Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
SAMENVATTING: GESCHIEDENIS VAN
BEELDENDE KUNSTEN 1500-1860
INHOUD
objectives............................................................................................................................................5
Exam ...................................................................................................................................................6
Tips .....................................................................................................................................................6
LES 1...................................................................................................................................................7
Overview ..........................................................................................................................................7
Labels..............................................................................................................................................7
Put another way… .........................................................................................................................7
… the problems with labels ............................................................................................................7
And then there’s “the canon” .........................................................................................................8
Our Aim ...........................................................................................................................................8
Themes............................................................................................................................................8
Recap ..............................................................................................................................................8
Italy ..............................................................................................................................................9
Germany ......................................................................................................................................9
Spain ...........................................................................................................................................9
France..........................................................................................................................................9
Paintings and Mosaics...................................................................................................................9
The Renaissance ............................................................................................................................ 10
Accumulation of wealth .............................................................................................................. 10
Humanism ................................................................................................................................. 11
Duomo as perfect example of Renaissance .................................................................................. 11
Brunelleschi and linear perspective ............................................................................................. 12
in Brief… ..................................................................................................................................... 12
entering the 16th century: the reformation ....................................................................................... 13
Martin Luther .............................................................................................................................. 13
Profound Changes .......................................................................................................................... 13
LES 2................................................................................................................................................. 15
content/objectives for this class...................................................................................................... 15
The reformation .............................................................................................................................. 15
Was there a Northern Renaissance? ................................................................................................ 15
16th Century: History intervenes ..................................................................................................... 16
1
,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Meet the locals............................................................................................................................... 16
16th Century in Western Europe ...................................................................................................... 17
16th century: common iconography ................................................................................................ 17
Iconoclasm .................................................................................................................................... 17
But: ............................................................................................................................................... 18
Low Countries: Experimentation ..................................................................................................... 19
Important concept: Mimesis ........................................................................................................... 19
Gerard David: Mostly religious art ................................................................................................ 19
Pieter Bruegel the Elder: Ordinary People… .................................................................................. 20
… and religion in the background ................................................................................................. 22
Germany: Albrecht Dürer, Rock Star ............................................................................................. 23
Hieronymus Bosch: Mimesis? ...................................................................................................... 24
Lucas Cranach and the Reformation................................................................................................ 24
Meanwhile, in England .................................................................................................................... 25
The power of Print........................................................................................................................... 26
Relief printmaking woodcuts ....................................................................................................... 26
Intaglio Printmaking: Engraving .................................................................................................... 27
Propaganda: origins .................................................................................................................... 27
The Dutch Revolt in Print ............................................................................................................. 29
Prints: circulation of knowledge … and “knowledge” ..................................................................... 30
prints as autonomous artworks ................................................................................................... 32
LES 3................................................................................................................................................. 34
Spotlight: Theatrum Orbus Terrarum ................................................................................................ 34
Word + Image ............................................................................................................................. 35
The Ambassadors ........................................................................................................................... 36
Global exchanges ....................................................................................................................... 37
Worldly influences.......................................................................................................................... 39
Artistic mobility .............................................................................................................................. 39
Italy: High Renaissance................................................................................................................... 41
Important treatises ..................................................................................................................... 41
Imporatant excavations ............................................................................................................... 42
Republic, Papal State, … Why does it matter? ............................................................................... 42
Leonardo da Vinci ....................................................................................................................... 43
Another important woman ........................................................................................................... 44
Raphael and Michelangelo .......................................................................................................... 47
Counter reformation ................................................................................................................... 50
LES 4................................................................................................................................................. 56
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Venice ........................................................................................................................................... 56
Fathers of Venitian art: Bellini Family ........................................................................................... 56
What is happening in France? ......................................................................................................... 60
Iconography of a King .................................................................................................................. 61
Portuguese Contacts and Exchanges............................................................................................... 62
Knowledge as Art → Remember Ortelius. ..................................................................................... 63
Visualising the world, shaping how we see others ......................................................................... 64
Plentiful casting .......................................................................................................................... 64
Portugal → West Africa ............................................................................................................... 65
West Africa → portugal ............................................................................................................... 67
“Traditional” Non-European Art in European Context .................................................................... 70
Take away: Dynamic World ............................................................................................................. 71
LES 5: Barok...................................................................................................................................... 73
17th Century Italy............................................................................................................................. 73
Caravaggio ................................................................................................................................. 73
Artemisia Gentileschi .................................................................................................................. 77
Bernini ....................................................................................................................................... 81
Les 6: Seculiere BArok ...................................................................................................................... 86
The Southern Netherlands in the 17th Century .................................................................................. 86
What does this mean for the arts? ................................................................................................ 86
Peter Paul Rubens (1577-1640) .................................................................................................... 87
