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Jeniffer Harrison
Research Methods
Assignment 2
In this article, Wölffin’s reductionist perspective consists of his five formulated pairs of
dissimilar precepts in the form and style of High Renaissance and Baroque art, which
demonstrated a change in the nature of artistic vision between the two art periods. His method is
rooted in the dedicated observation of the formal qualities of individual works of art rather than
in theoretical conjecture. Wölffin explains his theory in a pattern of listing qualities of the High
Renaissance first and then compare them to the qualities of the Baroque. His repeated and
consistent use of this pattern enhances the readers understanding of his theories. The five
opposing principles are as follows with regard to interpreting transition from High Renaissance
His adversative categories provide the art historian with analytical tools with which he can grasp
and articulate fundamental stylistic distinctions between the Renaissance and the Baroque
periods in art.2
In looking at two works of art, one from High Renaissance and one from Baroque, it was
much easier to comprehend and utilize Wölffin’s theories. By juxtaposing Albrect Durer’s
Christ Bearing the Cross (Figure 1) and Paul Pontius’ (After Rubens) Jesus Stumbling Beneath
the Cross (Figure 2) each of the five pairs of precepts allow for a clear view of the differences
1
W. Eugene Kleinbauer, Modern Perspectives in Western Art History: An Anthology of Twentieth-Century Writings on the Visual Arts (Toronto,
Buffalo, London: University of Toronto Press), 164-165.
2
W. Eugene Kleinbauer, Modern Perspectives in Western Art History: An Anthology of Twentieth-Century Writings on the Visual Arts (Toronto,
Buffalo, London: University of Toronto Press), 164-165.
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Jeniffer Harrison
Research Methods
Assignment 2
which places Durer’s work in the High Renaissance and places Pontius’ work in the Baroque
period. There is a drastic change from Durer’s order of strata parallel planes to Pontius’
unapparent planes rendered by the forward and back movement of the picture. Additionally in
the Durer image, the picture is meticulously constructed and a closed entity while Pontius’ image
is full of compressed energies from the twisted bodies, the mass of people with implied lines of
motion reaching beyond the composition all working toward one goal. Durer’s woodcut is rather
linear, while Pontius’ use of shadow and shading are an integral part of the composition giving it
a painterly quality. Durer’s organization of individual parts does not yield the unity Pontus
produced via subordination in his work. Durer’s extensive revelation of form of every subject is
replaced in the Baroque by a picturesque depiction, which intentionally evades objective clarity
After review of the aforementioned works of art, Wölffin’s theory was applied to The
Mystic Nativity (Figure 3) by Sandro Botticelli and the Nativity (Figure 4) by Josefa de Obidos to
experiment with his model. With regard to linear versus painterly, Botticelli’s work is quite
linear and modeled and does not utilize chiaroscuro as an integral part of the composition.
Obidos’ work utilized the shadow and the light with shades of color to create a painterly work of
art. Botticelli’s painting tends toward an order of parallel picture planes in layers while Obidos’
planes are imperceptible engaging viewer in the recessions. Many elements of Botticelli’s
composition are constructed to physically close in the painting. In addition, Botticelli uses
implied lines and gazes to guide the viewer’s attention toward the central theme of the painting.
In the Nativity by Obidos, she places a basket in the foreground as if it may break the pictorial
plane and enter into our space. Throughout the entire painting the figures seem to extend beyond
the composition. The independent parts of The Mystic Nativity fashion the story through a
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Jeniffer Harrison
Research Methods
Assignment 2
coordination of all aspects of the image. Obidos painted movement in every direction, yet it is
bound together to create a cohesive purpose. Lastly, The Mystic Nativity must be understood
through revelation of the form of the subject to be aware of the meaning(s), however the Nativity
completely delivers the painting’s message without the viewer being overwhelmed by
contemplation. Through Wölffin’s five opposing principles it is clear that The Mystic Nativity
Wölffin’s methodology of formal analysis provides a base line for determining an art
work’s period in history. To fully understand a work of art numerous other perspectives should
also be taken into consideration. By considering factors such as the artist, the artists’ intent, the
history, the viewer, the original placement of the work, the techniques, and the materials utilized
creates a more enriched understanding and appreciation for a work of art than Wölffin’s theory
Illustrations
3
Philip Reshep. Heinrich Wolffin, Principles of Art History
http://www.philipresheph.com/a424/gallery/course/wolfflin/ch2d.htm, September 8, 2008.
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Jeniffer Harrison
Research Methods
Assignment 2
4
Philip Reshep. Heinrich Wölffin, Principles of Art History,
http://www.philipresheph.com/a424/gallery/course/wolfflin/ch2d.htm, September 8, 2008.
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Jeniffer Harrison
Research Methods
Assignment 2
5
Manatee Community College. MCC Faculty. Renaissance Journal I,
http://faculty.mccfl.edu/frithl/HUM2230/Renaissance/journal.htm, September 8, 2008.
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Research Methods
Assignment 2
Figure 4. Josefa de
Obidos, c. 1669, Nativity, National Museum of Ancient Art, Lisbon, Oil on Screen, 150 x 184
cm6
6
Fsouza. Wikipedia, Josefa de Óbidos, http://en.wikipedia.org/wiki/Josefa_de_Óbidos (accessed September 8, 2008).
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Research Methods
Assignment 2
List of Illustrations
Bibliography