Northern Renaissance Final

The Triptych of the Seven Sacraments

Rogier van der Weyden

1440

oil on panel

3 panel altarpiece

The seven sacraments Christians experience through life seen

1. baptism - includes those shoes from Arnofini portrait

2. confirmation or Chrismation - old tradition of white cloth tied around face

3. confession

4. communion (Eucharist) - visual continuity between painted and irl religious space, body of Christ held to the painted body of Christ, form of perpetual prayer

5. holy orders - for those becoming clergy

6. matrimony - hands tied together

7. last rites (funeral)

this is set in a church, evoking Cathedral of St. Michael in Brussels (Weyden is the state painter of Brussels)

can see numerous perspectives to see different directions of the church

turn the characters’ backs to the audience → allows for audience to break through the fourth wall

two panels are shortened = resembles the church architecture of the nave

we see the communion screen (the gate) to seperate clergy from people

an altarpiece that was left opened (?)

Cathedral of St. Michael (St. Gudula)

begun 1226

Brussels

looks like the interior of The Triptych of the Seven Sacraments

Onze-Lieve-Vrouwe (Church of Our Lady)

Jan and Pieter Appelmans

1352-1521

Lamentation Triptych (St. John Altarpiece)

Quentin Massys

1507-08

oil on panel

folower of Durer — follows Netherlandish art

made for leading Antwerp guild — cabinent maker guilt

a reinvention of van der Weyden’s cross bow deposition scene

Inspired by John the Baptist and John the evangelist Durer wood cuts → but more muted colors, from spending a year in Italy

attributed to bringing italian styles to N Europe through low countries

St. Martin’s

Hans von Burghausen,

1385-1505

lack of transept arms → more economical more faster to construct due to rectangular shapes

compared to layered space of Gothic, one unified heightened space → without buttresses, has taller windows = more light

Latin/Gothic churches took >100 years to build, Hall churches takes <100 years to build

The layout is based on a geometric unit → God gives order, number and weight, measurement and math are the universalizing language = Churches follow rations in the Bible

St. Lorenz’s

Konrad Heinzelmann

1439-77

Sacrament House

Adam Kraft

1493-96

Sandstone with partial painting

elaborate tower in the church called Tabernacle House

artist places himself into the space itself → seen holding a chisel and hammer, the tools to make the tabernacle → shows to be able to transform stone into something ornate

Four Horsemen from the Apocalypse Series

Albrecht Dürer

1496-98

woodcut

horizontal lines broken up by motion of the subjects

“dynamism” with the slight angle of the horses

the shadow of death passing over — the left side are dead, the right are set to die

made right before year 1500, believed to be the apocolypse

people are seeking images to ready themselves for the apocolypse

nobody is spared — even a bishop is being eaten

Allegory of Vanity

Attributed to Gregor Erhart

polychromed limewood

“the joy of youth” we want youth to avoid death

reflects the reality of bodies — seen with a youthful girl, a boy, and an elderly woman

no matter how youtful you try to be, time will always win

old woman even has flies on her figure

The Fountain of Youth

Lucas Cranach the Elder

1546

oil on panel

mythologized spring to have eternal life

only women are brought to the spring — women are expected to remain young

the men stay old and aged

Death and the Maiden

Hans Baldung Grein

1518-20

oil on panel

the artist made a series of work to depict ways death finds us

similar to loving embrace from behind, but is instead a kiss from Death

in a graveyard, standing on the gravestone

the reality that death is unepexected, you should prepare

Triumph over Impatience from the Ars moriendi

Master ES

1450

engraving

from a book on how to die, subjects on their death beds

how to rectify vices — here shows a moral critique of a man acting impatient when pushing people away

in image of Pride, a man still holds onto his secular crowns held by devils while Christian figures looking on in judgement

very popular book, translated in many languages

Seven Deadly Sins

Hieronymus Bosch

1480

oil on panel

the center circle resembles an eye — the inscription states this as the Eye of God “the Lord sees all”

the center circle/eye has depictions of the vices: anger, vain, gluttony, avarice (greed), envy, luxury, and to be athiest

4 circles around the eye: serving of last rites on death bed → a candle = his life, devil + angel, hell, and the last judgement

