Cimabue, “Madonna Enthroned with Angels and Prophets,” from Santa Trinita, Florence, c. 1280-90

Byzantine style (gold leafing), drapery attention, foreshortening, hair styles, detail = new interest in human anatomy. Naturalist approach to art begins. First art to make steps towards humanizing, with some ties still to hierarchy.

Giotto di Bondone, “Lamentation,” fresco in Arena Chapel, Padua, Italy, 1305-06

Arena Chapel: Flat walls with vaulted ceiling so lots of flat surfaces to paint. Blue ceiling represents the sky.

Lamentation: “Boldly foreshortened angels.” Giotto shows his understanding of human psychology through his use of expression and emotion.

St. John's arm's outstretched echoes Christ on the cross.

Age of Dante.

Duccio, “Maesta” alterpiece, 1308-11

Medieval style

Panels on back and front showcase the life and passion of Christ up until his crucifixion.

“Betrayal of Jesus” shows human psychology, a wave of emotions emanating outwards.

Simone Martini and Lippo Memmi, “Annunciation” altarpiece, Siena Cathedral, 1333

Simone = middle panel, Lippo = side panels.

Interest in words and oration = angel has literal text coming out of its mouth.

Ambrogio Lorenzetti, “Peaceful City,” detail from “Effects of Good Government,” Palazzo Pubblico, Siena, 1338-39

View of colorful city, people gathered and showing interest in pageantry.

Example of what city government should look like.

Jan van Eyck, “Giovanni Arnolfini and His Bride,” 1434

Symbolism: shoes off = holy ground, dog = fidelity/trust, oranges = fleeting quality of human life/nothing lasts forever, pearls = you can't take wordly things with you when you pass away, candle = eye of God

Painting is also a legal document meaning 'she is authorized to act on my behalf' and giving her legal rights.

Robert Campin (Master of Flemalle), “Merode Altarpiece” (open), c. 1425-28

Donor portrait: Donor's name literally means 'angel-bringer' (angel appearing to Mary), Donor's maiden name means 'cabinet-maker' (panel on right of wood working man).

Polyptich = many panels

Symbolism: fire screen = virginity, smoking candle = Gabriel flying in, mouse trap = Jesus catching the Devil

Northern oil paintings = emphasis more on description, painting each individual object.

Orthogonals = lines in artwork leading to a distant point

Jan van Eyck, “Ghent Altarpiece” (open), 1432

Symbolism: Red robes = martyrdom/Jesus' sacrifice, dove = grace, fountain = eternal life

Rogier van der Weyden, “Deposition,” c. 1435

Student of Robert Campin

Crossbows = painted for the great archers' guild

Imitatio Christi = imitation of Christ's pain and falling (Mary in the painting)

Small space, but awesome structure. Outward figures act as parentheses towards the artwork.

Limbourg Brothers, “January,” from Les Tres Riches Heures du Duc de Berry (Book of Hours by Duc de Berry), 1413-16

Print (engravings) and illuminated manuscripts (colored pages) developed in Netherlands, Belgium, and modern-day Holland

Book of hours can be made multiple times. Calendar of thoughts and prayers with 12 pages, one for each month.

“January” is the only month not showing a landscape. It shows a New Year's banquet showing a blessing will be given over the meal.

Work of art you can take with you, portable art. Effects the relationship that the viewer has with the image. Appeals to sense of touch.

Martin Schongauer, “Saint Anthony Tormented by Demons,” c. 1480-89

Filippo Brunelleschi, “Sacrifice of Isaac,” 1401-02

Less tasteful, more kinetic

Lorenzo Ghiberti, “Sacrifice of Isaac,” 1401-02

More gracefully modeled

Sense of recession is more believable

Handles perspective better

Donatello, “Saint Mark,” Or San Michele, Florence, c. 1411-13

Assigned by the drapery guild

Significance: Way the naturalism is expressed through the drapery folds, sense of movement, and in the drapery itself.

Contrapposto: Counter-figure or counter stance. The way the figure is standing.