Antoon VAn Dyck (1599 – 1641) .................................................................................................... 98
Jacob Jordaens (1593-1678) ...................................................................................................... 103
Michaelina Wautier (1614 – 1689) .............................................................................................. 105
Importance of Networks and Exchanges..................................................................................... 106
The Dutch Republic in the 17th Century .......................................................................................... 107
A Golden Age? .......................................................................................................................... 108
Implications for ARtists ............................................................................................................. 108
Frans Hals (1580 – 1666) ........................................................................................................... 109
Judith Leyster (1609 – 1660) ....................................................................................................... 111
LES 7: Vervolg Barok ....................................................................................................................... 113
The Dutch Republic in the 17th Century .......................................................................................... 113
Judith Leyster (1609 – 1660) ....................................................................................................... 113
Rembrandt 1606 – 1669 ............................................................................................................. 114
Jan Vermeer 1632 – 1675 ........................................................................................................... 118
Pieter de Hooch ........................................................................................................................ 122
Pieter Jansz Saenredam ............................................................................................................ 123
3
,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
bloemenstilleven ...................................................................................................................... 123
French 17th Century ...................................................................................................................... 125
Nicolas Poussin ........................................................................................................................ 126
Simon Vouet ............................................................................................................................. 127
Charles Le Brun (1619 – 1690).................................................................................................... 127
Things to reflect upon: .................................................................................................................. 131
LES 8: Spain, Peru, Brazil, Mexico ................................................................................................... 133
Spain in the 17th century ................................................................................................................ 133
Diego Velázquez (1599-1660)..................................................................................................... 133
Many more talented artists ........................................................................................................ 137
Big ideas that emerge: ............................................................................................................... 137
Artistic Exchanges .................................................................................................................... 137
Europe out in the World, the World in Europe ................................................................................. 138
Viceroyalty of Peru in the 17th century ........................................................................................... 139
From South America to Europe: Colour ...................................................................................... 140
Kunstwerken over de kolonies ................................................................................................... 142
From the Southern Netherlands to Seville to… ............................................................................ 144
Colonial impact ........................................................................................................................ 145
Who made lace? ....................................................................................................................... 145
Fusion ...................................................................................................................................... 146
Reflections .................................................................................................................................. 148
Rococo ........................................................................................................................................ 148
The King is dead, long live the King ............................................................................................. 149
Epitome of Rococo: Watteau, Boucher, Fragonard and Les fêtes galantes .................................... 149
Elizabeth Vigée-Lebrun.............................................................................................................. 151
LES 9: end of an empire .................................................................................................................. 152
Aux Barricades! ............................................................................................................................ 152
Enlightenment .............................................................................................................................. 152
Jacques-Louis David ................................................................................................................. 154
JEan-August-Dominique Ingres (1780-1867) ............................................................................... 159
Marie-Guillemine Benoist (1768-1826) ....................................................................................... 160
England ....................................................................................................................................... 161
Joshua Reynolds (1723-1792) .................................................................................................... 161
Thomas Gainsborough (1727–1788) ........................................................................................... 161
Grand Tour ............................................................................................................................... 161
Robert Adam (1728-1792) .......................................................................................................... 162
Angelica Kauffman (1741–1807) ................................................................................................. 162
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Orientalism .................................................................................................................................. 163
LES 10: Romanticism & Realism ..................................................................................................... 167
Ushering in the 19th century: Turbulence and Expansion ................................................................. 167
Romanticism ............................................................................................................................... 167
Struggles over what it means to be human and to live in society ................................................... 168
What does this mean for art? ..................................................................................................... 168
Germany & Caspar David Friedrich ............................................................................................ 169
Francisco de Goya (1747–1828) ................................................................................................. 171
Théodore Géricault (1791-1824) ................................................................................................ 177
Eugène Delacroix (1798-1863) ................................................................................................... 179
Few things happening: .............................................................................................................. 181
England .................................................................................................................................... 181
Bridging two movements: Honoré Daumier (1808-1879) ................................................................. 185
Realism: don’t be so emotional ..................................................................................................... 187
Gustave Courbet (1819-1877) .................................................................................................... 187
Rosa Bonheur (1822-1899) ........................................................................................................ 190
Courbet and Realism travel ....................................................................................................... 191
The Ultimate Realism? Photography ........................................................................................... 191
Next Level Exchanges: World Fairs ............................................................................................. 191
Examen .......................................................................................................................................... 192
FAQ ............................................................................................................................................. 192
Identification................................................................................................................................ 192
Part I. Example ............................................................................................................................. 192
Part II. Example ............................................................................................................................ 192
Part III. Example 1 ......................................................................................................................... 193
Part III. Example 2 ......................................................................................................................... 193
Part IV. Example 1 ........................................................................................................................ 193
Part IV. Example 2 ........................................................................................................................ 194
General Ideas for Questions: ......................................................................................................... 194
OBJECTIVES
By the end of this class, you should be able to do the following:
1. Identify and be familiar with the principal artistic movements between 1500 and 1860
2. Be able to situate artworks within these artistic movements based on their characteristics and
the context within which they were produced
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
3. Be able to identify important themes that influenced artists, patrons, and artmaking between
1500 to 1860
4. Be familiar with the canon of Western art and understand its limitations and the debates
surrounding it
Aanpak van de lessen = chronologisch, maar ook thematisch
EXAM
The exam will be in English and in Dutch. You can answer in English or in Dutch
- Based on lectures and readings: objective is fairness
- Combination of multiple choice, comparisons, and short answers
o Er worden ook schilderijen gegeven → vertellen wie het heeft gemaakt, wanneer, de titel
en wat de materialen zijn
o Groot deel van het examen = vergelijkingen
▪ Thema’s
- Some memorization, but with a focus on understanding
- During the last big group class I will provide examples of questions you can expect
- Voorbeeld vraag: Wat waren de 2 grootste gevolgen van de reformatie op artiesten
TIPS
- As you do the reading and review your notes, ask yourself:
o What is special about this artwork? Why are we studying this one in particular?
