GALLERY 36: Giovanni Paolo Panini, The Interior of the Pantheon, painted c. 1740
In an era of travel, when men and women of wealth toured the continent as part of their education, factual renderings of interiors and cityscapes became important souvenirs. A major attraction on the Grand Tour during the eighteenth century was Rome; and in Rome, the Pantheon, a circular temple built in the second century. Converted to a Christian church, it became the burial spot of Renaissance authors and artists, such as Raphael, and has proved the source of inspiration for many later structures, including the central rotunda of the National Gallery. Panini was the greatest view painter in Rome during the 1700s, although his precise manner of painting was paralleled by his Venetian contemporaries, Canaletto and Guardi.
Flemish and German Art
(Galleries 35, 35A, 39-43)
At the beginning of the fifteenth century, northern European art was caught up by the same spirit of empirical inquiry and technical innovation that predominated in Italy during this period. Northern art, however, reflects neither the influence of classical art nor the development of a single-point perspective that are the hallmarks of the Italian Renaissance. Rather, Netherlandish artists such as Jan van Eyck achieved mastery in the new technique of oil painting. The use of oil on wood panel permitted an extraordinary increase in the depth and richness of color, which, in turn, was coupled with the tradition of minute, craftsmanly detail established in late medieval manuscript illumination.
Around 1500, Italian humanism and Renaissance science had a discernable effect upon northern European painting. Albrecht Dürer (gallery 35A) and Francois Clouet (gallery 41) both profited from their exposure to Italian art. The Renaissance influence carried over into the work of Rubens in the seventeenth century despite the religious and political upheaval of the Reformation which affected so much European art of the mid-1500s. Catholic Flanders, the home of Rubens, remained relatively untouched by the changing times and maintained a continuity of political and economic ties to the Spanish monarchy. Rubens, who drew heavily from the work of earlier Italian masters, at the same time developed a baroque preference for large-scale canvases and bravura brushwork, transmitting this style to his associate van Dyck.
GALLERY 39: Jan van Eyck, The Annunciation, painted c. 1425/1430
The sacred setting of a medieval church provides the backdrop to van Eyck’s interpretation of the Annunciation. The archangel Gabriel, dressed in jewels and rich fabrics, greets Mary: “Hail Mary, full of grace.” The simply gowned young virgin lifts her hands in wonder and replies, “Behold the handmaiden of the Lord.” The two Latin phrases (Mary’s is written upside-down) reinforce the contrast and balance between these two important figures: Gabriel in his sumptuous attire and with wings in rainbow colors stands slightly in front in a partially turned position, whereas Mary in her subdued glory sits slightly behind the angel and faces forward. Following the established tradition of the story, van Eyck added a lily, symbol of purity, and a dove, symbol of the Holy Spirit. He also decorated the floor tiles with Old Testament scenes prefiguring the life and triumph of Christ—Samson destroys the Philistine temple and David slays Goliath. This subtle integration of religious history into the background of the painting is indicative of the late medieval belief that objects of the external world are imbued with religious symbolism.
GALLERY 35A: Mathis Grünewald, The Small Crucifixion, painted c. 1510