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In the 1500 and 1600s, Europe went through a cultural reset in art. Unlike previous art periods, artists within the Renaissance focused on aspects such as symmetry and perspective and really wrapped their heads around the whole idea of "perfection". They began to focus on the human anatomy and achieve the illusion of bringing their paintings to life. And not only paintings, highly detailed sculptures are also included.
When the word "renaissance" is said, typically artworks such as Michelangelo's Sistine Ceiling and Raphael's Stanza della Segnatura are first to mind as they get recognized the most in society, which are paintings of the high renaissance. But it is important to recognize other paintings of the renaissance era, like  the art of Venice and the North. Art in the northern renaissance marked the beginning of modern culture. We start moving away from the medieval mindset as landscape paintings become more popular. Landscapes within the 16th century truly celebrated and acknowledged the beauty of nature, whereas previously in history, art was more concerned and revolved around God and biblical scenes.
Artist are starting to experience a sense of individualism as now they feel as they have more freedom to paint what they want, painting and creating art that would express themselves. Large paintings that covered chapels and churches started to decrease as paintings on a much smaller scale were being produced; a scale to which a viewer could observe on a closer scale. Art was becoming more oriented around private viewing, not grand churches.

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Another great example of Italian/High renaissance as Raphael demonstrates his knowledge of human proportions and anatomy.

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Madonna of Loreto

Artist
Raphael

Year

c. 1511[1]

Type

Oil on panel[1]

Dimensions

120 cm × 90 cm (47 in × 35 in)[1]

Location

Musée Condé[1], Chantilly

For centuries the painting kept company with Raphael's Portrait of Pope Julius II, first at the Santa Maria del Popolo, then in private collections, and for a time their location was unknown. Their ownership, or provenance, has been difficult to unravel because of the number of copies of both paintings, the unclear ownership chain, misinformation and delay of publication of vital information.

For instance, this painting received its name from a copy at the Basilica della Santa Casa in Loreto which was at one time thought to be the original. Now is it certain that the painting at Loreto was a copy - and therefore the painting name is a misnomer.

Even so, the well-copied painting has been a beloved and critically acclaimed painting for centuries.

The painting is tender and intimate. The Child, just awakened, plays a game with the Madonna's veil, with a melancholy Saint Joseph looking on from the shadows.

The use of veil in Renaissance paintings, from the Meditations on the Life of Christ, symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.

Saint Joseph's melancholy nature in this picture may signal his proclivity for prophecy and the coming events for the Child. Saint Joseph seemed to be an after-thought, x-rays of the painting show that Saint Joseph was painted over a window previously over the Madonna's shoulder. Further, the change in the position of the Child's right foot was revealed via x-ray. These changes align with Raphael's preliminary drawings for the painting.

The Madonna's dress, frame and angle of her head are reminiscent of Justice in the Stanza della Segnatura which was painted about the same time as this painting. It is also reminiscent of the Madonna of the Blue Diadem.

The history of the painting is difficult to track for many reasons, one of them being the various names for the painting, which tell the history, or the perceived history, of the original Raphael painting. This work is one of the most copied works of Raphael with over one hundred known copies.

The provenance of this painting is constructed based on documents, analysis of the painting and preliminary sketches. For centuries the painting was co-located with the Portrait of Pope Julius II, first at the Santa Maria del Popolo, then in private collections, and for a time their location was unknown. The original painting by Raphael is now believed to be the version at Musée Condé in Chantilly, France.

Santa Maria del Popolo

Julius II commissioned of Raphael the Madonna of the Veil and his likeness, the Portrait of Pope Julius II which resided at Santa Maria del Popolo, at the entrance gate to Rome. During this time the painting was also known as Madonna del Popolo or described as The Holy Family.

An array of Renaissance artists were brought in to decorate the Santa Maria del Popolo church and its chapels in Rome, beginning with Raphael. Both paintings by Raphael, Julius II and the Madonna were hung on pillars during feast days or high holy days.

The two paintings, nearly the same size, seem as if they were meant to complement each other. Nearly the same size, they also both had a strong vertical orientation. The eyes of the paintings were downcast and gave a contemplative feeling. The positioning and lighting within the paintings seems to indicate that they were meant to each flank a side of an altar in the domed chapel. Although the paintings were paired for a time through change of ownership, Julius II is now located in the National Gallery.

As a means of indicating Julius' appreciation of the Madonna, which resulted in the pairing of paintings, Julius commissioned another Madonna painting, the Sistine Madonna, in the last year of his life where his adoration is shown by the Pope kneeling at the feet of the Virgin.

