Identify representative Baroque architects (in Flanders and the Dutch Republic) and their works.

For this assignment, I chose the nine week. After reading the assignment information, you can see the articles related to the eighth week. Please pay attention to the YouTube links.
Unit 3 Assessment: Create an Infographic (Fall 2024)
LEARNING GOALS / OBJECTIVES FOR THIS ASSESSMENT
This assessment is an opportunity for you to check your understanding of the Baroque Art in Italy and Spain (Week 8), Baroque Art in Northern Europe (Week 9), Rococo, Enlightenment, and Industrial Revolution (Week 10), and Neoclassicism, Revolution, and Napoleon (Week 11). You will:
Effectively synthesize a lesson by creating an engaging infographic that clearly demonstrates your understanding of the information as well as the themes of the lesson.
INSTRUCTIONS
This assignment has TWO parts: your personal post (infographic) as well as feedback to twopeers. Both components are due by the deadlines noted.
PART ONE: Your Personal Response
REVIEW: Review the instructional content (notes, videos, articles) of the following four lessons in Unit 3: (a) Baroque Art in Italy and Spain (Week 8), (b) Baroque Art in Northern Europe (Week 9), (c) Rococo, Enlightenment, and Industrial Revolution (Week 10), and (d) Neoclassicism, Revolution, and Napoleon (Week 11). Highlight key points, underline vocabulary words, and outline concepts. Ensure you have gone through the full content of the modules and have a thorough understanding of these moments in history.
SELECT and PLAN: Select ONE of the four lessons (see the list in #1) and plan your notes for an effective infographic. Click here quickly to get an idea of what you’re going to be creating before you move on: art infographic – Google SearchLinks to an external site.. You’re basically creating a summary of the lesson. Identify important historical contexts, artistic styles, key themes, main artists and their artworks. You clearly cannot include all the details, but your selection and how you design your information needs to clearly indicate you have learned and understood that full lesson. Please be sure to provide information that lets me know you have learned the historical content as well; in other words, simply giving artist names and the titles of their works is not enough. Consider questions such as: What historical context is important to know in understanding the works of art and why they were created? What key details are important? What was innovative about each artist and his style?
CREATE the INFOGRAPHIC: Bring your notes together and create the actual digital infographic (it’s basically a single page that includes the necessary information) that demonstrates your understanding of the lesson. Your infographic should be a single plage, visually engaging, easy to follow, and include the right amount of information. [NOTE: If you have never created an infographic before, there are some detailed instructions below in the “Creating Infographics” heading. There are also a number of new free apps/programs that you can search for and use. It’s up to you which one you use as long as you are able to meet the requirements of the assignment]. Here are the requirements:
Include history/context, artists and their artworks, key points, etc. Repeat: historical context MUST be part of it. As you have learned by now, we are learning to understand and interpret the works of art by considering the historical period.
Label images of artworks (artist, title, date). Do not include artworks not in the Info Sheet.
Ensure the text is clear, easy to read (consider font style, size, and color). Long paragraphs are not ideal for an infographic, so you will need to condense the information into focused points. (Avoid bright or neon colors).
Use your own words; do not copy anything.
SAMPLES: I’ve attached a couple of examples of past infographics (from another lesson) for you to review. It does not have to look like this, but you can see examples to inspire yours! 🙂 These aren’t perfect (for example, the artworks need to be labeled), but they are here to give you an idea.
EMBED: Upload the infographic here for your peers to see and offer feedback. Embed it into the post, NOT attached.
Here are the samples:
PART TWO: Peer Feedback
Review: Review the infographics of your peers and write thoughtful and meaningful responses to TWO peers. Choose peers who have selected DIFFERENT LESSONS from the one you chose.
Respond: In a specific and meaningful paragraph (5-7 sentences), address the following:
What was effective about the infographic? (Be specific)
How did the infographic help you learn the material better?
How could the infographic be improved ? (Consider number of images, layout of the page, size/color/type of font, information included.) (Don’t be afraid to respectfully offer your peer some suggestions, we are here to learn and grow together!)
Point out inaccuracies gently.
Support:
Like the infographic if you found it helpful or well-done. Let’s support one another!
REMINDER: You must reply to two peers who have created infographics on two DIFFERENT lessons from the one you selected.
CREATING INFOGRAPHICS
Infographics help reinforce and retain new information, think critically, and use creativity.
Read the brief article “Why Infographics Work & Why You Can’t Resist ThemLinks to an external site.” to understand Infographics more and to see some examples throughout the article.
A simple Google search for art infographicsLinks to an external site. reveals the following array of examples. This is just for you to see how diverse they can be and to realize that however you create yours is fine. It will be uniquely yours!
