Week 2 Project- Art History
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South University, Savannah *
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1002
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Arts Humanities
Date
Jan 9, 2024
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docx
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5
Uploaded by ProfAlpaca2768
1
Week 2 Project
Ciara Mercado
South University
HUM1002-History of Art from Middle Ages to Modern Times
Professor Tammy Starzyk
December 11, 2023
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Week 2 Project
The Sistine Chapel Ceiling by Michelangelo, spanning the years 1508-12, is a profound
manifestation of the religious climate during the Renaissance. This masterpiece (Kleiner, 2019),
engages deeply with the Christian narrative, depicting scenes from Genesis. The religious
context is inherently tied to the biblical account of creation, reflecting the theological foundation
of the Catholic Church during this period.
Grünewald's Isenheim Altarpiece (1510-15), analyzed in "Gardner's Art Through the
Ages: A Global History" (Kleiner, 2019) is deeply rooted in the Northern Renaissance's religious
fervor. Commissioned for a hospital treating patients with a mysterious skin disease, the
altarpiece portrays Christ's suffering, echoing the empathetic Christian doctrine. The religious
context here is profoundly compassionate, aligning with the hospital's mission and Northern
Renaissance emotionalism.
Durer's Four Apostles (1526) engages with the Protestant influence during the
Reformation. Durer, a devout Lutheran, incorporates his religious beliefs into the work,
reflecting the era's upheaval of the Reformation. This painting becomes a visual expression of
the Protestant emphasis on individual interpretation of scripture (Kleiner, 2019).
Caravaggio's The Calling of St. Matthew (1599-1600) is deeply rooted in the Counter-
Reformation's fervor. Commissioned for the Contarelli Chapel, Caravaggio's realism and
dramatic use of light convey the transformative moment of Matthew's call, aligning with the
Church's message of divine intervention and redemption during the Counter-Reformation.
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Rubens's Elevation of the Cross (1610), is a Baroque masterpiece commissioned for the
Saint Walpurga Church in Antwerp. This dynamic painting embodies the Counter-Reformation
spirit, emphasizing the sacrifice of Christ on the cross to counter Protestant ideals. The historical
context involves the Council of Trent, and Rubens's work serves as a powerful visual tool to
convey the Catholic doctrine.
Regarding patron influence, Michelangelo's patron was Pope Julius II, reflecting the
political and religious power dynamics within the Catholic Church. Grünewald's altarpiece was
commissioned by the Monastery of St. Anthony, aligning with their mission of compassion
towards the afflicted. Durer's patrons were likely aligned with the Protestant cause, given the
timing of the Reformation. Caravaggio's patronage was connected to the influential Contarelli
family, staunch supporters of the Counter-Reformation. Rubens, a devout Catholic, created
Elevation of the Cross for a prominent church, reflecting the support of the Catholic Church.
Stylistically, Michelangelo's Sistine Chapel Ceiling exhibits classical Renaissance ideals
with his mastery of anatomy and composition. Grünewald's emotional intensity and distorted
forms reflect Northern Renaissance tendencies. Durer's meticulous details and individualized
apostles resonate with the Northern Renaissance's focus on individual expression. Caravaggio's
use of light and shadow, known as chiaroscuro, adds a theatrical realism characteristic of
Baroque art. Rubens's Elevation of the Cross exudes Baroque dynamism, emphasizing motion
and emotion.
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In conclusion, these masterpieces serve as profound reflections of the rich religious
tapestry during the Renaissance, intricately intertwined with historical events, patronage
dynamics, and evolving artistic styles.
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References
Kleiner, F. (2019).
Gardner's art through the ages: A global history
((16th ed.,)).
https://digitalbookshelf.southuniversity.edu/reader/books/9780357299210/epubcfi/6/2[%
3Bvnd.vst.idref%3DM1]!/4/4/2%4051:1