There are many suppositions about the circumstances surrounding the Madonna painting after Popolo, partly because there were many copies of the painting and partly due to delays in publication of vital documents.

Cardinal Sfondrati

In 1591, Raphael's Portrait of Julius II and what was later called Madonna of Loreto were removed from the church by Paolo Camillo Sfondrati, later Cardinal Sfondrati, and nephew of Pope Gregory XIV. In 1608, he sold the paintings to Cardinal Scipione Borghese.

Borghese Collection

The paintings, purchased in 1608 were still recorded as part of the Borghese collection in 1693.

Musée Condé at Chantilly, France

The painting now residing in Chantilly, France, thought lost since the time of the French Revolution (1789-1799), is believed to be the original.

In October 1979, the Musée Condé held an exhibit titled La Madona de Lorette to present and document the newly cleaned and version of the painting, which was found to be the original Raphael painting. The exhibit was held at the request of the Institut de France, administrator of Musée Condé, and organized by the Louvre museum.

Until 1979, the painting at Musée Condé had been attributed to Gianfrancesco Penni.

The painting was determined to be the original Raphael Madonna painting for several reasons. First, the quality of the painting is extremely high, depicting an "admirable equilibrium of motives and a subtle mixture of force and grace" of "the best works of Raphael". Second, the painting revealed through X-ray screening that Saint Joseph was painted after the Virgin and child were completed, based upon preparatory design or sketches, the changed could have only have been performed by Raphael and thus rules it out as a copy.

A copy was bequeathed by Girolamo Lottorio of Rome to the sanctuary of Loreto. Further, in 1759 the painting disappeared and was replaced by copies of poor quality. With that in mind, the painting's name might be more appropriately named after its original home in Popolo or its resting place in Chantilly.

Michaeli Grecchi Lucchese, a 16th-century engraver, produced a print of the Madonna di Loreto in 1553.

At the Salon of 1814, Joseph Théodore Ricomme (born 1785), a noted engraver of great paintings such as Raphael's Madonnas, received a medal for an unprecedented showing of prints, notably for the supreme quality modern engraving of Raphael's Madonna of Loreto and Adam and Eve.

Abolitionist Harriet Beecher Stowe's Palmetto Leaves (1873), a memoir and travel guide of Florida in the days following the end of the American Civil War, recounts comments from a woman named Minnah upon seeing the lithograph of Madonna of the Veil by Raphael:

O good Lord! If there ain't da Good Man when he was a baby. How harmless he lies there! so innocent! And here we be, we wicked sinners, turning our backs on him, and going to the Old Boy. Oh Lord, Oh Lord! we ought to be better than we be: we sartin ought.

1. ^ Partridge, L; Starn, R (1980). Renaissance Likeness: Art and Culture in Raphael's Julius II. Berkeley, Los Angeles and London: University of California Press. pp. 1, 96, 102-103. ISBN 0-520-03901-7.

2. Raphael, Hermann Knackfuss (1966). Raphaël. pp. 129, 342.

3. Szakolczai, A (2007). Sociology, Religion, and Grace: A Quest for the Renaissance. United States and Canada: Routledge. p. 294. ISBN 9780415371964.

4. ^ Gould, C (May 1980). "Afterthoughts on Raphael's so-Called Loreto Madonna". The Burlington Magazine. The Burlington Magazine Publications. 122 (926): 336.

5. Crowe, J; Cavalcaselle, G (1885). Raphael: His Life and Works. Vol. 2. London: John Murray. pp. 108-109Much of this reference is involved in conjecture about the nature and movement of the painting. Anything later refuted has been ignored.

6. Grimm, H; Adams, S (1886). The Life of Raphael. London: Alexander Gardner, Publisher to the Queen. pp. 170-171.

7. ^ Berlin and its treasures. New York: D. Appleton and Company. 1867. p. 158Any information later refuted was ignored.

8. ^ Partridge, L; Starn, R (1980). Renaissance Likeness: Art and Culture in Raphael's Julius II. Berkeley, Los Angeles and London: University of California Press. p. 77. ISBN 0-520-03901-7.

9. ^ Stowe, H (1896). Household Papers and Stories. Vol. 8. Boston and New York: Houghton Mifflan and Company. p. 67Stowe had written much about her appreciation of the great paintings of Europe, which used in the form of lithographs to decorate her home.

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Madonna of Loreto Artist Raphael Year c. 1511[1] Type Oil on panel[1] Dimensions 120 cm × 90 cm (47 in × 35 in)[1] Location Musée Condé[1] , Chantilly For centuries the painting kept company with Raphael's Portrait of Pope Julius II , first at the Santa Maria del Popolo, then in private collections, and for a time their location was unknown.

