ARTH225 SUNY at Binghamton Renaissance and Baroque Analysis Write a formal analysis (3-4 pages) of the object that categorized as Renaissance or Baroque in style and period using skills we have practiced in lectures, as well as the instructional documents and the work of Heinrich Wolfflin Principles of Art History. The formal analysis will be incorporated into a short creative writing assignment (3-4 pages) in which you assume the voice of a historical figure (real or made-up) involved in the object’s creation (artist, patron, etc.) or in its reception (a viewer from the time). This could be letters between the artist and patron, discussing contract agreements, or a letter from the artist to his mother, explaining the commission. Please try to combine the formal analysis with the creative writing portion. For the historical voice, you will need to do some research. For example, if you choose Claude Vignon’s Allegory of War, Peace, and Commerce, you should do some background research on Claude Vignon, namely where he worked and the types of patrons he worked for to get an idea of what kind of voice to assume (that of a princely patron, that of the maker, or of a viewer of humble rank, etc.). You would also do research on representations of Roman gods in Baroque art and what iconography correlates with the figures, allowing you to identify them. You need to do your own research for the image. Citation of at least one full-text article is required in a bibliography at the end of the paper, including the URL. Your text should not exceed 8 pages, be double-spaced, 12 pitch and have a separate bibliography. You should refrain from using quotes in your paper and properly cite the articles so there is no risk of plagiarism.The image I choose and its information, Two examples of the paper, The instructional documents, and the Principles of Art are listed below. Madonna and Child of the Bullfinch
Master of the Marredi Altarpiece (Florence)
15th century
Tempera on wood
Madonna and Child Enthroned – Barend van Orley
Dearest Barend van Orley,
I am writing this letter as a medium to express my gratitude for
your work. The past three and a half years have been marvelous and I am
infinitely grateful to have appointed you as my official court painter. That being
said, I have become bothered by the lack of art displayed in my lounge room and
truly am excited for your hand-painted piece that we agreed upon to fill this
void.
I have chosen a depiction of the Virgin Mary and the Christ Child to be
the focus of this piece. However, more specifically stated in the attached
agreement, I would rather enjoy the Virgin depicted as she is in popular
contemporary Flemish paintings. If you will, please follow the modern fashion of
“emphasizing the Virgin’s life and character which make her most immediately
and humanly accessible.”1 I want this piece to honor these divine figures, rather
than serve as a vehicle of prayer. My lounge room in which we plan to display
this piece is a space for people to ponder the existence of the Virgin and Jesus.
With that in mind, the view of the Virgin shall be “firmly based on the
particulars of earthly existence…and the world [shall] be portrayed in a
relatively simple, straightforward manner.”2 Therefore, I am looking for an
illustration of the Virgin in her most relatable appearance and manner, while
having the traditional viewer inside my estate in mind.
1 593. Harbison, Craig. “Realism and Symbolism in Early Flemish Painting.” The Art
Bulletin 66.4 (Dec., 1984): 588-‐602. Jstor, Web.
2 Harbison, Craig. Realism and Symbolism in Early Flemish Painting, 593.
As you may know, my love for learning has forced me to put deep thought
and research into this painting. I have found in one of my father’s manuscripts
the long history of the type of painting I am requesting. Through my desire to
own a painting showing Mary and Jesus in an unfamiliar way, I have become
interested in exposing this humanly accessible trait through representing Mary
as the Virgo Lactans. Although this “type [of painting] could have been derived
as Egyptian art, …which would have displayed the worship of Isis generally
nursing Horus,” I have nothing but excitement to have Mary and Jesus
represented in such a manner that has been worshipped for hundreds of years.3
We both have seen “the Virgo Lactans become generally diffused in Christian
art today,” and I am thrilled to be a part of this expanding fashion.4 It seems
that in the last century or so, “the Virgo lactans type acquired a special interest
as being the mother of the Man-God and, at the same time, deeply human,”
which assists my wish of portraying the Virgin as one of us.5
Attached you shall find the contract in which we both agreed to. Please
use these terms as a precise set of directions as you work:
All who will see the present document or will hear it read are hereby
informed and notified that on the seventeenth of February 1522, a firm
agreement and contract was set up and concluded between Margaret of Austria,
daughter of Maximillian of Austria and Mary of Burgundy, and her recently
3 28. Lasareff, Victor. “Studies in the Iconography of the Virgin.” The Art Bulletin 20.1
(March, 1938): 26-‐65. Jstor. Web.
