Paul, Herman, and Jean Limbourg. Page with February, Très Riches Heures. 1413-16.

This painting was both religous and secular. It was for meditative purposes and allowed the viewers to practice relgion within their own home. 

Robert Campin, Mérode Altarpiece (triptych of the Annunciation) (open). C. 1425-28. Oil on wood panel. The Metropolitan Museum of Art, New York.

Triptyck of Annunciation. On the left panel shows the commisioners family peaking into the room, being able to witness such a grand event. In the middle the angel had just flown in, which is why the candle is burned out and the pages are beginning to turn. It was painted to look in the moment. There is depth shown in the architecture and atmospheric pespective and even seen in the walls. During this time many objects in paintings were known to have symbols such as the white cloth representing purity.

Jan van Eyck, Man in a Red Turban, 1433. Oil on wood panel.

This painting was the first to display an outward gaze, where the viewer feels as if the subject is looking at them from all perspectives. It was the first to do this in around 1000 years.

Jan van Eyck, Portrait of Giovanni Arnolfini and His Wife, Giovanna Cenami (?). 1434. Oil on Wood Panel

This image was controversial, since it was not completely known if it was his actual wife. Jan van Eyck paid close attention to detail, even within the mirror in the background displays, the reflection of the room. The room is shown with very natural elements such as the orange on the window ceil showing jan van eycks close attention to deal. The dog on the floor represents fidelity, at this time symbols were strongly used in paintings.

Rogier van der Weyden. Deposition, from an altarpiece commissioned by the Crossbowmen’s Guild, Louvain, Brabant, Belgium. c. 1442. Oil on wood panel. Musel del Prado, Madrid.

In this image christs body form follows that of the virgin. The painting was known to be very fluid. Commisioned by the Crossbowmens Guild.

Hugo van der Goes, Portinari Altarpiece (open). c. 1474-76. Tempera and oil on wood panel.

This painting, like the merode alter piece, depicts a family being able to witness nativity(?). All of the people depicted as smaller beings kneeling are known to be the commisioners family. Also showed that religous practice became more decentralized since it allowed for prayers in ones home. 

Filippo Brunelleschi. Dome of Florence Cathedral. 1417-36

Very sculpture like piece of architecture. It has a dome inside of the dome( NEED MORE INFO)Built 100 years after the c hurch was built double shelled dome, made most machinery to make the dome.

Michelozzo di Bartolommeo (Michelozzo). Palazzo Medici-Riccardi, Florence. Begun 1444

Very similar to Palazzo Ruccelei which was built after. This building was more rustic, at the bottem level the bricks are very rugged and contain arches while also contains much stronger corners.

Leon Battista Alberti. Palazzo Rucellai, Florence. 1455-70

Very similar to the Palazzo Medici-Riccardi. Commisioned by the Medici family. Uses fluted columns on the side. The foundation level remains smoothe and has square doorways.

Leon Battista Alberti. Façade, Church of Sant’Andrea, Mantua. Designed 1470

 The artist paid really close attention to symmetry and proportions. Contains fluted columns. Ancient reference. Collosal Order in the front, remensicent of a roman temple and clasic roman arch, one central arch that is not as high as the churchs naive.

Lorenzo Ghiberti. Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence. 1425-52. Gilt bronze, height 15’.

These doors were commisioned in which Ghiberti competed against Brunelleschi for the commision. There doors took 32 years to make where the commisoners had to hunt done ghiberti. It is a relief

Donatello, David , Dated as early as c. 1420 and as late as the 1460s. Bronze, height 5’ 2 ¼”.

Showed the death of the beast after he had been defeated. The David looks smug. The first free standing nude since antiquity commisioned by the medici family, classical reference since it has the contraposto pose.

Donatello, Equestrian monument of Erasmo da Narni (Gattamelata ), Piazza del Santo, Padua, 1443-53.

This sculpture was done on a base for people to look up at. The sculpture was not done in exact proportion considering the man is much smaller than the horse. Looks very similar to the Equestrial monument of Bartomello(?) Donatello was not very showing in this piece, he was purely representing the the man as just a normal person.

Andrea del Verrocchio, Equestrian monument of Bartolommeo Colleoni, Campo Santi Giovanni e Paolo, Venice, c. 1490; Bronze, height approx 13’

Similar to the Equestrian monument of Gattamelata. He paid close attention to detail, showin the mans face and the neck of the horse. This piece was very showy and Verrocchio wanted to show of his work. He depicted the man very large, almost too big for the horse and shown him as a very burly an strong figure and glorifying him.

Masaccio. Trinity with the Virgin, Saint John the Evangelist, and Donors , fresco in the Church of Santa Maria Novella, Florence. c. 1425-27. 21’ x 10’ 5”

fresco. shows depth in the image by using darker colors behind christ. Orthogonals point to christs feet. Coffered ceilings also give a sense of perspective. Illusionism in the depth and space and recession.

Masaccio. The Expulsion from Paradise , fresco in the Brancacci Chapel. c. 1427

Shows atomspheric perspective and perspective in the architecture. Realism in eves sorrowful face. Uses churrascaro(?) in the body of adam and eve. NEED MORE INFO

Masaccio. Tribute Money , fresco in the Brancacci Chapel. c. 1427. 7’ 6 ½” x 19’ 7”

Fresco.In this piece Masaccio displays three stories occuring. A tax collector coming, Jesus telling Saint John to go to the river and catch a fish. Then Saint john finds money in the fishes mouth and then pays the collector. use of churroscaro(?) Atmospheric perspective and perspective in the architecture.

