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Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-1290
- Maniera Greca
- Egg Tempera
- Non-individualized faces
- Gold leaf
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Giotto di Bondoni, Madonna Enthroned, ca. 1310
- Corporeal
- Humanizing
- Consistent, directional lighting
- Chiaroscuro revealing the figure
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Giotto Di Bondone, Arena Chapel, Padua. 1305-1306
- Fresco
- Enrico Scrovegni
- 38 framed scenes
- Unifying blue
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Duccio Di Buoninsegna, Virgin Enthroned with Saints,Principal panel of the Maesta altarpiece, from the Siena Cathedral, Siena, Italy, 1308-1311
- Sienese style
- Sumptuous fabrics
- International Gothic influence
- Gold leaf as light of heaven
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Duccio Di Buoninsegna, Betrayal of Jesus,detail from the back side of the Maesta altarpiece, 1309-1311.
- Volumetric figures
- Consitent light
- Tilted up ground plane
- Use of landscape elements
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Simone Martini and Lippo Memmi (?), Annunciation, 1333
- International Gothic
- Flowing, fluttering line, jewel-like color, courtly
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Ambrogio Lorenzetti, Effects of Good Government in the City and in the Country, Palazzo Pubblico, Siena, Italy, 1338-1339. Fresco
- Approximate perspective
- Everyday activities
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Arnnolfo Di Cambio and others, Flornece Cathedral, begun 1296 horizontal compared to Gothic catherals
- Low and horizontal compared to Gothic cathedrals Dome designed by Brunelleschi
- Camapanile (bell tower) designed by Giotto
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Orcagna, tabernacle, Or San Michele, Florence, Italy,begun 1349
monument dedicated to those who died of the plague “Gothic” style of architectural ornament
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Bernardo Daddi, Madonna and Child with Saints, painted insert, 1346-1347
Maniera Greca
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Paul, Herman, and Jean Limbourg. Page with January, 1413-16
- Handmade book
- Office of the Virgin, includes prayers, psalms Ornamental pages alternate activities of the aristocracy and peasants
- January page with Duke of Berry
- International Gothic
- lunette, astrological and lunar calendar
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Paul, Herman, and Jean Limbourg. Page with February, 1413-16
Tilted up ground planeVarious winter activities
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Claus Sluter. Well of Moses,Chartreuse de Champmol, Dijon, France. 1395-1406
- Volumetric bulky figures
- Mapping of surfaces, textures
- Heavy woolen garments mask anatomy of figure
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Robert Campin, Merode Altarpiece (Triptych of the Annunciation) (open).c. 1425-28
- made for private devotion (secularization of religion) secondary hidden symbols
- clean pot, clean towels, Iris and Columbine flowers, walled garden, mouse trap
- direct observation, lighting, approx. linear perspective oil paint, blending
- Syncretism
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Jan Van Eyck, Ghent Altarpiece completed 1432
- Polyptych
- Oil paint, minute depiction of textures and surfaces
- Gathering of the Saints,
- New Jerusalem
- Symbols: Lamb of God, fountain of water of life Adam and Eve symbolize original sin Pelicans in throne tapestry, Symbolic of self sacrifice
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Jan van Eyck. Man in a Red Turban. 1433
Three quarter pose previously reserved for Christ Minute textures
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Jan van Eyck. Portrait of Giovanni Arnolfini and His Wife, Giovanna Cenami. 1434
- Secondary symbols
- Shoes, Fruit, open bed, dog, candle, mirror, Saint Margaret, Whisk broom
- functions as marriage document
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Rogier van der Weyden, Deposition, 1442
- Expressionism, intense human emotion, humanizing shallow space
- composition (tone and shapes in Virgin and Christ)
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Rogier van der Weyden. Portrait of a Lady. c. 1460
- Truthful yet idealizing
- Simplified surfaces, almost “modern”
- Three quarter pose after Van Eyck
- Reveals personality of sitter
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Petrus Christus. A Goldsmith (Saint Eligius?) in His Shop. 1449
- Second genration of Flemish painters
- Symbols- Scales, mirror
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Dirk Bouts. Wrongful Execution of the Count1470-75
- Early use of linear perspective in North
- Narratives
- Emotionless faces
- Incorporates portraits
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Hugo van der Goes. Portenari Altarpiece (open) 1474-76
- Painted in Flanders and installed in Florence, influenced Italian artists
- Symbols -15 angels, wheat sheaf, glass beaker, Iris and Columbine flowers, shoes, harp,
- Mystic Saint Bridget
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Lorenzo Ghiberti. Gates of Paradise (East Doors), Baptistry of SanGiovanni, Florence. 1425-52
- Gilded bronze relief panels
- Ghiberti also trained as a painter, aerial perspective
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Donatello, David. 1446-60 ?
