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- Cimabue, Virgin and Child Enthroned, Tempera and gold on wood panel, ca 1280. Florence
- Byzantine iconography; throne architechoral; highlights are in gold to capture divine radiance; homunculus; flat, no use of perspective; frontal compostion; Vasairi: Greek Style; Center panel facing the congergation; Created for the high altar at Santa Trinta in Florence
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- Duccio, Maesta, tempera/panel. 1308-11, Siena
- Commissioned by Siean Cathedral; 7x13; painted on both sides of the panels; dismantled in 1771; Polypyhcle (many panels); detailed scenes of Mary and Christ and included Sienan saints; better flesh colors; has form under the drapery; Christ looks like a baby; some perspective
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- Duccio, Maesta (Annunication of the Deaht of the Virgin), tempera/panel. 1308-11, Siena
- Attempted to show action (angel in the middle of kneeling), action to show narrative
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- Duccio, Maesta (Christ Entering Jerusalem), tempera/panel. 1308-11, Siena
- Depth is rising not receeding, interest in humanism, detailed setting, Christ is not in the center, buildings represent Siena
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- Gitto, Virgin and Child Enthroned, Tempera and gold on wood panel, 1305-1310. Florence
- Better prespective (angels faced cut off), no gold lining (only in halos and background), rendered forms (Mary's breasts), throne lighter in weight,
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- Giotto, Scrovegni (Arena) Chapel, frescoes (The Lamentation) 1305-6, Padua
- Commissioned by Scrovegni, Color schemes bring all the panels together (Each individual person wore than same robes so it was easy to locate them), Show Scrovegni in the best light/redeem them
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- Giotto, Scrovegni (Arena) Chapel, frescoes (The Lamentation) 1305-6, Padua
- Uses compostion devices to tie in the scenes: some mountainious line in scenery, arised Lazerus and Christ on the same line; color scheme; deeper space, more human interaction and emotion, no longer a frontal view, new use of landscape, gold only on the halos, foreshortening figures (angels)
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- Palazzo Della Signoria (Town Hall) 1299-1310. Florence
- Rivals Palazzo Pubblico; strong, fortified structues on the edge of public piazze, tall towers
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- Giotto, Scrovegni (Arena) Chapel, frescoes (Christ Entering Jerusalem) 1305-6, Padua
- still hasn't gotten perspective, shows more humanism (children), selective use of gold leaf
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- Lorenzetti, Good Government in the City and the Country, Fresco, 1338-1340. Palazzo Pubblico, Siena.
- Shows lanscape and cityscape, ideology to show the justification and postive effects of Sienese governement, outlines the moral foundations of the Nine, reference to the Last Judgement, also displays Tyranny
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- Master Theodoric, Saint Luke, paint and gold on panel, 1360-64, Near Prague
- St. Luke was the patron saint of painters, self protrait of Theodoric?, substantial bodies, oversized hands and heads, stern/gloomy and haunted face, soft and deeply modeled drapery, French gothic style
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- Vesperbild, wood, ca 1330. Germany
- Used by worshippered to acheiveunderstanding of the divine and union with God. Blood gushes from rosettes (a round or oval ornament resembling a rose) that from the wounds of a dead Jesus lying in Mary's lap.
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- Workshop of the Master of Flemalle, Merode Altarpiece (triptych), oil/panel, ca. 1425-28
- Small scale altarpiece, Left: are the donors of the work (and the woman may have been added later?), very detailed (grass), bright colors, smooth brushwork, drapery in angular pools, rising perspective, hidden symbols of everyday objects to represent Mary, no halos, in a comtemporary Flemish home, Flemish city in the background
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- Jan van Eyck, Double Portait of a Giovanni Arnolfini and his Wife, oil/panel. 1434
- Still debated over the true meaning of the piece, "Jan can Eyck was here 1434", very detailed (mirrior depects the passion of Christ, dog hair, texture on shoes), angular drapery, bright colors, handling of light (beads and window).
- Camera absurcia?
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- Hieronymus Bosch, Garden of Earthly Delights, oil/panel. ca 1505-1515
- painting is a warning to soetiy, triptych, influenced artists later like Dali and the surrealists, L: Garden on Eden with all manner of creatures, some predator/prey, work in perfection, C: The Garden of Earthly Delights, fruits are everywhere, everyone is nude and in engaging in sinful acts, alchemy as symbology, sexuality of women alluring men into evil, repeated motifs: birds, fruit, musical insturments, new race = the black people, R: Hell, sensual pleasures before are now turned into torture, bird creature = Satan; no heaven depicted, Closed: grisaille technique, represents the third day of creation
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- Matthias Grunewald, Isenheim Altarpiece, oil/panel. ca 1510-15
- created for a hositpal that deals with plague and ergot or St. Anthony's Fire. Big piece, Closed: Crucifixtion where Jesus is very weighted and 3D, he is also showing signs of ergot, Open: to represent redemtion and resserection, the imaging of christ's body disappering into the light and his enterance is so strong that is knocks the knights over, 2nd opening: orginial wood work of St. Anthony
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- Albrechy Durer, Four Horsemen of the Apocalypse, woodcute. 1498
- War, Conquest, Pestilence, Death trumpling the living, the dead are then eaten by a monster, his woodcuts are very close to engraving, filled with line, signs AD symbol of wood block,
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- Rogier van der Weyden, Descent from the Cross/Deposition, oil/panel/ ca 1435-1438
- commissioned by Louvain crossbrow's guild, lifesize figures with very real expressions of greif, rich in color (richer colors on the right to weight out the number of figures on the left)
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- Limbourg Brothers, February, Tres Riches Heures, color, ink, parchment
- Tres Riches Heures (Very Sumptuars Book of hours) contained prayers and daily devotion readings, and a calender of holy days. Shows the comfortable life on a darm, has some social classs, shows the winter and the warm fire, international gothic in that high horizon lines, small sized trees and buildings compared to the people, house shows the interior and exterior
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- Pieter Bruegel, Return of the Hunters, oil/panel, 1565
- represents Dec and Jan, landscape is the focus, shows diminishing scale, view is elevated
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Death and the Matron,
- Hans Baldung Grien, Death and the Matron, 1520-1525
- juxtaposing: sensuality with mortality, voluptuousness with decay, and attraction with repulsion; very curvy, round figure
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- El Graco, Burial of Count Orgaz, 1586
- captures the miracle that SS Augustine and Stephen lower Count Orgaz's body while his soul ascended to heaven. Put his 8 year old in the painting and some of his own features. Rich color, loose brushwork of Venetian paintings
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