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Within the painting from van Eyck, you see a couple engaging in what looks to be a marriage; a scene of their daily lives. Jan van Eyck's portrait of the couple is an exemplary painting of artwork in the Northern renaissance. The viewer can  see the the mastery skill of oil painting van Eyck possesses.

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Artist Dürer was practically the father of Northern renaissance painting. In his self-portrait you see him hold a peculiar pose which is revealed to be intentional and a direct imitation to iconic images of Christ. Albrecht Dürer was also known for his prints which seemed purely genius as he could produce as many as he wanted for profit.

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Self-Portrait (or Self-Portrait at Twenty-Eight) is a panel painting by the German Renaissance artist Albrecht Dürer. Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of his self-portraits.

The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises his hands to the middle of his chest as if in the act of blessing.

Self-portrait with a pillow, drawing of 1491-92. This study for the Portrait of the Artist Holding a Thistle, was executed on the reverse of that canvas. Note the similarity in the position of the artist's fingers.[2]

Dürer's face has the inflexibility and impersonal dignity of a mask, hiding the restless turmoil of anguish and passion within. In its directness and apparent confrontation with the viewer, the self-portrait is unlike any that came before. It is half-length, frontal and highly symmetrical; its lack of a conventional background seemingly presents Dürer without regard to time or place. The placement of the inscriptions in the dark fields on either side of Dürer are presented as if floating in space, emphasizing that the portrait has a highly symbolic meaning. Its sombre mood is achieved through the use of brown tones set against the plain black background. The lightness of touch and tone seen in his earlier two self-portraits has been replaced by a far more introverted and complex representation.

In 1500, a frontal pose was exceptional for a secular portrait. In Italy the conventional fashion for profile portraits was coming to an end, but being replaced with the three-quarters view which had been the accepted pose in Northern Europe since about 1420, and which Dürer used in his earlier self-portraits. Fully frontal poses remained unusual, although Hans Holbein painted several of Henry VIII of England and his queens, perhaps under instruction to use the pose. Late medieval and Early Renaissance art had developed the more difficult three-quarters view, and artists were proud of their skill in using it; to viewers in 1500 and after, a frontal pose was associated with images from medieval religious art, and mostly above all images of Christ.

The self-portrait is of a markedly more mature Dürer than both the 1493 Strasbourg self-portrait and the 1498 self-portrait which he produced after his first visit to Italy; in both of these earlier paintings he had highlighted his fashionable hairstyle and clothing and played on his youthful good looks. Dürer turned 28 around 1500, the time of this work. In the medieval view of the stages of life, 28 marked the transition from youth to maturity. The portrait therefore commemorates a turning point in the artist's life and in the millennium: the year 1500, displayed in the centre of the upper left background field, is here celebrated as epochal. Moreover, the placing of the year 1500 above his signature initials, A.D., gives them an added meaning as an abbreviation of Anno Domini. The painting may have been created as part of a celebration of the saeculum by the circle of the Renaissance humanist scholar Conrad Celtes, which included Dürer.

Blessing Christ by Hans Memling, late 15th century

Dürer deliberately portrays himself in a manner that invokes depictions of Christ. Dürer likely believed that any Christian could be portrayed as imitating Christ. The Latin inscription, composed by Celtes' personal secretary, translates as: "I, Albrecht Dürer of Nuremberg portrayed myself in appropriate [ or everlasting] colours aged twenty-eight years". A further interpretation holds that the work is an acknowledgement that his artistic talents are God-given. Art historian Joseph Koerner wrote that "to seeing the frontal likeness and inward curved left hand as echoes of, respectively, the "A" and nestled "D" of the monogram featured at the right ... nothing we see in a Dürer is not Dürer's, monogram or not."

Late Northern medieval painting often portrayed Christ looking directly at the viewer, especially when shown as Salvator Mundi. Typically he was shown with a short beard, moustache and brown parted hair. Dürer has rendered himself in this manner, and gives himself brown hair, despite his other self-portraits showing his hair as reddish-blond. The painting so closely follows the conventions of late medieval religious art that it was used as the basis for depictions of Christ in a woodcut by Sebald Beham of c. 1520. This was perhaps intended to be passed off as a print by Dürer from the start, and in later printings bears a very large Dürer monogram, though this appears to have been added to the block several decades later; it was accepted by most experts as a Dürer until the 19th century. In the next century, the face was used for Christ again, in a Christ and the Woman Taken in Adultery of 1637 by Johann Georg Vischer.