Disputacioun Betwyx the Body and Wormes

Anonymous

1435-40

manuscript

Tomb of Henry Chichele, Archbishop of Canterbury

Anonymous

1424-26

polychromed stone

Dance of Death

Michael Wolgemut

1493

woodcut from Nuremburg Chronicle

popular scene during the time, from the Nuremburg Chronicle, the most illustrated book for its time

a full history of the world from Genesisi

Communal, frivolity, macabre

with death, there is release from the mortal body

upper section of the Transi de René de Chalon

Liger Richier

1545–47

marble

the image depicts reality of what happens when you die — momento mori

example of Écorché — to expose each layer of the body from medical tradition

the body is holding a heart raised to heaven, it continues to beat

Adam and Eve

Lucas Cranach the Elder

1509

woodcut

Adam and Eve

Albrecht Dürer

1504

engraving

youthful male figure (Italian ideal) and “volumptious” female figure (Medieval ideal) → first examples of studying from a female figure

classical, Italian figures = idealized, young, beautiful

sign: “Albrect Durer: From Nuremburg, in progress of making this” → this Italianate concept originates from ancient art: shows the artist is in continual creation and always time to grow

shift to engraving from woodblock: text with image done easier with woodblock compared to pressure engraving

animals around subjects = icongraphic details = maybe animals are the 4 tempers of the body

rather than Garden of Eden, set in the forest → tree of knowledge = fig tree

an advertisment to show off skills, a commodity to spread around quickly his name as an artist

Adam and Eve

Hans Baldung Grein,

1511

chiaroscuro woodcut

chiascuro woodcut = multi colored woodcuts

St. George

Lucas Cranach

1507

chiaroscuro woodcut

similar to Durer, but shows increase in visual vocabulary

The role of copying is to show artist is as good as Durer

wood cut

The Beautiful Madonna of Regensburg

Albrect Altdorfer

1519-21

color woodcut from six blocks

compared to painters, has mass produced colored prints quickly

achieved through six different wood blocks layered on top to achieve colored appearances

Annunciation from The Life of the Virgin series

Marcantonio Raimondi

1505-15

woodcut

is caught by Durer for copying his work and Durer sends agents and involves the state

court decides Raimondi CAN continue copying → just get rid of signature

start of copyright law

Urine Analysis Chart from Epiphanie medicorum (Doctors’ revelations)

Ulrich Pinder

1506

woodcut with hand-coloring

early diagonist image — no diagnostic tests available outside of the urine analysis

standarziation of information thanks to print technology

Portrait of Willibald Pirckheimer as Caput Physicum
from Pruthenus, Trilogium anime (Three parts of the soul)

Albrecht Dürer

1498
Woodcut

shows medieval understanding of psychology, as sections of the head

Herbarium vivae eicones

Otto Bunfels

1530

woodcut printed book

studies of medieval botony

example of a medicinal plant

Rhinoceros

Albrecht Dürer

1515

woodcut

Durer’s attempt to catalogue foreign animals not previously seen

shows a text with image: a description of the rhino’s appearance, beheavior, and personality

innacurately portrays a rhino like a plated animal → Durer never saw a rhino, only read a description and based on seeing other animals

is trying to come off as scientific

De humani corporis fabrica libri septem

Andreas Vesalius

1543

woodcut and letterpress

showing each layer of the muscle

pose showing animations and flexing movment of the muscles

detailed background shows lack of distinction between art and science

to present information is to also create art

dual audience: doctors and artists are interested in anatomy

Map of the Northern Celestial Hemisphere

Albrecht Durer and Johannes Stabius

1515

woodcut and hand-coloring

for navigation purposes: fuels the age of Exploration

The Tree-Man

Hieronymus Bosch

1505

pen and brown ink

The Last Judgment

Hieronymus Bosch

1482-1505

oil on panel

The Haywain

Hieronymus Bosch

1512-1515

oil on panel

Death of the Miser

Hieronymus Bosch

1490-1516

oil on panel

Garden of Earthly Delights

Hieronymus Bosch

1505-1510

close:

monochromatic “surrogate” of Earth, outside showing the world still in the process of being made, God seen at Genesis in top left

alchemical structures/flasks, seen on Earth

From map traditions

God is first creating structure, color comes later

inscription says God is creating in the image → God = Dues Architect, early depictions of God holding a compass the creation + defintion of geography, artists similarly is God, fomring space from nothingness

open:

to reveal world of intense saturation

unknown context of the piece

deeply religious painting: middle panel shows alchemicial objects in bg to differentiate this world from ours, subjects enjoying themselves and highlighting pleasures of life, 2 owls present = owls used by Bosch represent the watchers of hedonism