- First freestanding nude sculpture since antiquity Psychology of subject
- Hollow cast bronze
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Donatello, Mary Magdalen. 1430’s-50’s
Range of expression
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Donatello, Equestrian Monument of Erasmo da Narni, 1443-53
- First full scale equestrian monument since antiquity Condotirre, Erasmo da Narni,
- Subtle psychology of subject
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Andrea del Verrocchio. Equestrian monument of Bartolomeo Colleoni, 1486-88, cast after 1490
- Somewhat exaggerated gesture of pose
- Equestrian monument, comparison with Donatello
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Antonio del Pollaiuolo. Hercules and Antaeus. c. 1475
- Figure in motion, did dissection of human corpses Body as musculo-sceletal machine
- Later influence on Michelangelo
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Fillipo Brunelleschi. Dome of Florence Cathedral 1417-36
- Invented new machines and building techniques
- Built without wooden centering, course by course Relies on Gothic/Romanesque vaulting systems Ogival or egg shaped, lantern
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Fillipo Brunelleschi. Foundling Hospital, Florence, Italy designed 1419, built 1421-44
- First Renaissance architect
- Mathematical, rational proportions
- Each bay a cube of space -Arch half height of bay, depth of bay equals width Slender smooth columns
- Horizontality
- Human scale
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Michelozzo di Bartolomeo. Palazzo Medici-Ricardi, Florence. begun 1446
- Style of Brunelleshi
- Ascending refinement of masonry
- Proportional, rational interrelation of parts
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Leon Battista Alberti. Palazzo Rucellai, Florence. 1455-58
- Ascending orders
- Tall, thin double windows
- Alberti wrote treatises on Architecture, perspective
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Leon Battista Alberti. Facade, Church of Saint’Andrea. Designed 1470
- Combines Roman triumphal arch and temple pedament Mathematical, regular proportions
- Interior uses barrel vaulting like Basilica of Constantine
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Gentile da Fabriano, Adoration of the Magi, 1423
- International Gothic in Florence
- Incorporates new pictorial science Foreshortening
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Masaccio. Trinity with the Virgin, Saint John the Evangelist, and Donors, 1425-27/28
- First use of perspective in monumental painting
- Brunelleshi probably helped with perspective
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Masaccio, Tribute Money, c. 1427
- Consistent lighting with cast shadows
- Synoptic sequence
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Fra Angelico. Annunciation, fresco. c. 1438
- Angelic Brother
- Fuses International Gothic and new pictorial science
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Piero della Francesca. Bacci Chapel, Church of San Francesco. Arrezzo. 1454-58
- Reflected light
- Architectonic, geometric settings
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Andrea Mantegna. Frescoes in the Camera Picta, Ducale Palace, Mantua. 1465-74
- Extreme linear perspective
- Di sotto en su
- First unified architectural illusion (illusionistic windows) since ntiquity -Sets sstage for 17th century tromp l’ oeil architectural illusion
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Perugino. Delivery of the Keys to Saint Peter, Sistine Chapel, Vatican, Rome. 1481
- Human figure in perspective system
- Architecture and people who are anachronistic to one another
- Formal foreground grouping, informal, varied poses in distance
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Sandro Botticelli. Primavera. c. 1482. Tempera on wood panel.
- Neo-platinist philosophy- Christian interpretation of pagan themes
- Tempera, very large scale
- Commissoned on occasion of a wedding
- Virgin
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Sandro Botticelli. The Birth of Venus, c. 1484-86, Tempera on canvas
- Neo-Platonic thought
- Venus as newborn soul, Zephrys as temptation, cloak of salvation
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Giovanni Bellini. Virgin and Child Enthroned with Saints Francis, John the Baptist, Job, Dominic, Sebastian, and Louis of Toulouse. c. 1478.Oil on wood panel
Venitian Color- Shadows have color
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Giovanni Bellini. Saint Francis in Ecstasy. c. 1480. Oil on wood panel
Dominace of landscape in Venitian painting
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