other hand, is shown without any visual clues at all, but this is significant in itself. Lucas Cranach the Younger: Martin Luther Paintings © 2011 Musée du Louvre/Martine Beck-Coppola Hans HOLBEIN II (Augsburg, 1497 – London, 1543) Hans Holbein the Younger (German, Augsburg 1497/98–1543 London) (and Workshop(?)) The third one currently in the Louvre in France, shows him in portrait, again ¾ length but almost with his back to us, an action pose, a man of letters writing away. I found several online, the one in the National Gallery and the one in the Met are of a similar ¾ length pose and half turned to the viewer, although the NG one has all the ‘props’ to reference to the man’s personality. It is the image of a new and peculiarly Renaissance type of man, the aristocrat of the intellect. The origins of his scholarship are thus made quite explicit, but the purity and truth of his Christian humanism are also alluded to (in the decanter of clear water). WHA (p.463) describes Holbein’s portrait of Erasmus as showing him: … standing beside a pilaster delicately carved with Classical motifs and resting his sensitive fingers on a book inscribed in Greek ‘The Herculean Labours’ and in Latin ‘of Erasmus of Rotterdam’. Hans Holbein the Younger: Erasmus paintingsįirstly, Holbein’s various Erasmus paintings. The text specifically mentioned some by name so I thought I’d start with those. This exercise is to research portraits and make your own version. “Today a painted portrait can be compared with other sorts of images, notably photographs, but we have no such points of reference (apart from written descriptions and further portraits) for portraits created before the mid-nineteenth century” (Course notes p 93)