Dürer presents himself in similar poses and expressions in both his 1498 Christ as Man of Sorrows and 1503 charcoal drawing Head of the Dead Christ. Both are believed to be self-portraits, although they are not named as such. However, artist historians believe that since they bear remarkable similarities to his known self-portraits - including prominent eyes, a narrow mouth with a full upper lip, and the shape of both the nose and indent between lip and nose - that Dürer intended to represent himself in these works.

Inscription from the right mid ground

The portrait was likely donated or sold by Dürer to the Nuremberg city council. It was probably on continuous public display in Nuremberg from just before Dürer's death in 1528 until 1805, when it was sold to the Bavarian royal collection. It is now in the Alte Pinakothek in Munich, Germany. Nuremberg had had a copy made a few years earlier, which replaced the original on display in the City Hall.[citation needed ]

Dürer was highly conscious of his self-image, and painted two earlier self-portraits: one in 1493 now in the Musée du Louvre, and another in 1498, now in the Museo del Prado. He also inserted self-portraits in other paintings, and made self-portrait drawings, although, he did not portray himself in any of his prints. At least twelve self-portrait images survive, as well as the lost gouache Dürer sent to Raphael c 1515.

Bailey, Martin. Dürer. London: Phaidon Press, 1995. ISBN 0-7148-3334-7

Bartrum, Giulia, Albrecht Dürer and his Legacy. London: British Museum Press, 2002, ISBN 0-7141-2633-0

Brion, Marcel. Dürer. London: Thames and Hudson, 1960.

Campbell, Lorne. Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries. Yale, 1990. ISBN 0-300-04675-8

Hutchison, Jane Campbell. Albrecht Dürer: A Guide to Research. New York: Garland, 2000. ISBN 0-8153-2114-7

Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. University of Chicago Press, 1996. ISBN 0-226-44999-8

Schmidt, Sebastian. "dan sӳ machten dy vürtrefflichen künstner reich". Zur ursprünglichen Bestimmung von Albrecht Dürers Selbstbildnis im Pelzrock, in Anzeiger des Germanischen Nationalmuseums, 2010, 65-82.

Shiner, Larry. The Invention of Art: A Cultural History. Chicago: Chicago University Press, 2003. ISBN 0-226-75343-3

Smith, Robert. Dürer as Christ?, in The Sixteenth Century Journal, Volume 6, No. 2, October 1975, 26-36. JSTOR 2539742

Strauss, Walter L. The Complete Engravings, Etchings and Drypoints of Albrecht Dürer. Dover Books, New York, 1972.

von Fricks, Julian. "Albrecht Dürer the Elder with a Rosary". In: Van Eyck to Durer. Borchert, Till-Holger (ed). London: Thames & Hudson, 2011. ISBN 978-0-500-23883-7

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Self-Portrait (Dürer, Munich) - Wikipedia

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Self-Portrait (or Self-Portrait at Twenty-Eight ) is a panel painting by the German Renaissance artist Albrecht Dürer. Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of his self-portraits.

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Here is a print, oil on wood, made by Albrecht Dürer. This concept of prints that he created proves how intelligent he was. Because now he could create as many of the same artwork as he wanted to make a profit without the extra labor.

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Madonna with the Pear | The Art Institute of Chicago

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This is a great example of Italian renaissance as it displays the study of human body from Michelangelo as he uses anatomy to achieve the look of symmetry and realism.

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This painting by Titian again represents the strive to include the natural beauty of earth and greenery by including beautiful landscapes and scenery to his painting.

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The Pastoral Concert or Le Concert Champêtre is an oil painting of c. 1509 attributed to the Italian Renaissance master Titian.[1] It was previously attributed to his fellow Venetian and contemporary Giorgione. It is now in the Musée du Louvre in Paris.[2]

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- Both included scenes of religion
- themes of power and individualism
- interest in the natural world
- recreating illusion of reality within art work

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During the northern renaissance they had a lot of naturalism and a lot of details. Artists did not focus on the anatomy of the human body but instead focused on scenes of daily lives. They had a lot of portraits and religious scenes and they focused more on the smaller details and more in mathematics and science. Within the northern renaissance, they used oil painting on wood.

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The Healing of the Paralytic, c. 1560/1590

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(Discard the watermark, couldn't find one without it)

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The Italian renaissance  were known for the understanding of the human anatomy. Artists used perspective and symmetry to achieve look of perfection in anatomy. Religious scenes were included but artists also did a lot more of classical mythology. In the Italian renaissance, they used fresco (fresco was the use of water colors on walls or ceilings.)