4 Ibid., Lasareff, 29.
5 Ibid., Lasareff, 34.
appointed court painter, Barend van Orley. This contract is regarding the
agreement of the proposed painting for the home of Margaret of Austria. As part
of this pact, it will be the sole responsibility of Sir van Orley to transport the
completed painting into the lounge room of Margaret of Austria at his own cost.
While in transit, any incurred damages are subject to repair with all necessary
equipment being provided. The painting shall be made conforming to the design
explicitly stated below, and to the exact measurements agreed upon.
The painting will be a depiction of the Virgin Mary and the Christ Child
sitting on a golden throne-like structure. Mary shall be sitting on the throne
with her feet on the ground, covered by her long drapery of clothing. She will be
wearing a large and extra-lengthy red outer garment as she secures the naked
Christ Child in her arms. To resemble the patron’s desire to have Mary depicted
as human-like as possible and to confine by the current trend of Virgo Lactans
paintings, “the Virgin [should be shown] casting a tender glance upon her Son,
to whom she offers her breast.”6 Jesus should be depicted holding a rose as he
leans away from Mary’s gesture. The two figures previously mentioned should
not be the only people in this painting. The other figures are to be placed in a
back or side room and to appear smaller in the distance compared to Mary.
Although Mary and Jesus’ presence are to be seen as the focus of this
painting, a stained glass window and an arcade of arches should be shown to
indicate their location inside a room within a church. The throne in which Mary
6 Lasareff, Victor. Studies in the Iconography of the Virgin, 35.
is seated upon should be gold and appear to shine in the light. Twisted golden
columns are expected to hold up the pergola-like structure that covers the
Virgin. Behind the figures there shall be a tapestry illustrating golden dogs and
greenery, while a Book of Hours is to be left open on the tiled floor. The
preferred materials will be basic oil paint on a wooden panel with a gilded
frame. Besides the colors specifically mentioned above, the remaining color
choices are up to the preferences of the painter.
The artist and patron hereby agree to all of the descriptions listed above.
The artist shall work to the best of his ability while both accurately and
completely executing the painting. While sparing neither labor nor time, he
shall do his utmost to demonstrate in it the art that God has bestowed on him.7
On top of the already paid salary that Barend receives as his title of court
painter, Master van Orley shall be paid and receive the sum of nine hundred
schillings. In addition, the patron will provide all necessary funds to purchase
the set of materials essential for the production of this painting. If the patron
agrees that the work is exceptional at the time of delivery, an extra one hundred
and fifty schillings is available to the artist. This bonus will only be considered
if the painting follows the above description closely. If it is questioned that the
painting is either not worth this amount or if it is thought to have a higher
value, if both parties are not in immediate agreement, both parties shall be
responsible to appoint an outside expert to make a final decision on the matter.
7 11. Stetchow, Wolfgang. Northern Renaissance Art 1400-‐1600: Sources and Documents.
Englewood Cliffs, NJ: Prentice-‐Hall, 1966. Print.
The aforementioned Barend van Orley has agreed to complete this piece
in one year’s time, as counted from the first day of work when all supplies are
received and available. This agreement has been witnessed and approved by
Jan Clancy and is to remain as the official foundation for the painting process.
Again, thank you for your agreement to this contract and your final work
is highly anticipated. I look forward to hearing back from you soon.
Sincerely,
Margaret of Austria
Dear Master and Most Worthy Margaret,
I cannot express enough my excitement to present to you my completed
masterpiece. In accordance to the agreed upon contract, the work has been
placed in transit and should hopefully have arrived at your estate by the time
you are reading this. I wanted to commend you for your fantastic commission
and acknowledge that I have never dealt with a more knowledgeable patron in
all of my years. Your description has really assisted my progress with the
availability of a direct plan regarding how the piece was constructed.