o Where does it fit in when I think about what we have learned so far?
o What is the artwork about, and how is it being used? By whom?
- Flashcards maken → bijvoorbeeld van de verschillende schilderijen die we moeten kennen
- Info over een schilderij dat we moeten kennen, staat in het paars op de ppt → dat moet je dus
zeker onthouden!!
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
LES 1
OVERVIEW
- Over welke dingen de lessen zullen gaan
o Er zijn 5 bewegingen tussen 1500 – 1860
- In een vogelvlucht, niet zeer gedetailleerd dus
o Er wordt niet bij alles even lang stil gestaan
LABELS
- Vanuit een historisch perspectief
- In de wereldgeschiedenis → categorische gebeurtenissen en veranderingen
- Geen constante progressie
- Geen recente evolutie
PUT ANOTHER WAY…
- Het start met Colombus die aankomt op het
Amerikaanse continent tot industriële revolutie
o Perspectieven, (hoofdrol)spelers
veranderen doorheen die periode
o Linkse afbeelding → Turkse vlag is het
meest prominent
o Ontdekkingen en menselijke inspanningen die we gaan behandelen
… THE PROBLEMS WITH LABELS
- Labels are artificial constructions
o They suggest that there is a clear evolution or progression, but there is not
o Still, we use them to try and keep things organized in our heads and begin making
sense of everything we will be reviewing. But it is important to realize that art does
not fall neatly within any given period, and that the evolution of art is not linear – it
goes back as much as it goes forward. Indeed, by the time we get to the 19 th century,
artists will be looking back to antiquity and then to the middle-ages for inspiration.
-
- Zie ‘overview’ → Late renaissance, Baroque, Roccoco, age of
exploration, …
- Het probleem met labels is dat het een constante vooruitgang
afbeeldt → maar die is er niet → eerder een kronkelende lijn ipv
een rechte lijn → artiesten keken niet naar de kalender en
dachten: ‘oh nu is de renaissance voorbij en moet ik aan het volgende beginnen’
- Boek legt uit wat het probleem is met dat we altijd denken dat we richting progressie gaan
- Labels zijn handig, maar tegelijk sluit he heel veel dingen uit
o Als je bijvoorbeeld renaissance gebruikt, denk je niet aan de kunst in Afrika, Azië, …
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
AND THEN THERE’S “THE CANON”
- Once again, problematic, but nevertheless helpful for certain purposes
o Toen kunstgeschiedenis een academische discipline werd, werd door professors,
voornamelijk witte mannen, bepaald wat er belangrijk was en wat ertoe deed
▪ Leidt tot een corpus, een klein groepje van werken waarvan men zei dit is
kunstgeschiedenis
- Heel veel problemen met de canon, maar houdt mensen niet tegen om nieuwe canons uit te
brengen
o Wat je niet zal vinden in de canon, zijn de dingen die niet passen binnen de doelstelling
van de mensen die de canon hebben samengesteld
OUR AIM
- Explore artworks from a range of regions across a broad time period
- Incorporate perspectives beyond the Euro-centric, “male genius” artist
o Looking at artistic production in non-European regions, for example Colonial Mexico
and Japan
o Including examples of art made by women
o Including examples of subject matter beyond the usual portraits and genre scenes,
for example by thinking about the way race is depicted at certain points in time
THEMES
- Although the class will proceed chronologically,
keep your eyes and ears open for the following
recurring themes:
o Dingen die altijd zullen terugkomen
o De belangrijke thema’s
o Religious expression
▪ Religie en kunst zijn moeilijk van elkaar te scheiden
o Patronage and politics
▪ Kunst, zeker al vroeg, werd in opdracht gemaakt
