Exercise 1
As you know, Northern Renaissance artists pioneered the artistic sub-genre
of self-portraiture. Look again at Albrecht Dürer's
Self-Portrait
at 28, the last such work by Europe's first great self-portraitist. During
the Baroque period, several Northern artists extended the tradition established
by Dürer. Consider, for example, a
Self-Portrait
by Peter Paul Rubens, a
Self-Portrait
Anthony Van Dyck, and a
Self-Portrait
by Rembrandt van Rijn. How do these works resemble and differ from Dürer's
"Self-Portrait at 28"? How do they resemble and differ from each other?
How does Dürer's self-portrait exemplify a Renaissance sensibility, and how
do those by Rubens, Van Dyck, and Rembrandt display a Baroque sensibility? How
do the three Baroque self-portraits represent each artist's distinctive style?
What do those self-portraits suggest about how each artist viewed himself?
Exercise 2
During the sixteenth and seventeenth centuries, artists throughout Europe depicted
scenes of everyday life. However, Dutch artists of this period took a special
interest in this subject matter. One of the first painters to represent daily
life memorably was Pieter Bruegel the Elder, about whom you read in Chapter
14. Take a look at his
Peasant
Wedding to see another example of his fascination with peasant life and
the style he developed to represent it. Now look at a few works by prominent
Dutch Baroque artists:
Young
Man and Woman in an Inn (1623) by Frans Hals;
The
Milkmaid (1660s) by Johannes Vermeer; and
The
Dissolute Household (c. 1665) by Jan Steen. How do these paintings resemble
and differ from Bruegel's "Peasant Wedding"? How do the resemble and
differ from each other? What do the three seventeenth-century paintings suggest
about each artist's attitude toward his subject? What characteristics of Baroque
art do they display? Consider the fact that these paintings were produced mainly
for wealthy middle-class and aristocratic patrons. Why do you think members
of these classes would be so interested in scenes such as these?