Additionally, along with your elaborately detailed instructions, I appreciate the
trust you have placed in my ability to choose fine colors and fine oil glazes for
your commission. As you may know, there has been an upward trend in Flemish
painting of having “the artist’s own psychology, increasingly apparent in his
work.”8 With that being said, I am honored to be able to include a few of my own
attitudes and tendencies into this finished product.
To continue my gratitude for your finely planned and researched vision, I
would just like to take a minute to salute some aspects of this piece. In the
increased popularity of Flemish painting, “nothing is necessarily or obviously
symbolic [even though] numerous things in the painting were probably intended
to be significant for the spectator.”9 This masterpiece is no exception, as it
covertly displays many elaborate symbols that can be recognized by the
educated viewer.
To begin, the single rose held by the Christ Child is truly an unbelievable
aspect of this painting, which can solely be credited to you and your detailed
blueprint. I appreciate the placement of this rose as it evokes the relationship
between Jesus and his later tormented experience involving the crown of
thorns. These thorns, which ultimately originate from the stems of roses, were
made into a crown-like piece that Jesus was forced to wear prior to his
crucifixion. While working on this aspect of the painting, I couldn’t help but
notice the subtle symbol of such a prominent event in our faith’s history.
Next, I would like to recognize the spectacular placement of the two gold
dogs on the drapery behind the main figures, as we are both aware of the
creature’s symbolic purpose. As I’ve learned, the dog is a symbol of fidelity,
which grants their presence the ability to tie the scene together. Since fidelity
8 Harbison, Craig. Realism and Symbolism in Early Flemish Painting, 589.
9 Ibid., Harbison, 593.
represents faithfulness to a person or cause, demonstrated by continued
support, the placement of the two golden dogs also foreshadows the future of
Jesus in the same manner as the rose.10 It symbolizes the loyalty of His
followers, as proof of their faith in His cause. I can’t help but admire this
decision to include such an animal in a portrait of the Virgin and the Christ
Child.
Finally, I understand your desire to avoid a devotional image, opting
instead to focus on the Virgin’s humanly accessible attributes. Despite this, I
respect the decision of placing the opened Book of Hours on the floor to evoke a
particular religious connotation. This is furthered by the architectural details:
the simple stained glass window, the elegant tiled floor, and with the visible
running arches through the doorway, clearly defining the space as a church.
Through this doorway, I provided a view of two church members caring for a
newborn baby. The size of Mary in relation to the other figures and the objects
around her, highlight her importance as the main character in this the House of
God.
I am truly mesmerized at the finished product of this painting and all of
the thought that you have put into it. I am thankful that I am a part of this
“technical revolution in Northern European panel painting involving the
perfection of the oil glaze technique…and the universal interest in the effects of
10 “Fidelity.” Merriam-‐Webster.com. Merriam-‐Webster, 2011. Web. 2 Dec 2014.
light.”11 With my newly learned technique, I made an emphasis to enhance the
golden throne and the manner in which light is reflected off of it. I pray you
enjoy this aspect of the piece as well.
I hope this letter finds you admiring the finished product as much as it
inspired me. I am truly honored to have produced such a unique painting for
you and am extremely happy we were able to sensitively symbolize all of the
elements we had discussed. Please let me know if your feelings are mutual
regarding the finished painting and if I am ever so worthy of the additional
monetary bonus mentioned in our original contract. I look forward to hearing
back from you soon with your thoughts, opinions, and hopefully admiration.
With Honor,
Barend van Orley
11 Harbison, Craig. Realism and Symbolism in Early Flemish Painting, 601.
Works Cited
“Fidelity.” Merriam-Webster.com. Merriam Webster, 2011. Web. 2 Dec 2014.
Harbison, Craig. “Realism and Symbolism in Early Flemish Painting.” The Art
Bulletin 66.4 (Dec., 1984): 588-602. Jstor. Web.