▪ De klanten waren belangrijke mensen
o Global exchanges
▪ Zijn er altijd
o Artist mobility
▪ Heel veel artiesten van het noorden die bijvoorbeeld gingen studeren in Italië en
dan gingen werken in Engeland, Frankrijk
▪ Grootste exportmarkt voor Nederlandse kunst was Italië
▪ Aandacht voor connecties
o War and peace
▪ Had een grote impact op kunst
▪ Leidde ook tot veel vernietigingen
▪ Economische neergang en dat heeft ook een grote impact op kunst
RECAP
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
- recap van wat de 14de eeuw, middeleeuwen ons hebben
gebracht
o Zodat we weten wat er veranderd is
- 3 vloerplannen die komaf maken met het idee dat de
middeleeuwen een donkere periode was
o Zeer verfijnde architectuur, structuren
ITALY
- Basilica San Vitale, Ravenna, 574 with later additions
o In het gebouw zelf kleine mozaïeken te zien
▪ Van glas, goud, koper, stenen
o Was indrukwekkend
▪ Heeft ook de kapel in Aachen geïnspireerd
GERMANY
- Charlemagnes Throne, Palatine Chapel, Aachen
o Je merkt de invloed op van Ravenna, ook als dit vele later gebouwd
o Je ziet dat middeleeuwse kunst en structuren zeer invloedrijk zijn, zelfs vandaag nog
o Kunst voor 1500 was allesbehalve onderontwikkeld
SPAIN
- Ibn Shoshan Synagogue (now Santa María la Blanca), first built in 1180, Toledo Spain
o Door de buitenkant lijkt het eenvoudig
o Maar als je naar de boven enzo kijkt zie je invloed uit Perzië
▪ Er is dus een connectie met Noord-Afrika en Perzië → patronen werden dus al
verspreid
• Ravenna, Duitsland
• Deze Synagoge in Spanje is beïnvloed geweest door die islamitische
motieven
FRANCE
- Basilica of Saint-Sernin, Toulouse, France, c. 1080-1120 with later additions
- Sainte-Chapelle, Paris, 1248
- Middeleeuwse gotiek en gotische architectuur
o Wat belangrijk blijft
- Dit onthouden, want het komt terug als we het gaan hebben over de industrialisatie
PAINTINGS AND MOSAICS
- Pre-renaissance
- Het is heel vlak, de mensen zijn op elkaar gestapeld
- Heel veel goud
- Deze werken zorgen voor een ander soort visuele lift
o Mensen hoefden niet noodzakelijk iets dat heel realistisch oogden
o Ze hoefden niet een mens met perfecte proporties te zien
o De boodschap die gecommuniceerd werd was anders
- Ultramarijn kwam van Iran → zaten in het fresco van een kapel in Padua (c. 1305)
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, Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
o Heeft dus een enorme weg afgelegd
- Dezelfde patronen te zien
- Geen echte diepgang of perspectief te zien
- Wat er voor de 15de eeuw gebeurde, maar denk eraan dat er niet echt een moment is waarop
mensen stopten met dit te doen
THE RENAISSANCE
- There is a sea change at about 1400, which scholars usually agree is the beginning of the
Renaissance. By labelling this era in this way, historians are using a kind of shorthand to
make broad but instructive generalizations. The label is, however, problematic in that it is
often used to center Europe pushing other cultures to the periphery of historical focus.
Nevertheless, the term remains a useful tool.
- Afbeelding → vertelt goed over wat de vroege renaissance over ging
- Breuk rond 1400 te zien met wat er voorheen gebeurde → glorieuze mozaïeken
o Mensen voelden een nood voor een andere manier voor het visualiseren van de wereld
rondom zich en god
ACCUMULATION OF WEALTH
- There is an accummulation of wealth that can be felt in places like Florence,
Venice, Bruges, Dijon, Ghent, Antwerp, Lisbon, and Seville. wealthy patrons
(like Philip the Good, Isabella d’Este, and Lorenzo de Medici) propelled the
Renaissance, commissioning works of art for a variety of reasons.
