Andrea Pisano, Painter, relief on the Campanile of the cathedral Santa Maria del Fiore in Florence, after 1334

Pisano was a student of Giovanni Pisano and Giotto.  It is Giotto who largely influenced many of his works including this one.

Andrea Pisano, Sculptor, relief on the Campanile of Santa Maria del Fiore, Florence, after 1334

Similar to his Painter relief, this relief also shows Giotto's influence on Andrea Pisano. It is subordinate to the overall architectural framework of the portal as it clearly stays within the boundaries set.

Gianlorenzo Bernini, Cornaro Chapel, ca. 1644/1647, Rome, Santa Maria della Vittori

Interesting because Bernini takes advantage of all three types of art work within this Chapel - painting, sculpture, and architecture.

Giorgione, the Tempest, ca. 1510, Venice, Gallerie dell’Accademi

Has been called the first landscape in western painting.  Interesting because all of the symbols in the painting offer many interpretations, but none answers all of the questions.

Filippo Brunelleschi, The Sacrifice of Isaac, 1401, Florence, Bargello

Part of a form of Paragone (Brunelleschi and Ghiberti competed against each other and each made their own "Sacrifice of Isaac")  ·      Bruneleschi is the better architect, he divided it into two parts and made his version much more relaistic

Lorenzo Ghiberti, The Sacrifice of Isaac, 1401, Florence, Bargello

Won the competition against Brunelleschi.  His was much more elegant. 

Paolo Uccello, Sir John Hawkwood, 1436, Florence, Cathedral

Shows Uccello's interest in perspective.  From below, it looks as if the images within the fresco are sculptures. 

Andrea del Castagno, Niccolò da Tolentino, 1456, Florence, Cathedral

Much more elegant and unrealistic in comparison to Uccellos'.  The intricate strands of hair (of the man and in the horse's tail) could not be replicated realistically in sculpture form.   

Antonello da Messina, Pietà with Angel, ca. 1471-1474, Madrid, Museo del Prado

One of the first, if not the first, artist to create oil paintings.  He practiced creating form with color rather than lines and shadows which influenced many Venetian painters of the 15th and 16th centuries.