You can use YouTube for a wide range of tutorials about how to create infographics.
Canva might be helpful as well: How to make an infographic – ultimate guide (canva.com)Links to an external site.
You can use any app/program you want (or even, no app at all, if you want to be creative on your own). You are free to use whichever app/program you want. It’s up to you!
In the past, some students have used easel.ly.Links to an external site. If you decide to use easel.ly, you can create a free account and get started either by creating your own template or using a pre-existing one.
If you find a good resource, please share with your peers in the “Class Lounge.”
SUBMISSION GUIDELINES
Upload: First, upload the image into your User Files in your “Account” in the main Navigation bar. Click here to learn how to locate your user file and know where to upload. Links to an external site.See below in “Student Services” for more help.
Reply: Click “Reply” and embed your image. Click here for instructionsLinks to an external site..
Tutorials: Check the “Student Services and Technology Support” for detailed instructions.
STUDENT SERVICES AND TECHNOLOGY SUPPORT
Helpful tutorials:
How do I upload a file to my user or group files?Links to an external site.
How do I embed an image in a discussion reply as a student?Links to an external site.
Links to an external site.How do I subscribe to a discussion as a student?Links to an external site.
How do I reply to a discussion as a student?Links to an external site.
GRADING RUBRIC
To view the grading rubric for this discussion board, click on the Options icon (3 vertical dots; above right), then select “Show Rubric.” Mobile users: Discussion rubrics will display on mobile browsers but not on the Canvas App.
FINAL REMINDERS
Do your own work.
Your first submission MUST be your final and complete infographic and not a space, symbol, error, period mark, etc. (In other words, you need to submit your own work before you are able to view and then reply to others). The assignment will not be graded if your submission isn’t complete.
Week 9
Baroque Art in Northern Europe: Introduction & Assessment
Let’s continue our study of Baroque art by heading north – to Flanders and the Dutch Republic!
You’ll get to know artists like Rubens, Hals, Leyster, and Vermeer!
Objectives:
Recognize the distinctive characteristics of the Baroque style in Northern Europe, specifically in Flanders and the Dutch Republic.
Identify representative Baroque artists (in Flanders and the Dutch Republic) and their works
Identify representative Baroque architects (in Flanders and the Dutch Republic) and their works
Info Sheet: Baroque Art in Northern Europe (Flanders & Dutch Republic)
Topics & Themes of this Lesson
The Art Market
The Artist’s Profession
Middle-Class Patronage
Creating a Dutch Identity
Dutch Relationship to the Land
Rethinking Portraiture
Still-Life Symbolism
Paintings as Moral Lessons
Relevant Terms for this Lesson
mercantile
Calvinism (Calvinists)
Dutch Republic
vanitas
memento mori
genre scenes
allegory
Relevant Artworks from this lesson
FLANDERS
Peter Paul Rubens: Elevation of the Cross (1610)
Peter Paul Rubens: Arrival of Marie de’ Medici at Marseilles from the Medici Cycle (1621-1625)
THE DUTCH REPUBLIC
Saenredam: Interior of Saint Bavo, Haarlem (1631)
Frans Hals
Malle Babbe (c. 1633)
The Women Regents of the Old Men’s Home at Haarlem (1664)
Rembrandt
Anatomy Lesson of Dr. Tulp (1632)
The Night Watch (1642)
Judith Leyster
The Proposition (Man Offering Money to a Woman) (1631)
Self-Portrait (c. 1633)
Johannes Vermeer
Young Woman with a Water Pitcher (c. 1662)
Girl with a Pearl Earring (c. 1665)
The Art of Painting (1666-69)
Allegory of the Art of Painting (1670-1675)
Jacob van Ruisdael: View of Haarlem with Bleaching Grounds (c. 1670-75)
Willem Kalf: Still Life with a Silver Ewer and a Porcelain Bowl (1660)
Notes on the Historical Background
Historical Background: Flanders & Dutch Republic
GENERAL BACKGROUND
Thirty Year’s War (1618-1648)
WHO: Spain, France, Sweden, Denmark, the Netherlands, Germany, Austria, Poland, the Ottoman Empire, Holy Roman Empire
Outbreak: conflict between militant Catholics and militant Protestants
Driving force: secular, dynastic, and nationalistic concerns
Bourbon dynasty (France) and Habsburg dynasty (Spain) and Holy Roman Empire
Wanted expanded authority/power in Europe:
1648: Treaty of Westphalia
Dutch Republic, Sweden, and France expanded their authority
Politically restructured Europe
Granted freedom of religious choice throughout Europe
abandoned the idea of a united Christian Europe and accepted the practical realities of secular political systems (today’s nation-states)
Economic Changes
Heightened economic competition
16th c: foundation for worldwide mercantilism – extensive voyaging & geographic exploration, improved cartography, advances in shipbuilding
17th c WORLDWIDE MARKETPLACE : changes in financial systems, lifestyles, trading patterns, and expanding colonialism
Newly wealthy spent money on art!
Contemporary Connection: Kind of like eBay or Amazon for us
triangular trade (trade among 3 parties) allowed for more desirable goods: affected diets and lifestyles (coffee, tea, sugar, etc.)
Traders captured African slaves, sent to European colonies and Americans to provide labor force for producing these commodities
Prosperity!
FLANDERS & DUTCH REPUBLIC
Historical Background
16th – Netherlands under Habsburg Spanish control (after emperor Charles V retired) under Philip II (r. 1556-1598)