- Iets wat belangrijk was in de Renaissance, als deel van humanisme wat het
concept van magnificent
o Had toen een andere betekenis dan vandaag
o Het ging over het delen van je waarden en je geluk met anderen
▪ Het verheffen van de bevolking rondom je
- Lorenzo de Medici
o De Medici familie is heel beroemd in Florence
o Waren belangrijke klanten → patrons of the arts
o Maar waren ook heersers en waren meedogenloos in het verwerven van macht in Italië
tijdens de Renaissance
▪ Uiteindelijk uit de stad verjaagd
o Kunstopdrachten
o De Medici hebben een heel lange geschiedenis in Florence, hebben in principe de stad
gebouwd, groot gemaakt
▪ Hebben heel veel geld geïnvesteerd in het laten bouwen van kappelen, hebben
heel veel kunst geschonken aan kloosters, …
- Isabella d’Este
o Een zeldzaam vrouwelijk voorbeeld van die periode
o Marchesa van Mantua
o Zeer machtig en ook gecultiveerd
o Ze moest haar positie als heerseres bevestigen nadat haar echtgenoot stierf
▪ Was politiek niet echt veilig, het was niet een gegeven dat men naar haar ging
luisteren of haar macht respecteerden
o Ze gebruikte kunst om haar zaak te bevorderen, haar imago te vestigen en zichzelf als
heerseres te bevestigen
10
SAMENVATTING: GESCHIEDENIS VAN
BEELDENDE KUNSTEN 1500-1860
INHOUD
objectives............................................................................................................................................5
Exam ...................................................................................................................................................6
Tips .....................................................................................................................................................6
LES 1...................................................................................................................................................7
Overview ..........................................................................................................................................7
Labels..............................................................................................................................................7
Put another way… .........................................................................................................................7
… the problems with labels ............................................................................................................7
And then there’s “the canon” .........................................................................................................8
Our Aim ...........................................................................................................................................8
Themes............................................................................................................................................8
Recap ..............................................................................................................................................8
Italy ..............................................................................................................................................9
Germany ......................................................................................................................................9
Spain ...........................................................................................................................................9
France..........................................................................................................................................9
Paintings and Mosaics...................................................................................................................9
The Renaissance ............................................................................................................................ 10
Accumulation of wealth .............................................................................................................. 10
Humanism ................................................................................................................................. 11
Duomo as perfect example of Renaissance .................................................................................. 11
Brunelleschi and linear perspective ............................................................................................. 12
in Brief… ..................................................................................................................................... 12
entering the 16th century: the reformation ....................................................................................... 13
Martin Luther .............................................................................................................................. 13
Profound Changes .......................................................................................................................... 13
LES 2................................................................................................................................................. 15
content/objectives for this class...................................................................................................... 15
The reformation .............................................................................................................................. 15
Was there a Northern Renaissance? ................................................................................................ 15
16th Century: History intervenes ..................................................................................................... 16
1
,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Meet the locals............................................................................................................................... 16
16th Century in Western Europe ...................................................................................................... 17
16th century: common iconography ................................................................................................ 17
Iconoclasm .................................................................................................................................... 17
But: ............................................................................................................................................... 18
Low Countries: Experimentation ..................................................................................................... 19
Important concept: Mimesis ........................................................................................................... 19
Gerard David: Mostly religious art ................................................................................................ 19
Pieter Bruegel the Elder: Ordinary People… .................................................................................. 20
… and religion in the background ................................................................................................. 22
Germany: Albrecht Dürer, Rock Star ............................................................................................. 23
Hieronymus Bosch: Mimesis? ...................................................................................................... 24
Lucas Cranach and the Reformation................................................................................................ 24
Meanwhile, in England .................................................................................................................... 25
The power of Print........................................................................................................................... 26
Relief printmaking woodcuts ....................................................................................................... 26
Intaglio Printmaking: Engraving .................................................................................................... 27
Propaganda: origins .................................................................................................................... 27
The Dutch Revolt in Print ............................................................................................................. 29
Prints: circulation of knowledge … and “knowledge” ..................................................................... 30
prints as autonomous artworks ................................................................................................... 32
LES 3................................................................................................................................................. 34
Spotlight: Theatrum Orbus Terrarum ................................................................................................ 34
Word + Image ............................................................................................................................. 35
The Ambassadors ........................................................................................................................... 36
Global exchanges ....................................................................................................................... 37
Worldly influences.......................................................................................................................... 39
Artistic mobility .............................................................................................................................. 39
Italy: High Renaissance................................................................................................................... 41
Important treatises ..................................................................................................................... 41
Imporatant excavations ............................................................................................................... 42
Republic, Papal State, … Why does it matter? ............................................................................... 42
Leonardo da Vinci ....................................................................................................................... 43
Another important woman ........................................................................................................... 44
Raphael and Michelangelo .......................................................................................................... 47
Counter reformation ................................................................................................................... 50
LES 4................................................................................................................................................. 56
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Venice ........................................................................................................................................... 56
Fathers of Venitian art: Bellini Family ........................................................................................... 56
What is happening in France? ......................................................................................................... 60
Iconography of a King .................................................................................................................. 61
Portuguese Contacts and Exchanges............................................................................................... 62
Knowledge as Art → Remember Ortelius. ..................................................................................... 63
Visualising the world, shaping how we see others ......................................................................... 64
Plentiful casting .......................................................................................................................... 64
Portugal → West Africa ............................................................................................................... 65
West Africa → portugal ............................................................................................................... 67
“Traditional” Non-European Art in European Context .................................................................... 70
Take away: Dynamic World ............................................................................................................. 71
LES 5: Barok...................................................................................................................................... 73
17th Century Italy............................................................................................................................. 73
Caravaggio ................................................................................................................................. 73
Artemisia Gentileschi .................................................................................................................. 77
Bernini ....................................................................................................................................... 81
