Heinrich Wölfflin
(21 June 1864 – 19 July 1945)
Wölfflin was and art historian, educator and writer from Switzerland.
His major theories on Art included studying art through:
Formalism Method and
Comparative Method
Evolution of Styles Principles
In Formalism he emphasized that:
One way of trying to understand and appreciate works of art is by means of formal analysis, that is by looking at them not in terms of subject matter or technique, but in terms of purely formal concepts.
In Comparative Analysis,
He emphasizes that art should be studied in comparison to different periods.
In Evolution of Styles,
He emphasized that art has progressed in different periods with specific style and form.
In his books, Principles of Art History: The Problem of the Development of Style in Later Art (1915), he developed his formalism and comparative methods.
Through the study of Renaissance (late 15th- and early 16th-century) and Baroque (17th-century) works of art, Wölfflin developed several principles, which he arranged in five pairs to characterize the differences between the styles of the two periods.
The 5 pairs of principles of comparison are:
1). Linear and Painterly
2). Planar and Recessional
3). Closed Form and Open Form
4). Multiplicity and Unity
5). Absolute Clarity and Relative Clarity
1). Linear and Painterly
By Linear, Wölfflin means:
- all the figures and all the significant forms within and surrounding the figures are clearly outlined;
- the boundaries of each solid element (whether human or inanimate) are definite and clear;
- each figure is evenly illuminated, and stands out boldly like a piece of sculpture.
In contrast, in a Painterly painting:
- the figures are not evenly illuminated but are fused together;
- seen in a strong light which comes from one direction and reveals some things while it obscures others;
- contours are lost in shadow, swift brush-strokes bind separate parts together rather than isolating them from one another;
- some figures are barely visible.
Linear
Resurrection of Christ (1502) by Rafael (1483-1520) – Italian – Renaissance Period (late 15th- and early 16th-century)
Painterly
Night Watch (1642) by Rembrandt (1606-1669) –Dutch – Baroque Period – (17th- Century)
2). Planar and Recessional
The Planar means that:
- the elements of the painting are arranged on a series of planes parallel to the picture plane;
- all planes usually parallel.
In the Recessional construction:
- the composition is dominated by figures placed at an angle to the picture plane and receding into depth;
- the figures move back from the front plane;
- the other figures are recessed along diagonals behind.
Planar
Resurrection of Christ (1502) by Rafael (1483-1520) – Italian – Renaissance Period (late 15th- and early 16th-century)
Recessional
Night Watch (1642) by Rembrandt (1606-1669) –Dutch – Baroque Period – (17th- Century)
3). Closed Form and Open Form
The Closed or Tectonic Form includes:
- the composition which is a self-contained entity which everywhere points back to itself;
- the typical form of ceremonial style;
- the composition is based on verticals and horizontal position;
- the picture is self-contained;
- the closed form conveys an impression of stability and balance and sometimes, symmetrical arrangement.
The Open Form includes:
- diagonal contrast with verticals and horizontals of the frame;
- diagonal lines not only play on the surface of the picture, but move back into depth;
- figures are not simply contained within the frame, but are cut off by it at the sides;
- there is a feeling of space beyond the edges of the picture;
- the composition is dynamic rather than static;
Closed Form
Resurrection of Christ (1502) by Rafael (1483-1520) – Italian – Renaissance Period (late 15th- and early 16th-century)
Open Form
Night Watch (1642) by Rembrandt (1606-1669) –Dutch – Baroque Period – (17th- Century)
4). Multiplicity and Unity
About Multiplicity, Wölfflin means that:
- the renaissance painting is made up of distinct parts (multiplicity), each one sculpturally rounded in its own right;
- each one clearly filled with its own single local color.
In case of Unity:
- there are many units of paintings are welded into a single whole; none of them could be isolated;
- colors blend and mingle, and their appearance depends largely on how the light strikes them.
Multiplicity
Resurrection of Christ (1502) by Rafael (1483-1520) – Italian – Renaissance Period (late 15th- and early 16th-century)
Unity
Night Watch (1642) by Rembrandt (1606-1669) –Dutch – Baroque Period – (17th- Century)
5). Absolute Clarity and Relative Clarity
For Wölfflin, Absolute Clarity includes:
- that is arrived at through representing things as they are, taken singly;
- painting is clear and precise.
While Relative Clarity includes:
- the result of representing things as they look, seen as a whole;
- the perfect clarity in the depiction of subject matter is less important and the explicitness of subject is not the sole aim;
- the composition, light, and color are given visibility of their own.
Absolute Clarity
Resurrection of Christ (1502) by Rafael (1483-1520) – Italian – Renaissance Period (late 15th- and early 16th-century)
Relative Clarity
Night Watch (1642) by Rembrandt (1606-1669) –Dutch – Baroque Period – (17th- Century)
Architecture:
In the Wolfflin’s book, Principles of Art History, contained comparison of architecture using the five principles for Renaissance and Baroque architecture. Architecture was mentioned in the analysis of the five pair of principles:
1). Linear and Painterly
2). Planar and Recessional
3). Closed Form and Open Form
4). Multiplicity and Unity
5). Absolute Clarity to Relative Clarity
Two architectural structures are compared for the two periods:
| Palazzo della Cancellara, Built 1498-1513, Early Renaissance in Rome | St. Andrea delle Valle, Built 1590-1650, Baroque Style in Rome |
| Linear | Painterly |
| Planar | Recessional |
| Closed Form | Open Form |
| Multiplicity | Unity |
| Absolute Clarity | Relative Clarity |
Palazzo della Cancellara, Built 1498-1513, Early Renaissance in Rome
From his book
St. Andrea delle Valle, Built 1590-1650, Baroque Style in Rome
From his Book
From Internet
From Internet
Conclusion:
- Wolfflin was mainly concerned about he two periods of art, rennaisance and baruqe.
- Though his methods are mainly applicabe to painting, he has included sketches, sculpture and architecture in the analysis.
- His analysis for architecture is not rigorous but sporadic.
- In comparison of architecture in each pair, he was not always comparative, that is, sometimes omitted the opposite in description.
- All 5 pairs may not be applicable equally to all form of art.
References
(The information in the presentation included from following sources with direct and indirect excerpts which is not directly mentioned in the presentation)
Micheal W Cothren and Anne D’Alleva, Methods and Theory of Art History, 3rd Ed, 2021 (Kindle Edition)
Christopher L.C.E. Witcombe. “Art & Theory in Baroque Europe: Renaissance and Baroque Style.” Art History Resource. Internet site.
Heinrich Wölfflin, Principles or Art History: The Problem of the Development of Style in Later Art (1915).
Wikipedia
Several Internet sites.
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