SOUTHERN provinces (Flanders) remained under Spanish control and retained Catholicism as official religion
Philip II’s repressive measures against Protestants (the Spanish ideal of “one king, one law, one faith” led to remorseless religious persecution) led to the NORTHERN provinces breaking from Spain and setting up Dutch Republic
1581: the 7 Protestant Provinces (Holland) renounced allegiance to Spain
Dutch Republic (1585-1718)
Note: Called “Holland” because it was the largest of the 7 provinces and the major cities of Amsterdam, Haarlem, and Delft were there
1609: truce with Spain (after 30 years of fighting; peace came, but signature signed much later)
1648: officially recognized as United Provinces of the Netherlands (the Dutch Republic); Spain conceded Dutch independence in Treaty of Munster
GOLDEN AGE of DUTCH REPUBLIC
17th century: Golden Age of Dutch AND of Dutch Art (due to economic prosperity)
Economic prosperity
Amsterdam as financial center of the continent
Expertise on the open seas – this facilitated colonies
Trade routes extended beyond Europe proper (included North America, South America, west coast of Africa, China, Japan, Southeast Asia, and much of the Pacific!)
They were incredibly wealthy and involved in the capitalist system.
Power: No absolute ruler and since it was so prosperous, political power was in the hands of the urban patrician class of merchants and manufacturers
Creating a Dutch Identity
Having come out of colonialism, they had to create a new identity for themselves. They were reinventing themselves.
In this reinvention, they sought to discover the peculiarly “Dutch” qualities of their world. For example, the Dutch landscape as being as beautiful as Arcadia.
Calvinism
In the second half of the 16th century, it replaced Lutheranism as the dominant Protestant force in Europe.
Believed strongly in both divine predestination and the individual’s responsibility to reorder society according to God’s plan.
John Calvin said that there were two types of individuals – the elect and the damned – and this was pre-ordained and pre-destined.
It appealed to some people and they set up a strict moral code; they had to maintain good behavior and hard work.
German sociologist Max Weber’s The Protestant Ethic and the Spirit of Capitalism(1904)
“Protestant Work Ethic”: all work is pleasing in the sight of God, including women’s work in the house. You are to be industrious
The peculiar combination of religious confidence and self-disciplined activismproduced an ethic that stimulated and reinforced the spirit of emergent capitalism.
Spurred people to material wealth (if that would mean you’d be elected)
THE ARTS
Iconography: no images of saints, monarchy, classical myths, because they were of little interest to Calvinists.
Puritanical rejection of art in churches, so little religious art created
Calvin was against all imagery in the churches, calling it idolatrous. He, like Luther, said that the people needed to concentrate on the Word.
They did have religious paintings, but without the ostensible religious iconography.
All of the paintings had a subtext moralizing (religious) theme.
Paradox: religious art was forbidden in Calvinist churches, but permitted in Dutch homes. Images of church interiors brought God’s word into the home in a legitimate Calvinist manner, consistent with Protestant emphasis on preaching and meditation.
ART AND THE FREE MARKET
Open-market System: Up until now, most work was done as a commission, in which a contract was created between artist and patron. Now, the majority of works were created for the open-market, where artists competed for the attention of prosperous middle-class buyers. So, these works had no patrons
Subjects they wanted: Themselves; Their country; Their homes; Life around them
Artists tried to get a reputation as a particular type of artist (still life, domestic interiors, tavern scenes, landscapes, portraits, etc.), rarely crossing into another genre.
MIDDLE CLASS BUYERS (PATRONS)
Upper middle class: prosperous merchants, traders, and academics
Middle and lower-middle-classes: skilled craftspeople, workers, and servant
Subjects they favored: genre scenes, landscapes, portraits, still lifes.
There were still commissions for group and individual portraits. For example, the Amsterdam Town Hall would commission works.
Peter Paul Rubens’ “Elevation of the Cross”
1) First, get to know Peter Paul Rubens by reading this short article: Peter Paul Rubens.Links to an external site.
2) Then dive into this powerful work Elevation of the Cross by watching this video (8:32):
3) You may also prefer to read the article: Rubens, Elevation of the CrossLinks to an external site.
ATTRIBUTION:
Khan Academy. Smarthistory. Peter Paul Rubens, Elevation of the Cross, 1610, oil on wood, 15 feet 1-7/8 inches x 11 feet 1-1/2 inches (originally for Saint Walpurgis (destroyed), now in Antwerp Cathedral). Speakers: Dr. Steven Zucker and Dr. Beth Harris https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/flanders-1/v/rubens-elevationLinks to an external site.
Khan Academy. Smarthistory. Essay by Dr. Shannon Pritchard. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/flanders-1/a/rubens-elevation-of-the-crossLinks to an external site.
The National Gallery. Peter Paul Rubens. https://www.nationalgallery.org.uk/artists/peter-paul-rubensLinks to an external site.
Peter Paul Rubens’ “Arrival of Marie de Medici at Marseilles”
You’re going to have so much fun with the Medici Cycle. Watch this video (5:23):