Lorenzo Ghiberti, east doors, “Gates of Paradise,” baptistery, Florence, 1425-52

Detail: Panel of Isaac = Esau and Jacob being born, Isaac sending them into the woods with the dogs to hunt, Isaac blessing Jacob.

Very naturalistic

Dontatello, “David,” c. 1440-60

First male nude in sculpture since antiquity.

Allegory: Youth overcoming adversity.

Smoothness, small arms, very skinny.

David looks unsure of what he's just done.

Donatello, “Gattamelata” (equestrian statue of Erasmo di Narni), c. 1445-1453

Roman tradition to show victorious leader returning on horse from battle:

ex. Equestrian statue of Marcus Aurelius, c. 170 CE

Calm, abstract, smooth

Andrea del Verrocchio, “Bartolommeo Colleoni,” c. 1481-96

Honors their efforts in the war.

More advanced, strong, violent, hasty

Masaccio, “Tribute Money,” Brancacci Chapel, Florence, c. 1424-27

Triptych: Three stories in one art.

Attention to anatomy, drapery, architecture, atmospheric perspective, shadows.

Masaccio, “Holy Trinity,” Santa Maria Novella, Florence, c. 1424-27

God presenting His son by holding the cross, dove = holy spirit.

Renaissance illusion of architecture and perspective.

Alludes to double chapel of Golgotha

Domenico Ghirlandaio, “Giovanni Tornabuoni,” 1488

Very wealthy: fancy clothes, necklace. Also, rosary beads and a prayer book in the background showing she is also religious.

Painter was commissioned to do this painting in memory of Giovanni (who died during childbirth), and it was to show her outward being (clothing, hair) as well as her inward being (religion).

Sandro Botticelli, “Birth of Venus,” c. 1484-86

Filippo Brunelleschi, dome of Florence Cathedral, 1420-36

Has double walls with a staircase in between these walls leading to the top of the dome.

Modern math and science provides conclusion to Medieval project.

Leon Battista Alberti, Santa Maria Novella, Florence, 1456-70

Unites the small upper story with large lower story with slopes on sides.

Repeats green and white plasters on both levels.

Pierro Perugino, “Christ Delivering the Keys of the Kingdom to St. Peter,” Sistine Chapel, Vatican, Rome, 1481-83

Frieze = line up of heads

Ceph = head

Middle distance includes scenes from life of Christ. Sense of an infinite world with horizon in background.

Leonardo da Vinci, “Madonna of the Rocks,” begun 1483

Ultimate renaissance man.

Intense human emotion makes the triangle of figures look conversational.

Leonardo da Vinci, “Mona Lisa,” c. 1503-05

Oil on panel

Sfumato = smoked or smoky. Almost dry panel is smudged with oil to make an aesthetic blur.

Atmospheric perspective = romanticizes and adds to her psychological bearing

Leonardo da Vinci, “The Fetus and Lining of the Uterus,” c. 1511-13

Shows his interest in human forms and knowing how the body works

Naturalism will show life-like forms in his works

Raphael, “Philosophy (School of Athens),” Sistine Chapel, Vatican Palace, 1509-11

Depicts scientists discussing theories and ideas

Barrel vaulted ceilings act as orthogonals

Plato (this world) and Aristotle (nature and human affairs)

Vanishing point is behind Plato's hand holding the book of knowledge

Raphael, “Galatea,” Villa Farnesina, Rome, c. 1513

Chased by cyclops and flees on a shell pulled by two dolphins

Raphael, “Baldassare Castiglione,” c. 1514

Author of gentleman’s educate book on how to act

Sense of muted color, delicacy with building on color, linear stability, hat provides darkened foil or halo effect

Michelangelo, “David,” c. 1501-1514

Contrapposto stance.

Allegory to Florence: David killed a huge monster at his small size. Florence was a small city state that was very powerful for its small size.

Energy in reserve. Looking off to the unseen.

Large hands, large feet, very developed. Ancient Roman heroic statues.