when you give yourself to pleasure you forget life is temporary and judgement will wait for you in eterna life

left panel:

garden of eden, be we see animals killing each other = the rise of sin

right panel:

the effects of poor decisions send you to hell

depicts ways bodies can be tortured

music, gambling, church indulgences in ofreground

bosch as the egg man = life’s fragility

deeply moralizing

Adoration of the Magi

Hieronymus Bosch

1475

oil on panel

Christ Descent into Hell

Follower of Hieronymus Bosch

first half of 16^th cent

oil on panel

Melancholia I

Albrecht Dürer

1514

engraving

running out of time = hourglass

creation seen throughout — both in actions and items are related

melancholia — one of the four humors

a self portrait of the tortured artist/genius — started around this time where artists go against the image of the humble artist, showing the artist can struggle

Self-Portrait at 13

Albrecht Dürer

1484

silverpoint

inscription about who he is

document where Durer begins, shortly becomes an apprentice after this piece

difficult medium: silver point, a piece of sharpened silver, unable to erase, no blending, no mistake

done with a miror

pointing gesture

Self-Portrait at 22

Albrecht Dürer

1493

oil on panel

travelled to Holland at 18

gets married, makes portrait for wife

dressed in contemporary German clothing → shortly goes to Italy after

View from Trent

Albrecht Dürer

1495

watercolor drawing

shows the changes in climate between Alps+Germany to Italy

desire to capture his travels

Battle of the Sea Gods

Albrecht Dürer

1494

pen drawing

meets/encounters work of Mantegna → inspired by classical antquity

pagan subject matter

idealized bodies

Durer is doing a study of Mantegna’s work

Battle of the Sea Gods

Andrea Mantegna

1481

engraving

Self-Portrait

Albrecht Dürer

1498

oil on panel

shows him in Italian clothing

interested by how Italian artists are treated compared to N. Europe = not humble craftsmen but intellectual elites and Durer wants that treatment back home

similar bg of Madonna and Child to show his status

Madonna and Child

Albrecht Dürer

1496/99

oil on panel

Madonna and Child

Giovanni Bellini

1480s

oil on panel

Feast of the Rose Garlands

Albrecht Dürer

1506

oil on panel

Durer recieved commission from Venice for a confraternity dedicated to rosaries

Vencie had control of the Mediterrean sea, major trade post between Europe, Africa, and Asia = very cosmpolitan, had the first ghettos to keep Jews in enclosed neighborhoods aka anti-Semitism was prominant in Venice

practice of the rosary becomes more systemizied

roses = rosaries

texture seen in the iridescence on clothes

durer includes himself in the work itself — leaving himself in the town painting

“putti” angels present with wings: silly characters and an Italian concept → comes from hierarchy of angels

copying an Italian subject: “sacred conversation” where several subjects from different time frames coming together in one space

San Zaccaria Altarpiece

Giovanni Bellini

1505

oil on panel

Large Turf of Grass

Albrecht Dürer

1503

watercolor

in watercolor = flexibility in the medium

level of precision = to be a surrogate of the world, intense observation

Albrecht Dürer

Bird Wing and Bird Study (Blue Roller)

1512

watercolor drawing

the attention to the unnoticed

empiricial observation/naturalism in post-Protestant Reformation = God is in nature, faith in observation

Attention to detail

Durer travels extensively, esteemed man of the court and a part of different upper/middle social circles

Young Hare

Albrecht Dürer

1502

watercolor

see diversity of the colors and texture

(same context as bird wing)

empiricial observation/naturalism in post-Protestant Reformation = God is in nature, faith in observation

Attention to detail

Durer travels extensively, esteemed man of the court and a part of different upper/middle social circles

shown to greatly respect other artists

Study of Venetian Woman

Albrecht Dürer

1507

oil on panel

annonymous subject

akin to other Italian figures

Portrait of Katharina

Albrecht Dürer

1521

silverpoint

servant in Durer’s household

Likely from the Portuguese slave trade with/from West Africa

Attention of “physiognomy” — focus on individual features

using portrait to personify — bigraphical purposes

Self-Portrait

Albrecht Dürer

1500

oil on panel

speaks to celebrity status of Durer — his self confidence

intentionally inflates his image to be like Jesus → the artist = creator = God

frontal gaze, hand gesture is not like Jesus (external hand gesture) but instead is internal