ATTRIBUTION:
Khan Academy. Smarthistory. Peter Paul Rubens, Arrival (or Disembarkation) of Marie de Medici at Marseilles, 1621-25, oil on canvas, 394 x 295 cm (Musée du Louvre, Paris) Speakers: Drs. Beth Harris and Steven Zucker.Created by Beth Harris and Steven Zucker. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/flanders-1/v/rubens-arrival-or-disembarkation-of-marie-de-medici-at-marseilles-1621-25Links to an external site.
Saenredam’s “Interior of Saint Bavo, Haarlem”
To get a sense of what artists were doing in the Dutch Republic and then to focus in on a work by Saenredam, please watch this video (8:06) about his painting Interior of Saint Bavo, Haarlem.

ATTRIBUTION:
Khan Academy. Smarthistory. Pieter Jansz. Saenredam, Interior of Saint Bavo, Haarlem, 1631, oil on panel, 82.9 x 110.5 cm (Philadelphia Museum of Art) Speakers: Dr. Christopher D. M. Atkins, Agnes and Jack Mulroney Associate Curator of European Painting and Sculpture, Philadelphia Museum of Art, and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/saenredam-bavo-haarlemLinks to an external site.
Frans Hals’ Paintings
Frans Hals had the ability to capture different types of people. Check out the following sources to learn about a couple of his key works of such different people.
1)Watch this video (3:37) about Frans Hals’ Malle Babbe
2)https://youtu.be/9fEublFSTOg
2) Read this brief article about Frans Hals, The Women RegentsLinks to an external site.
3) For more information on Frans Hals, please read thisLinks to an external site..
ATTRIBUTION:
Khan Academy. Smarthistory. Frans Hals, Malle Babbe, c. 1633, oil on canvas, 78.50 x 66.20 cm (Gemäldegalerie, Staatliche Museen zu Berlin). Created by Beth Harris and Steven Zucker. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/frans-hals-malle-babbe-c-1633Links to an external site.
Rembrandt’s Paintings
These are two of Rembrandt’s most well-known and intriguing paintings.
1)Watch this video (6:01) about The Anatomy Lesson of Dr. Tulp:

2)Watch this video (6:37) about The Night Watch.