Les 6: Seculiere BArok ...................................................................................................................... 86
The Southern Netherlands in the 17th Century .................................................................................. 86
What does this mean for the arts? ................................................................................................ 86
Peter Paul Rubens (1577-1640) .................................................................................................... 87
Antoon VAn Dyck (1599 – 1641) .................................................................................................... 98
Jacob Jordaens (1593-1678) ...................................................................................................... 103
Michaelina Wautier (1614 – 1689) .............................................................................................. 105
Importance of Networks and Exchanges..................................................................................... 106
The Dutch Republic in the 17th Century .......................................................................................... 107
A Golden Age? .......................................................................................................................... 108
Implications for ARtists ............................................................................................................. 108
Frans Hals (1580 – 1666) ........................................................................................................... 109
Judith Leyster (1609 – 1660) ....................................................................................................... 111
LES 7: Vervolg Barok ....................................................................................................................... 113
The Dutch Republic in the 17th Century .......................................................................................... 113
Judith Leyster (1609 – 1660) ....................................................................................................... 113
Rembrandt 1606 – 1669 ............................................................................................................. 114
Jan Vermeer 1632 – 1675 ........................................................................................................... 118
Pieter de Hooch ........................................................................................................................ 122
Pieter Jansz Saenredam ............................................................................................................ 123
3
,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
bloemenstilleven ...................................................................................................................... 123
French 17th Century ...................................................................................................................... 125
Nicolas Poussin ........................................................................................................................ 126
Simon Vouet ............................................................................................................................. 127
Charles Le Brun (1619 – 1690).................................................................................................... 127
Things to reflect upon: .................................................................................................................. 131
LES 8: Spain, Peru, Brazil, Mexico ................................................................................................... 133
Spain in the 17th century ................................................................................................................ 133
Diego Velázquez (1599-1660)..................................................................................................... 133
Many more talented artists ........................................................................................................ 137
Big ideas that emerge: ............................................................................................................... 137
Artistic Exchanges .................................................................................................................... 137
Europe out in the World, the World in Europe ................................................................................. 138
Viceroyalty of Peru in the 17th century ........................................................................................... 139
From South America to Europe: Colour ...................................................................................... 140
Kunstwerken over de kolonies ................................................................................................... 142
From the Southern Netherlands to Seville to… ............................................................................ 144
Colonial impact ........................................................................................................................ 145
Who made lace? ....................................................................................................................... 145
Fusion ...................................................................................................................................... 146
Reflections .................................................................................................................................. 148
Rococo ........................................................................................................................................ 148
The King is dead, long live the King ............................................................................................. 149
Epitome of Rococo: Watteau, Boucher, Fragonard and Les fêtes galantes .................................... 149
Elizabeth Vigée-Lebrun.............................................................................................................. 151
LES 9: end of an empire .................................................................................................................. 152
Aux Barricades! ............................................................................................................................ 152
Enlightenment .............................................................................................................................. 152
Jacques-Louis David ................................................................................................................. 154
JEan-August-Dominique Ingres (1780-1867) ............................................................................... 159
Marie-Guillemine Benoist (1768-1826) ....................................................................................... 160
England ....................................................................................................................................... 161
Joshua Reynolds (1723-1792) .................................................................................................... 161
Thomas Gainsborough (1727–1788) ........................................................................................... 161
Grand Tour ............................................................................................................................... 161
Robert Adam (1728-1792) .......................................................................................................... 162
Angelica Kauffman (1741–1807) ................................................................................................. 162
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
Orientalism .................................................................................................................................. 163
LES 10: Romanticism & Realism ..................................................................................................... 167
Ushering in the 19th century: Turbulence and Expansion ................................................................. 167
Romanticism ............................................................................................................................... 167
Struggles over what it means to be human and to live in society ................................................... 168
What does this mean for art? ..................................................................................................... 168
Germany & Caspar David Friedrich ............................................................................................ 169
Francisco de Goya (1747–1828) ................................................................................................. 171
Théodore Géricault (1791-1824) ................................................................................................ 177
Eugène Delacroix (1798-1863) ................................................................................................... 179
Few things happening: .............................................................................................................. 181
England .................................................................................................................................... 181
Bridging two movements: Honoré Daumier (1808-1879) ................................................................. 185
Realism: don’t be so emotional ..................................................................................................... 187
Gustave Courbet (1819-1877) .................................................................................................... 187
Rosa Bonheur (1822-1899) ........................................................................................................ 190
Courbet and Realism travel ....................................................................................................... 191
The Ultimate Realism? Photography ........................................................................................... 191
Next Level Exchanges: World Fairs ............................................................................................. 191
Examen .......................................................................................................................................... 192
FAQ ............................................................................................................................................. 192
Identification................................................................................................................................ 192
Part I. Example ............................................................................................................................. 192
Part II. Example ............................................................................................................................ 192
Part III. Example 1 ......................................................................................................................... 193
Part III. Example 2 ......................................................................................................................... 193
Part IV. Example 1 ........................................................................................................................ 193
Part IV. Example 2 ........................................................................................................................ 194
General Ideas for Questions: ......................................................................................................... 194
OBJECTIVES
By the end of this class, you should be able to do the following:
1. Identify and be familiar with the principal artistic movements between 1500 and 1860
2. Be able to situate artworks within these artistic movements based on their characteristics and
the context within which they were produced
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
3. Be able to identify important themes that influenced artists, patrons, and artmaking between
1500 to 1860
4. Be familiar with the canon of Western art and understand its limitations and the debates
surrounding it
Aanpak van de lessen = chronologisch, maar ook thematisch
EXAM
The exam will be in English and in Dutch. You can answer in English or in Dutch
- Based on lectures and readings: objective is fairness
- Combination of multiple choice, comparisons, and short answers
o Er worden ook schilderijen gegeven → vertellen wie het heeft gemaakt, wanneer, de titel
en wat de materialen zijn
o Groot deel van het examen = vergelijkingen
▪ Thema’s
- Some memorization, but with a focus on understanding
- During the last big group class I will provide examples of questions you can expect
- Voorbeeld vraag: Wat waren de 2 grootste gevolgen van de reformatie op artiesten
TIPS
- As you do the reading and review your notes, ask yourself:
o What is special about this artwork? Why are we studying this one in particular?