Human sized portrait - in elaborate clothing to show his status

not showing himself as a painter — like he’s God or like a wealthy painter

Durer’s hair was maintained after his death — like a religious relic, saint status of the arts

Christ Blessing

Hans Memling

1478

oil on panel

Mohammed and the Monk Sergius

Lucas van Leyden

1508

engraving

differs from contemporaries (Durer) - able to create atmospheric effects (with lighter values in the bg)

engraving lines are so dense and thin, it creates subtle gradation

increasingly secular subject matter + interest in landscape = genre word

still have religious characters, depicting prophet mohammend (reflecting contemporary anxieties of the growing Ottoman/Islamic world) for a christian audience

story of Mohammend being famed for the murder of a monk

unclear why this was represented — not a common story, typically a moralizing story in Islamic world (not in this example however)

The Milkmaid

Lucas van Leyden

1510

engraving

composition drawn to milkmaid and she is empasized

new status of the regular figure — breaking down traditions

shows expectations of your role in society

“malken” to milk, but in slang, it also meant “to attract”

sxual innuendo — humerous subject

The Dance of the Magdalene

Lucas van Leyden

1519

engraving

combining engraving for the foreground and etching (lighter) in the bg

religious figures starting to look/are in secular/secular scenes

1514: Proestant Reformation, Martin Luther, questioning one’s relationship w/ God, Martin Luther thought too many were reliant on the church and there should be a direct connection with God

Card-players

After Lucas van Leyden

1550

oil on panel

inspired by a piece of Leyden

working in the lower countries, Antwerp, are becoming really wealthy through mercantile trade

Lamentation Triptych (St. John Altarpiece)

Quentin Massys

1507-08

oil on panel

The Penitence of St. Jerome

Joachim Patinir

1512-15

oil on panel

closed: grissaile external panels

open: vibrant colors, atmopshereic qualities over the land

radical shift in scale — where religious figures given the bottom third of the painting while the focus is on the landscape

Rest on the Flight into Egypt,

Gerhard David

1510

oil on panel

Isenheim Altarpiece

Matthias Grünewald,

1509-1515

oil on panel

was put up and made for a church with a hospital 

at a time with ergotism, a disease which is reflected in the state of Jesus

shows Jesus tortured on the cross

on the inside, complete change with the inside hopeful and bright compared to dark and solemn outside

angel choir on inside shows treatment to ergotism, to have hope

Lamentation splits Jesus into two at the legs of the division, like amputation 

common practice for statues on the inside and paintngs on the inside = the paintings become real

closed: reminder of the temporality of life, the bodily torture of Christ — to think about the pain of the body

The Pilgrimage to the Beautiful Madonna of Regensburg

Michael Ostendorfer

1520

woodcut

context: Holy Roman Emperor Maximilion was a patron of the arts and protected the Jewish community. Following his death, the empire fell into chaos and the anxiety in Regensburg towards the protected Jewish group caused Christian iconoclasts to tear down the town’s synagogue

During this process, one was injured but prayed to the image of Madonna and was healed → became a site of pilgrimage where the church was building over the synagogue

pope told people to go to Regensburg as a special indulgence → hated by Martin Luther

verges on idolotry: praying to the image as if the spirit is within it → frowned on by Chrisitans because it is a pagan tradition

growing axiety of idoltry around this time - waves of iconoclasim

Martin Luther

Hans Baldung Grien

1521

woodcut

Cranch circulated Luther’s image → protection by being a celebrity

The Seven Heads of Martin Luther

Hans Brosamer

1529

woodcut

Passion of Christ and the Antichrist

Lucas Cranach, Martin Luther, Philipp Melanchthon

1521

woodcut and letterpress

comparing Christ with the pope = the Anti-Christ

Left: Church space; christ casting out taxpayers out of the temple

right: Pope writing indulgences as people give away with their money

Compliant of the Poor Persecuted Idols and Temple Icons

Erhard Schön

1535

woodcut

Christ Blessing, Surrounded by a Donor Family

German Painter (Ludger tom Ring the Younger?)