If you prefer to read or would like some more reinforcement about the above two works:
1) Rembrandt, The Anatomy Lesson of Dr. TulpLinks to an external site.
2) Rembrandt, The Night Watch Links to an external site.
ATTRIBUTION:
Khan Academy. Smarthistory. Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632, oil on canvas, 169.5 x 216.5 cm, (Mauritshuis, Den Haag). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/rembrandt-tulpLinks to an external site.
Khan Academy. Smarthistory. Rembrandt van Rijn, The Night Watch (Militia Company of District II under the Command of Captain Frans Banninck Cocq), 1642, oil on canvas, 379.5 x 453.5 cm (Rijksmuseum, Amsterdam). Speakers: Dr Beth Harris and Dr. Steven Zucker. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/rembrandt-nightwatchLinks to an external site..
Khan Academy. Smarthistory. Essay: The Anatomy Lesson of Dr. Tulp. Essay by Dr. Bryan Zygmont. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/a/rembrandt-the-anatomy-lesson-of-dr-tulpLinks to an external site.
Khan Academy. Smarthistory. Essay: The Night Watch. By Dr. Wendy Schaller. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/a/rembrandt-the-night-watchLinks to an external site.
udith Leyster’s Paintings
1) Read this article about Judith Leyster’s The PropositionLinks to an external site.
2) Watch this video (4:32) about Judith Leyster’s Self-Portrait

ATTRIBUTION:
Khan Academy. Smarthistory. “Judith Leyster, The Proposition” by Dr. Saskia Beranek. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/a/leyster-the-propositionLinks to an external site.
Khan Academy. Smarthistory. Judith Leyster, Self-Portrait, c. 1633, oil on canvas, 74.6 x 65.1 cm / 29-3/8 x 25-5/8 inches (National Gallery of Art). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Steven Zucker and Beth Harris. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/leyster-self Links to an external site.
Vermeer’s Paintings
Vermeer is another important figure in the Dutch Republic during the Baroque Period.
1)Watch this video (4:48) about Vermeer’s Young Woman with a Water Pitcher
2)Watch this video (3:10) about Vermeer’s Girl with a Pearl Earring.
3)Watch this video (4:55) about Vermeer’s The Art of Painting



ATTRIBUTION:
Khan Academy. Smarthistory. Johannes Vermeer, Young Woman with a Water Pitcher, oil on canvas, c. 1662 (Metropolitan Museum of Art) Speakers: Dr. Steven Zucker, Dr. Beth Harris http://smarthistory.org/baroque-holland.html http://smarthistory.org/baroque-holland.html. Created by Beth Harris and Steven Zucker.
Khan Academy. Smarthistory. Johannes Vermeer, Girl with a Pearl Earring, c. 1665, oil on canvas, 44.5 x 39 inches (Mauritshuis, The Hague). A conversation with Dr. Steven Zucker and Dr. Beth Harris. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/vermeer-pearl-earringLinks to an external site.
Khan Academy. Smarthistory. Johannes Vermeer, The Art of Painting, 1666-69, oil on canvas, 130 x 110 cm (Kunsthistorisches Museum, Vienna). Speakers: Dr. Steven Zucker & Dr. Beth Harris. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/vermeer-the-art-of-paintingLinks to an external site.
Ruisdael’s “View of Haarlem with Bleaching Grounds”
The Dutch also appreciated landscape paintings. Take a look at this well-known work by Ruisdael in the brief video (3:35):

ATTRIBUTION:
Khan Academy. Smarthistory. Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, c. 1670–75, oil on canvas, 55.5 x 62 cm (Mauritshuis, The Hague) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Steven Zucker and Beth Harris. https://www.khanacademy.org/humanities/art-history/monarchy-enlightenment/baroque-art1/holland/v/ruisdael-haarlemLinks to an external site.
Willem Kalf’s “Still Life with a Silver Ewer” (4:03)
Still life was another genre in the Dutch Republic. Willem Kalf was one of the best-known still life painters of his time.
Watch this video (4:03) about Kalf’s Still Life with a Silver Ewer:

ATTRIBUTION:
Khan Academy. Smarthistory. Willem Kalf, Still Life with a Silver Ewer and a Porcelain Bowl, 1660, oil on canvas, 73.8 x 65.2 cm (Rijksmuseum) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. https://www.khanacademy.org/humanities/art-history…

 

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