o Where does it fit in when I think about what we have learned so far?
o What is the artwork about, and how is it being used? By whom?
- Flashcards maken → bijvoorbeeld van de verschillende schilderijen die we moeten kennen
- Info over een schilderij dat we moeten kennen, staat in het paars op de ppt → dat moet je dus
zeker onthouden!!
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
LES 1
OVERVIEW
- Over welke dingen de lessen zullen gaan
o Er zijn 5 bewegingen tussen 1500 – 1860
- In een vogelvlucht, niet zeer gedetailleerd dus
o Er wordt niet bij alles even lang stil gestaan
LABELS
- Vanuit een historisch perspectief
- In de wereldgeschiedenis → categorische gebeurtenissen en veranderingen
- Geen constante progressie
- Geen recente evolutie
PUT ANOTHER WAY…
- Het start met Colombus die aankomt op het
Amerikaanse continent tot industriële revolutie
o Perspectieven, (hoofdrol)spelers
veranderen doorheen die periode
o Linkse afbeelding → Turkse vlag is het
meest prominent
o Ontdekkingen en menselijke inspanningen die we gaan behandelen
… THE PROBLEMS WITH LABELS
- Labels are artificial constructions
o They suggest that there is a clear evolution or progression, but there is not
o Still, we use them to try and keep things organized in our heads and begin making
sense of everything we will be reviewing. But it is important to realize that art does
not fall neatly within any given period, and that the evolution of art is not linear – it
goes back as much as it goes forward. Indeed, by the time we get to the 19 th century,
artists will be looking back to antiquity and then to the middle-ages for inspiration.
-
- Zie ‘overview’ → Late renaissance, Baroque, Roccoco, age of
exploration, …
- Het probleem met labels is dat het een constante vooruitgang
afbeeldt → maar die is er niet → eerder een kronkelende lijn ipv
een rechte lijn → artiesten keken niet naar de kalender en
dachten: ‘oh nu is de renaissance voorbij en moet ik aan het volgende beginnen’
- Boek legt uit wat het probleem is met dat we altijd denken dat we richting progressie gaan
- Labels zijn handig, maar tegelijk sluit he heel veel dingen uit
o Als je bijvoorbeeld renaissance gebruikt, denk je niet aan de kunst in Afrika, Azië, …
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
AND THEN THERE’S “THE CANON”
- Once again, problematic, but nevertheless helpful for certain purposes
o Toen kunstgeschiedenis een academische discipline werd, werd door professors,
voornamelijk witte mannen, bepaald wat er belangrijk was en wat ertoe deed
▪ Leidt tot een corpus, een klein groepje van werken waarvan men zei dit is
kunstgeschiedenis
- Heel veel problemen met de canon, maar houdt mensen niet tegen om nieuwe canons uit te
brengen
o Wat je niet zal vinden in de canon, zijn de dingen die niet passen binnen de doelstelling
van de mensen die de canon hebben samengesteld
OUR AIM
- Explore artworks from a range of regions across a broad time period
- Incorporate perspectives beyond the Euro-centric, “male genius” artist
o Looking at artistic production in non-European regions, for example Colonial Mexico
and Japan
o Including examples of art made by women
o Including examples of subject matter beyond the usual portraits and genre scenes,
for example by thinking about the way race is depicted at certain points in time
THEMES
- Although the class will proceed chronologically,
keep your eyes and ears open for the following
recurring themes:
o Dingen die altijd zullen terugkomen
o De belangrijke thema’s
o Religious expression
▪ Religie en kunst zijn moeilijk van elkaar te scheiden
o Patronage and politics
▪ Kunst, zeker al vroeg, werd in opdracht gemaakt
▪ De klanten waren belangrijke mensen
o Global exchanges
▪ Zijn er altijd
o Artist mobility
▪ Heel veel artiesten van het noorden die bijvoorbeeld gingen studeren in Italië en
dan gingen werken in Engeland, Frankrijk
▪ Grootste exportmarkt voor Nederlandse kunst was Italië
▪ Aandacht voor connecties
o War and peace
▪ Had een grote impact op kunst
▪ Leidde ook tot veel vernietigingen
▪ Economische neergang en dat heeft ook een grote impact op kunst
RECAP
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,Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
- recap van wat de 14de eeuw, middeleeuwen ons hebben
gebracht