1573-82

oil and gold on panel

different from other works: a family in same space as Christ directly = protestant

Portrait of Henry VIII

Hans Holbein the Younger

1540

oil on panel

Sir Thomas More

Hans Holbein the Younger

1527

oil on panel

The Ambassadors

Hans Holbein the Younger

1533

oil on panel

both men came to King Henry to rectify the relationship the Church

the many objects of measure, but signs of chaos (lute with broken string)

French diplomat, Jean de Dinteville on the left, representing active life, seen with his dagger, and Georges de Selve on the right, representing contemplative life (seen with the book)

four axis of the painting: active vs. contemplative life, celestial vs. terrestial

floor design is based on the the Cosmati pavement, based from a byzantine tile design taking from gemstones which symbolizes the cosmos/universe

the skull is a reminder of momento mori

crucifix statue in top left in the corner

distortions: distortions seen both in the lute because of perspective to create a distortion which supports reality, while the distortion of the skull makes you question reality

looks secular but is deep down religious: a critique of protestantism: allusion of discord (instruments and Lutheran hymn book) but uses other symbols to contexualize and downplay the man made institutions

Portrait of Margaret of Austria (age 10)

Jean Hay

1490

oil on panel

daughter of Holy Roman Emperor Maxmilion

cabinent of curiousities: for elite to display what they have, to have power

Triumphal Arch for Maxmillian I

Albrecht Dürer

1515
modular print woodcut

commissioned by Emperor Maximillion for Durer

The Metamorphosis of Hermaphroditus and Salmacis

Jan Gossart

1517

oil on panel

From the Ovid, Metamorphosis → used to explain natural phenomeonon and changes

a classical text → revival of classical antiquity

now (1500s) European courts are starting to take inspration from classical styles to empire build → now inspired by Rome

Margret picks this story — the creation of the hermaphrodite — Salmacis a water nymph falls in love with son of Venus, before becoming one figure of both genitalia

the intellectualization of art — expression of patron’s intellect

People from Calicut, from The Triumphal Procession of Emperor Maximilian

Hans Burgkmair

For Emperor Maxmillian

why do we collect — to feel the world in one small area for only you

imperialism: portuguese collected from aztect works

attention to categorize all people — show he is collecting = an expression of power, to have a picture of someone is to possess them

Gallery of Francis I at Château de Fontainebleau

Workshop of Rosso Fiorentino

1528–1540

patron is Francis I of France, like a vacation home for him

proliferation/replication of Italian villa architecture by Francis → this villa architecture is an example of classical ideals — retiring to the country side after working as a stateman

Italian artists working on pieces within this building

compared to N Ren, there’s overelaboration of details added on

Italianate forms — volumpoius, subjects are classical

depcits the Aenied — Francis I fashioning himself like Aenies, will have something great like the Roman Empire

clear shift to highlight Italy as center of culture — start to becoming the dominant narrative of Rome as center of Western world, introduction of the fresco to N Europe

→ Were poorer quality because of the wetter climate of France

Salt cellar

Benvenuto Cellini

1540-43

gold, enamel, ebony, and ivory

salt was very expesnive at the time and was seen as a luxury

also carries pepper, which comes from India → shows the status and taste of its owner

Ceres, goddess of the Earth and Poseidion, god of the sea → representing antiquity

inspired by Michaelangelo

The Last Supper

Bernard van Orley

1525-28

tapestry with metallic thread

sent to Brussels, center for tapestry work

Raphael took Brussels workshop to court, one of the first copyright cases

Made of silk and wool, wrapped in gold

Copied from prints of Da Vinci’s Last Supper

shows level of skill to create the illusion of depth in the tapestries

Triumph of Bacchus

Maarten van Heemskerck

1536-08

oil on panel 

commissioned work for someon’s home

attention to anatomy and volume, like Michaelangelo Sistine Chapel

Bacchus — God of wine and Silenus — man who got drunk

a mythological scene from antiquity → showing decadance and debauchery = SECULAR

The Baths of Diocletian, from the series Roman Ruins and Buildings

Johannes van Doetecum

1562

studies done of Italian architecture through the eyes of Northern European visitors

ruins being documented

A Meat Stall with the Holy Family Giving Alms

Pieter Aertsen

1551

oil on panel

artist from Antwerp, not made for commision but for art markets

abundance in the foreground, people begging in the background

religious painting, showing a holy family giving alms in the bg

a meat stall selling the most expensive items of the day → a commentary of the economic state of the world, reflecting how well the market is doing

in Brussels, there was a Butcher’s Hall → shows the concentration of wealth in one area to have meat sold as commonly

painting reveals an anxiety about over abudnece — reminder no matter how you have now, not permanant, and you should be generous

turn to secularized type of painting during period of reformation, artists no longer can only be religious painters and had to adapt to change in the market for secular works

