1,“Lamentation” by Giotto de Bondone 14^th Cen. Italian, Padua, Fresco #14-9/14/9

·      Naturalistic approach based on observation

·      Observation as seen by return to the classics

·      Patriarch of painting

.”Man in the Red Turban” by Jan van Eyck – Late Gothic, (Netherlands), Flemish, Oil on          

              Panel#15-16/15/7

·      Use of ¾ view

·      Allegorical nature … macro/micro

·      Moves the view of the sub-natural to the natural in understanding the creator

·      Reflects the views of humanism

3. “Arnolfini Portrait” by Jan van Eyck – Late Gothic, (Netherlands), Flemish, Oil on Panel    

               #15-13/15-1

·      Humination of a pictorial theme

·      Objects are symbolic of holy matrimony

·      Insight into emerging middle class

4, “Merode Altarpiece” by Robert Campin (Master of Flemalle) – Late Gothic, (Netherlands) 

               Flemish, Oil on Panel  #15-12/15-4

·      First example of pictorial evolution taking place in Flanders

·      Know what “evolution” means

·      Reform movement in church emphasizes private devotion

·      First to show sacred event in domestic setting

·      Uses symbolism

5.  “Deposition” by Roger van der Weyden – Late Gothic, (Netherlands) Flemish, Oil on wood   

             #15-7/15-8

·      Tried to recapture emotional drama of the Gothic past

·      Display emotion through the expression in his figures (body language)

·      Restates spirit of the middle ages in contemporary terms 

6. “Dome of Florence” by Filippo Brunelleschi – Early Renaissance, Florence – Brick and    

         Masonry     #16-13/16-30, 14-18

·      Discovered scientific or linear perspective

·      Discarded traditional building methods

·      Devised new methods and built the machinery

·      First reappearance of the full classic order in 1,000 years

·      Established Florence as the center of new architecture 

7. “David” by Donatello – Early Renaissance, Florence, Bronze  #16-12/16-12

·      First free-standing nude since antiquity

·      Used the weight-shift principle

·      Symbol of Florentine love of liberty 

8. “Holy Trinity” by Masaccio, Early Renaissance, Florence, Fresco  #16-12/16-20

·      Emphasis on human aspect of artistic theme

·      First to use scientific perspective in painting

·      First to render human anatomy convincingly

·      Reflects writings of Thomas Aquinas

9. “The Palazzo Medici-Riccardi” by Michelozzo – Early Renaissance, Florence, Masonry   

            #16-20/16/36

·      Recalls a fortress by use of ratio and proportion from Brunelescis’ theories

·      Progress from rough to smooth adds to the illusion of height

·      Created a new type of urban architecture with Renaissance ideals applied to a private residence

10. “Birth of Venus” by Sandro Bottcelli – Early Renaissance, Florence, Tempera on Cavas    

                #16-27/16-28

·      Linear contour

·      Painted for one of the Medici circle (friends)

·      She becomes allegorical figure to the Christian Madonna 

11.  San Zaccaria Altarpiece by Giovanni Bellini – High Renaissance, Venice (Venican),     

           Oil on wood transferred to canvas   #17-31/17-33

·      First Italian to master oil painting

·      Venice was a city of emotion and color

·      Florence was a city of intellect and systems

·      Bellini was a teacher of Titian

12.  “Interior of San Andrea”  by Leon Battista Alberti – Early Renaissance,, Mantua,     

              Masonry   #16-43/16-46

·      Geometric between the elements

·      Broke 1,000-year tradition of church building when he removed colonnade

·      Christian basilica turned into a Christian temple

13.  “Last Supper” by Leonardo di Vinci – High Renaissance, Milan,  #17-3/17-4

·      Recognized as first classic statement of the ideals of high renaissance

·      Perspective of architecture is tied to the figures

·      Uses expression of the body to depict inner emotion

·      He wanted to depict the intention of man’s soul

14.  Tempietto by Donato D’Angelo Bramante – High Renaissance, Rom, Masonry #17-8/17-22

·      Creation of high renaissance architecture

·      This adheres to Alberti’s ideal (central planned) church

·      It is considered one of the great achievements that establishes Rome as the center of high renaissance art 

15.  Creation of Adam – by Michelangelo – High Renaissance, Sistine Chapel-Rome, Fresco   

            #17-4/17-19

·      Not the molding of Adam’s physical body but passage of the divine spark between Adam and God

·      Related human history to Christian art

·      Neo-plation merged with devotion of Christian art

·      He was declared the “divine one’ after this

16. Bound Slave by Michelangelo – High Renaissance, Rome, Marble, #17-11/17-16

·      Neo plationism of the body as a prison of the soul

·      It was done as a series for Pope Julius II’ tomb

·      Done as a pair

17.  School of Athens – by Raphaeal – High Renaissance, Vatican Palace, Rome, Fresco…

………#17-17/17-9

·      Figures symbolized learning of the West

·      Illustrated the four branches of that learning

·      It is Raphael’s masterpiece

His intent was to reconcile classic philosophy with Christian faith

18. The Tempest – by Giorgione – High Renaissance, Venice (Venetian), Oil on Canvas…

……#17-34/17-36

·      Represents  Adam and Eve after the fall from Eden

·      Color was influenced by Flemish artists

·      Used oil paint

·      Uses symbolism 

19.  Entombment of Christ – by Jacapo Da Pontormo – Mannerist, Florence, Oil on Panel      

           #17-42/17/42

·      Claustrophobic space

·      Middle is left open to show loss

·      Typical painting with lots of figures

·      Complicated dance… theatrical… like opera

20.  The Madonna with a Long Neck – by Parmigianino – Mannerist, Florence, Oil on Panel   

         #17-43/17-43

·      Limbs are ivory smooth, elongated, cold, elegant

·      Space is unrealistic

·      Great example of artificial style seen in mannerism

·      Parody of Michelangelo’s PIETA

21.  Façade of Il Gesu – by Giocomo Della Porta – Proto-Baroque, Rome, Masonry      

                #17-50/17-55 

·      Incorporated horizontal base and vertical nave

·      Embodiment of the spirit of the counter reformation

·      It is considered to be proto-baroque

22.  The Abduction of the Sabine Women – by Giovanni Bologna – Mannerist, Florence     

            Marble,  #17-48/17-52

·      Stories taken from the legends of ancient Rome

·      But the sculptor’s intention was not to show specific event, but his ability as a sculptor

·      Figures seem devoid of emotional meaning – very theatrical 

23.  Miraculous Draught of Fish – by Konrad Witz, Late Gothic, Swiss, Oil on Wood    

             #15-20/15-21

·      Most original Swiss artist who adopted late Gothic style from Flanders

·      Innovation in painting of water

·      Story based on scripture – Luke:5

·      One of the earliest landscape portraits in history