o Zodat we weten wat er veranderd is
- 3 vloerplannen die komaf maken met het idee dat de
middeleeuwen een donkere periode was
o Zeer verfijnde architectuur, structuren
ITALY
- Basilica San Vitale, Ravenna, 574 with later additions
o In het gebouw zelf kleine mozaïeken te zien
▪ Van glas, goud, koper, stenen
o Was indrukwekkend
▪ Heeft ook de kapel in Aachen geïnspireerd
GERMANY
- Charlemagnes Throne, Palatine Chapel, Aachen
o Je merkt de invloed op van Ravenna, ook als dit vele later gebouwd
o Je ziet dat middeleeuwse kunst en structuren zeer invloedrijk zijn, zelfs vandaag nog
o Kunst voor 1500 was allesbehalve onderontwikkeld
SPAIN
- Ibn Shoshan Synagogue (now Santa María la Blanca), first built in 1180, Toledo Spain
o Door de buitenkant lijkt het eenvoudig
o Maar als je naar de boven enzo kijkt zie je invloed uit Perzië
▪ Er is dus een connectie met Noord-Afrika en Perzië → patronen werden dus al
verspreid
• Ravenna, Duitsland
• Deze Synagoge in Spanje is beïnvloed geweest door die islamitische
motieven
FRANCE
- Basilica of Saint-Sernin, Toulouse, France, c. 1080-1120 with later additions
- Sainte-Chapelle, Paris, 1248
- Middeleeuwse gotiek en gotische architectuur
o Wat belangrijk blijft
- Dit onthouden, want het komt terug als we het gaan hebben over de industrialisatie
PAINTINGS AND MOSAICS
- Pre-renaissance
- Het is heel vlak, de mensen zijn op elkaar gestapeld
- Heel veel goud
- Deze werken zorgen voor een ander soort visuele lift
o Mensen hoefden niet noodzakelijk iets dat heel realistisch oogden
o Ze hoefden niet een mens met perfecte proporties te zien
o De boodschap die gecommuniceerd werd was anders
- Ultramarijn kwam van Iran → zaten in het fresco van een kapel in Padua (c. 1305)
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, Aagje Bertels Beeldende kunsten 1500-1860 2025-2026
o Heeft dus een enorme weg afgelegd
- Dezelfde patronen te zien
- Geen echte diepgang of perspectief te zien
- Wat er voor de 15de eeuw gebeurde, maar denk eraan dat er niet echt een moment is waarop
mensen stopten met dit te doen
THE RENAISSANCE
- There is a sea change at about 1400, which scholars usually agree is the beginning of the
Renaissance. By labelling this era in this way, historians are using a kind of shorthand to
make broad but instructive generalizations. The label is, however, problematic in that it is
often used to center Europe pushing other cultures to the periphery of historical focus.
Nevertheless, the term remains a useful tool.
- Afbeelding → vertelt goed over wat de vroege renaissance over ging
- Breuk rond 1400 te zien met wat er voorheen gebeurde → glorieuze mozaïeken
o Mensen voelden een nood voor een andere manier voor het visualiseren van de wereld
rondom zich en god
ACCUMULATION OF WEALTH
- There is an accummulation of wealth that can be felt in places like Florence,
Venice, Bruges, Dijon, Ghent, Antwerp, Lisbon, and Seville. wealthy patrons
(like Philip the Good, Isabella d’Este, and Lorenzo de Medici) propelled the
Renaissance, commissioning works of art for a variety of reasons.
- Iets wat belangrijk was in de Renaissance, als deel van humanisme wat het
concept van magnificent
o Had toen een andere betekenis dan vandaag
o Het ging over het delen van je waarden en je geluk met anderen
▪ Het verheffen van de bevolking rondom je
- Lorenzo de Medici
o De Medici familie is heel beroemd in Florence
o Waren belangrijke klanten → patrons of the arts
o Maar waren ook heersers en waren meedogenloos in het verwerven van macht in Italië
tijdens de Renaissance
▪ Uiteindelijk uit de stad verjaagd
o Kunstopdrachten
o De Medici hebben een heel lange geschiedenis in Florence, hebben in principe de stad
gebouwd, groot gemaakt
▪ Hebben heel veel geld geïnvesteerd in het laten bouwen van kappelen, hebben
heel veel kunst geschonken aan kloosters, …
- Isabella d’Este
o Een zeldzaam vrouwelijk voorbeeld van die periode
o Marchesa van Mantua
o Zeer machtig en ook gecultiveerd
o Ze moest haar positie als heerseres bevestigen nadat haar echtgenoot stierf
▪ Was politiek niet echt veilig, het was niet een gegeven dat men naar haar ging
luisteren of haar macht respecteerden
o Ze gebruikte kunst om haar zaak te bevorderen, haar imago te vestigen en zichzelf als
heerseres te bevestigen
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