Market Woman with Vegetable Stall

Pieter Aertsen

1567

oil on wood

turn to secularized type of painting during period of reformation, artists no longer can only be religious painters and had to adapt to change in the market for secular works

shows abundance but in a positive way

Flowers in a Wooden Vessel

Jan Brueghel the Elder

1568

oil on wood

genre paintings of still lives

emergance of the tulip market from a speculation bubble brought on by the Dutch East India Company

a lot of flowers but not all bloom at the same time — this arrangement is artificial and impossible

their impernance of flowers reminds us of moment mori

The Big Fish Eat the Little Fish

Pieter Bruegel the Elder

1556

was translated into an engraving

artistic autonomy around this time during print

title comes from Latin proverb — there’s always something bigger

Bruegal is an early fan of Bosch

Netherlandish Proverbs

Pieter Bruegel the Elder

1559

oil on panel

Brugel worked for a erudite class — humanist and well read, exclusive

shifted away from bosch to human figures, each with actions based on the Adagia, a text you need to know beforehand to understand the references → a higher demand of the audience

shows all the foibles of humanity — moralizing to learn from proverb

Bruegel known to make fun of the working class

The Blind Leading the Blind

Pieter Bruegel the Elder

1568

oil on panel 

subjects lack agency — blind faith without being critical

reminder of the chruch as omnipresnet as a focal point — a form of criticism against the Church from protestant thought

Peasant Wedding

Pieter Bruegel the Elder

1566-69

oil on panel

Bruegel captured moments of the peasant class — a day of celebration

treating this as a noble subject worthy of being painted

Harvesters

Pieter Bruegel the Elder

1565

oil on panel

forms relaxing, imitating the enviornemnt

man working with nature, interest in the landscapes, precursor to the landscape revolution

depicts order

human form reflected in environment

protestant belief of good deeds and hard work gets you to heaven

focus on mundane no named figures

makes innoble actions worthy of noble paintings

Hunters in the Snow

Pieter Bruegel the Elder

1565

oil on panel

wealthy Antwerp patron commissioned 6 pieces for each 2 months of the year

focus on the daily activites and the honor in labor

dominion of people over the world — how people care for the world

capture the atompshere of living and its challenges — failed hunt

Glaziers

a tradesperson responsible for cutting, installing, and removing glass (and materials used as substitutes for glass, such as some plastics) (Idk, maybe this actually referencing painting pazes)

Limewood sculpture

Intricate wood carvings depicting religious figures and scenes, displayed in churches across Europe

Fan vaulting

is a form of vault used in the Gothic style, in which the ribs are all of the same curve and spaced equidistantly, creating a conoid structure in a manner resembling a fan

The largest fan vault in the world can be found in King's College Chapel, Cambridge

Hall church

a church with a nave and aisles of approximately equal height, in Germany there is often one single immense roof, a hall church is lit by the windows of the side walls typically spanning almost the full height of the interior.

Basilica plan

A large public building, rectangular in plan, normally featuring a nave flanked by aisles, and an apse

Ars moriendi

The Ars moriendi ("The Art of Dying") are two related Latin texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good death, explaining how to "die well" according to Christian precepts of the late Middle Ages

Transi/cadaver tombs

is a type of funerary monument to a deceased person, featuring a sculpted tomb effigy of a skeleton, or of an emaciated or decomposing dead body, with closed eyes. It was particularly characteristic of the Late Middle Ages when they were designed as a memento mori to remind viewers of the transience and vanity of mortal life compared to the eternity and desirability of the Christian after-life.

Dance of Death

is an artistic genre of allegory from the Late Middle Ages on the universality of death, to remind people of the fragility of their lives and the vanity of earthly glory

Millenarian

the belief held by a religious, social, or political group or movement in a coming fundamental transformation of society, after which "all things will be changed", in Christianity, that the Second Coming is very near and that there will be an establishment of a Kingdom of God on Earth

Chiaroscuro print

color prints made from the successive printing of multiple blocks—flourished in 16th-century Italy, interpreting designs by leading masters such as Raphael, Parmigianino, and Titian, while boasting extraordinary craft and their own, often striking palette

Écorché

is a figure drawn, painted, or sculpted showing the muscles of the body without skin, normally as a figure study for another work or as an exercise for a student artist, meaning "flayed”, some of the first well known studies of this kind were performed by Leonardo da Vinci, who dissected cadavers