Michelangelo, “Moses,” from the tomb of Pope Julius II, Rome, c. 1513-15

Pent up energy. Muscles tense, veins visible.

Michelangelo, “Creation of Adam, detail from Sistine Chapel ceiling, Vatican City, 1511-12

Concave and convex between Adam and God

Very sculptural conception and form: light and shadow

Disegno: emphasis on line and form

God is clothed and everyone else is nude: shows innocence of the people and God's knowledge

Drapery in background suggests motion

Donato Bramante, “Tempietto,” Rome, c. 1502

“Little Temple” marks where Peter was crucified

Columns and alternating niches create sense of rhythm and shadow

Andrea Palladio, “Villa Rotunda,” near Vicenza, Italy, c. 1550-70

Dome is appropriation from the Pantheon

Appears to draw in nature from all directions

Giovanni Bellini and Titian, “Feast of the Gods,” 1529

Commissioned by rich man for his living space

Gods from Mt. Olympus being waited on by man-goats

Gods are taking on earthly form of peasants

Poesia: idea that art is like a poem ex. Telling a story, rhyming parts

Oil on canvas (colore) with bright and varied color is typical Northern vinetian artists

Giorgione, “The Tempest,” c. 1508-10

Specialized in paintings for private use in a home

Storms, sunsets, other natural phenomenon

Titian, “Venus of Urbino,” 1538

Cassone: chest in background

This is the 'classical nude'

Prenounced erotic element because of the jewelry, smooth edges of the body

Appropriation: Edouard Manet, “Olympia,” 1861

Bronzino, “Venus, Cupid, Folly, and Time,” c. 1546

Figure of deceit is 'unbelievable'

Dark male figure to the left symbolizes disease cyphalus

Sofonisba Anguissola, “Portrait of the Artist's Sisters and Brothers, c. 1555

First female artist, court painter to Queen of Spain, Renaissance “woman” (psychology, life, naturalist)

In naturalistic poses, individualized demeanor, green background provides relief

Albrecht Durer, “Great Piece of Turf,” 1503

As scientifically correct as it is poetic

Albrecht Durer, “Knight, Death, and the Devil,” 1513

Although devil is near, knight stays poised

Allegory of Christian faith

Dogs were believed to be able to see through darkness

Portable art, not an original, engraving

Albrecht Durer, “Four Apostles,” 1526

Big oil paintings

Peter in shadow background shows the bible is the only way you can get to God

Acceptable if it has a didactic or teaching lesson, not about riches or worldly beauty

Most religious paintings are commissioned, but Durer does this on his own

Inscribed: Don't be led astray by mistaking human words for the voice of God.

Costumes make the holy figures seem accessible (sandals, drapery)

Hans Holbein, “The French Ambassadors,” 1533

Other genres of picture-making other than religion

Symbolism: open Bible next to broken string = religion falling apart

Terrestrial globe vs. Celestial globe = vonetaus related

Anamorphic image = skull stands for fleeting nature of human life, reality must be viewed correctly to get its real meaning. Worldly appearance of things is not enough.

Hieronymous Bosch, “The Garden of Earthly Delight,” 1505-10

Most important artist of the early 16^th century

About marriage, sex, and appropriation.

Earthly desires are indulged in, but there are consequences after life

Attributed to Levina Teerlinc, “Elizabeth I as a Princess,” c. 1559

Parents were book makers (book in background and in hands)

Pieter Bruegel, “Hunters in the Snow/January,” 1565

Shows how the cold feels (physical qualities through colors). Interest in atmospheric effect.

Footprints in snow, ice skating/fishing, heavy clothing

People, trees, birds, are all black showing winter brings sleet, cold, and death

One point perspective, you can see everything. Trees act as transversals, leading the eye down.

El Greco, “Burial of Count Orgaz,” Santo Tome, Toledo, 1586

Divided into two zones: heavenly above, terrestrial below.

Rejected reformation: lots of mixing of money and religion. Took part in counter reformation.