Museum Masterpieces: The Louvre

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Lecture 2: Leonardo and the Origins of the Collection School of Paris: John the Good, King of France, c. 1350, oil on panel, 1'11" x 1'5". Andrea del Sarto: The Holy Family, 1520, oil on panel, 4' x 2'7". Jean Hey: A Donor and St. Mary Magdalen, 1490–1495, tempera on panel, 1'10" x 1'3". Sebastiano del Piombo: The Visitation, 1519–1521, oil on canvas, 5'6" x 4'3". Jean Goujon: Fountain of Diana, 16th century, marble, 6'11" (H). François Clouet: Pierre Quthe, Apothecary, 1562, oil on panel, 2'11" x 2'3". French School: Flautist with One Eye, 1566, oil on panel, 2' x 1'7". Henri Bellechose: The St. Denis Altarpiece, 1415–1416, tempera on panel, transferred to canvas, 5'3" x 6'11". Clark, Leonardo da Vinci. Cox-Rearick, Musée Du Louvre: La Collection de Françoise I. Zerner, Renaissance Art in France: The Invention of Classicism. 1. Explain the formation of the Louvre’s collection. How was it created? 2. Describe the impact of Leonardo da Vinci in relation to the Louvre and the history of French painting. Discuss the Mona Lisa and his other works in relation to this. 16 Suggested Reading Questions to Consider
Italian Renaissance and Baroque Painting Lecture 3 The great French collection of Italian painting [is] a collection that is one of the � nest in the world, and was probably the � rst systematic collection of Italian painting formed north of the Alps in Europe. The lecture focuses on the immense and varied collection of Italian painting from the medieval period through the early 17 th century. Like many other European national collections, the French collections are strongest in Italian painting for the obvious reason that, for everyone in the world, the principal advances in pictorial history occurred in the loosely regulated series of city-states we now call Italy. As we shall see, the French actually measured their own achievements as artists against earlier and, even to them, greater Italian precedents. The lecture deals with a few of the highlights of this collection, from masterpieces by Cimabue and Giotto, the earliest geniuses of Italian art, to paintings by the mysterious 17 th - century Italian master Caravaggio. Emphasis is on the “story” of painting told through these collections, as well as the history of the collection both in the French monarchy and in the professional acquisitions of museum curators and directors in the 19 th and 20 th centuries. Indeed, virtually the entire collection of late Gothic and early Italian Renaissance painting was acquired by the Louvre in the early 19 th century by its � rst great director, Vivant Denon, who, unlike French collectors of his time, was aware of the art historical importance of this painting. Late Gothic Italian Painting in the Louvre The two greatest masterpieces of Italian painting from the late 13 th and early 14 th centuries in the Louvre were seized during Napoleonic times from the Church of San Francisco in Pisa. They entered the Louvre in 1813 and had a signi� cant effect on subsequent French painting and the history of art as a discipline. By Cimabue and Giotto, respectively, they are clear manifestations of the gradual transformation in Italian painting from an anti-illusionist painting based on late Roman and Byzantine traditions to the 17
Page 1 and 2: Museum Masterpieces: The Louvre Cou
Page 3 and 4: Richard Brettell, Ph.D. Margaret Mc
Page 5 and 6: INTRODUCTION Table of Contents Prof
Page 7 and 8: Scope: Museum Masterpieces: The Lou
Page 9 and 10: Palace to Museum—The Story of the
Page 11 and 12: modern archeology. The Louvre was t
Page 13 and 14: on the second (and, in most cases,
Page 15 and 16: Unknown Artist (Etruscan): Sarcopha
Page 17 and 18: Leonardo and the Origins of the Col
Page 19 and 20: Featured Masterpiece: La Joconde (T
Page 21: In addition to Leonardo, Francis I
Page 25 and 26: in the monastery in which he spent
Page 27 and 28: The subject of the painting, called
Page 29 and 30: Caravaggio in the Louvre The most o
Page 31 and 32: Suggested Reading Bazin, Louvre Mas
Page 33 and 34: king. Both paintings stress the phy
Page 35 and 36: The boy in the painting stands prou
Page 37 and 38: Suggested Reading Brown, The Golden
Page 39 and 40: Featured Masterpiece: The Apotheosi
Page 41 and 42: eplaced egg tempera as the dominant
Page 43 and 44: ———: Hélène Fourment, c. 16
Page 45 and 46: The Louvre has more than 30 paintin
Page 47 and 48: works in his lifetime) and because
Page 49 and 50: ———: Bathsheba at Her Bath, 1
Page 51 and 52: is often represented in Italian art
Page 53 and 54: The Cheat derives both its horizont
Page 55 and 56: Italian Traditions in French Painti
Page 57 and 58: Charles Le Brun: Chancellor Seguier
Page 59 and 60: The Plague of Ashdod is among the g
Page 61 and 62: Perhaps the most balanced and perfe
Page 63 and 64: Works Discussed Nicolas Poussin: Th
Page 65 and 66: Watteau and Chardin Lecture 9 Follo
Page 67 and 68: have been included in a Salon, and
Page 69 and 70: Here, we shall examine two, beginni
Page 71 and 72: Boucher, Fragonard, and the Rococo
Page 73 and 74:
hunt and has decided to bathe with
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into himself, rather than into his
Page 77 and 78:
Anthony van Dyck: Venus Asking Vulc
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display of sexism, in which men and
Page 81 and 82:
The play is about Lucius Junius Bru
Page 83 and 84:
Pierre Paul Prud’hon: Justice and
Page 85 and 86:
contributes to a collective view of
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women, presumably in a harem, serve
Page 89 and 90:
Works Discussed Eugène Delacroix:
Page 91 and 92:
Visiting the Louvre 1. The Italian
Page 93 and 94:
Looking at the Mona Lisa 1. Study t
Page 95 and 96:
1589-1610..........................
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1871...............................
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1528-1588..........................
Page 101 and 102:
1758-1823..........................
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Fresco: The art of painting on wet
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Biographical Notes Boucher, Franço
Page 107 and 108:
Hals, Frans (Antwerp, c1581-Haarlem
Page 109 and 110:
Weyden, Roger van der (Tournai, c13
Page 111 and 112:
Brown, Jonathan. The Golden Age of
Page 113 and 114:
McClellan, Andrew. Inventing the Lo
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Museum Masterpieces: The Louvre

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