Lasareff, Victor. “Studies in the Iconography of the Virgin.” The Art Bulletin
20.1 (March, 1938): 26-65. Jstor. Web.
Stetchow, Wolfgang. Northern Renaissance Art 1400-1600: Sources and
Documents. Englewood Cliffs, NJ: Prentice-Hall, 1966. Print.
The Glorification of the Barbaro Family
Sir Giovanni Battista Tiepolo,
How do you do dear sir? Earlier this year a painting was commissioned by
my father in order to represent the glory of our family, that is, the Barbaro Family.
This painting of yours is not only a masterpiece, but also a constant reminder of
the greatness of my family. As you may be aware, I come from a highly revered
family. We consist of generations of powerful men and women. Our wealth and
influence in known throughout Venice. We own many large estates in the Veneto
region of Italy. Our reputation precedes us. I know it to be true that my father,
Almoro Barbaro, is in good acquaintances with you. He is known as the Savior of
Terraferma and is a man of many accomplishments. Out of respect for him and
for my family I, Marco Barbaro, request that you paint for me a version of what
you painted for my father. I am asking with a humble heart that you give to me a
work of art comparable to the piece that lies in the salone of my family’s palace,
the Palazzo Barbaro.1 When I enter the great reception hall and view your
magnificent painting on the ceiling, I am filled with awe. I say to myself time and
time again, I must have it! To my despair I cannot claim it as my own. It is a
wonderful representation of my family, especially of the great Francesco Barbaro,
the famous “author, diplomat, politician, and military commander.”2 Much like the
original piece, I would like this new piece to portray the glory of my family. I
1 Bryson Burroughs. “A Masterpiece by Tiepolo.” The Metropolitan Museum of Art
Bulletin. 19 (1924): 14-16. Jstor. http://www.jstor.org/stable/3254636. 29 Nov.
2014.
2 Keith Christiansen. Giambattista Tiepolo, 1696-1770. New York: Metropolitan
Museum of Art. 1996. Print.
believe that art, with specific regard to painting, is one of the truest forms of
expression. This is why I want you to represent my family through art, a form that
is everlasting. I want to be able to look at this piece and be reminded of the
splendor that encompasses the Barbaro Family. As you might see, my family is
of the utmost importance to me. I find it necessary that I commemorate them in
such a way that will be remembered forever. I can assure you that my intentions
for the piece remain pure and simple. This request of mine is personal, it is only
meant for me and for those that may enter my residence. I do not live in the
Palazzo Barbaro, but in a separate, more modest home in Venice. This painting
would give my home an air of affluence that it currently lacks. It would bring
greater significance to my name if I could acquire such a piece.
I find it apt to mention why I chose you for this project rather than your
contemporaries. You are a venerated artist known for your precision in painting.
As a resident of Venice, you are perfectly close to home. This proximity will
facilitate your transport and subsequently, the painting process. I have seen
many of your previous works outside of my father’s commission and I must say
that you are a true master of your craft. I know you are able to create what I
desire because you have done it once before. Due to what I have seen and
heard about your paintings, I have faith in your ability to create a replica for me. I
especially admire your style and technique, which I hope, is just as brilliant as
ever. I will of course compensate you for both your work and any troubles you
might face during your journey here. I will supply the materials for your work so
long as you express your needs to me. For the painting itself, I am willing to give
you a sum of fifteen silver ducats. I believe this is a fair price to pay for what I
have in mind. It would give me great pleasure if you would consider my request.
Please make haste with your response, as I simply cannot wait for your work to
adorn my private living quarters!
From Venice of this day in October 1750,
Sir Marco Barbaro
Sir Marco Barbaro,
24th of October, 1750
I am in bright spirits and good health. I hope for you what I have acquired
for myself. Thank you for your gracious and proper words. I know and respect
your father, Almoro. He is a man such as you described. Your family has shown
great kindness towards me and for this reason it will be an honor to grant your
request. It will bring me joy to paint a piece as symbolic as the one you’ve
described. It seems like a fine project for me to work on. However, I have some
requests of my own….
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