Andrea Mantegna. Frescoes in the Camera Picta, Ducal Palace, Mantua. 1465-74.

Similar to Corregios Assumption of the Virgin. This shows courtley life. And has people peering into the this palace. This shows venetian work since no people  are not identifiable.

Perugino. Delivery of the Keys to Saint Peter , fresco on the right wall of the Sistine Chapel, Vatican, Rome. 1482. 11’ 5 ½” x 18’ 8 ½”

After the schizm the Catholic church wanted to show that they were the rightful religous power. This shows jesus and the keys to saint peter. Using chiaroscuro(?) uses atomspheric perspective, architecutre perspective, and perspective shown in the tiles

Sandro Botticelli. Primavera . c. 1482. Tempera on wood panel, 6’ 8” x 10’ 4”.

Shows the poetic side of painting. There are ancient greek references. Zephyr's lover is blowing wind out of his mouth, and cupid is preparing his bow and arrow.No real focus on perspective, more about the story and love.

Sandro Botticelli. The Birth of Venus . c. 1484-1486. Tempera on canvas, 5’ 9” x 9’ 2”.

Shows the poetic side of painting. Botticelli had used a nude woman in his painting which had not been done in a very long time. Attention to detail is shown in the fabric. The composition relates to that of the golden triangle.

Giovanni Bellini. Saint Francis in Ecstasy . 1470s. Oil and Tempera on wood panel, 49 x 55”. The Frick Collection, New York

Shows the saint francis intertwined in nature. Atmospheric perspective, perspective in through the architecutre.St francis has the stigmata, the burning bush, the stream from moses, the stigmata it shows the combination of the old testament and the new testment.

Leonardo. The Last Supper, wall painting in the refectory of the Monastery of Santa Maria delle Grazie, Milan, Italy. 1495-98. Tempera and oil on plaster, 13’2” x 29’ 10”

Orthogonals point to Jesus's head. Atmospheric perspective, architectural perspective, and through the coffered ceilings(?). The image shown, is depicted right after Jesus told everyone that someone woudl betray him. There is many different types of emotions depicted.

Leonardo. Virgin and Saint Anne with the Christ Child and the Young John the Baptist. C. 1500-1501. Charcoal heightened with white on brown paper, 54 7/8” x 39 7/8”. The National Gallery, London

This is a cartoon. Usually a cartoon is followed by an actual painting or sculptures. No central focus. No painting that can be associated with it. Tender expressions.

Leonardo. Mona Lisa. C. 1503-6. Oil on wood panel, 38 ½” x 21”. Mus é e du Louvre, Paris.

Is a portrait of a woman. It leaves the viewers in wonder since her expression isnt identifiable and neither is background. Atmospheric perspective is used. Uses Sfemato.

Leonardo. Vitruvian Man. C. 1487-90. Ink, approx. 13 ½” x 9 5/8”. Galleria dell’Accademia, Venice.

Shows the ideal proportions of a man and how they fit in a square when arms are out and his legs are straight down, then creates a circle when legs are slightly apart and arms slightly raised. shows proportions through fingers arms and legs.

Raphael. The Small Cowper Madonna. C. 1505. Oil on wood panel, 23 3/8” x 17 3/8”. National Gallery of Art, Washington D.C.

Uses sfumato. Uses faces similar to that of da vinci. Atmospheric perspective and thorugh lanscape and architecture.

Raphael. School of Athens, fresco in the Stanza della Segnatura, Vatican, Rome. c. 1510-11. 19 x 27’

Artistotle and plato are main focus and orthogonals point to their shoulders. plato points to the heavens where aristotle points to the earth(?) on the right side there are aristotles followers and plato followers on the left side. References to greek gods thorugh the sculptures. Atmoshperic perspectived and coffered ceilings

Michelangelo. Piet à, from Old Saint Peter’s. c. 1500. Marble, height 5’8 ½”. Saint Peter’s, Vatican, Rome

Proportions are not accurate. Shows the virgin with a big body to hold christs body. He sculpted and really tried to make the skin and cloth look soft as seen in the hands of the virgin. The virgin is very calm, he paid a strong attention to detail in the body of the christ.

Michelangelo. David. 1502-4. Marble, height 13’5”. Galleria dell’Accademia, Florence.

Different from donatellos david since this depicts david right when he sees goliath. He shows alot of psychological emotion which is shown in davids face. Shown with a contraposto position. Considered how people would be looking up towards it making slight exaggerations.

Michelangelo  Interior, Sistine Chapel, Vatican, Rome. Built 1475-81.

Michelangelo did not want to do this commision since he enjoyed sculpting. His works were viewed as paintings that felt like scultptures. These panels shown the creation of man, the fall of man, redemtion of humanity.

Donato Bramante. Tempietto, Church of San Pietro in Montorio, Rome. 1502-10; dome and lantern are 17^th -century restorations

A very sculptural piece of architecture. Alot of attention to detail with sculpture like features. Part of a church.tempieto means little temple,refers to ancient roman temple and central plan, sculpted monument: scenesof voids and masters.

Correggio. Assumption of the Virgin, fresco in the main dome interior, Parma Cathedral, Italy. c. 1526-30. Diameter of base of dome approx. 36’

shows depth, similar to the frescos of the camera picta. Attention to detail lots of color. During the high renaissance but much more reminescent of the baroque period. Illusionistic ceiling paiinting, gives us a sky instead od an architectural dome (Di soto in su). Saints angels rush upward to accompany the virgin as she sears into heaven.

Giorgione. The Tempest. c. 1510. Oil on canvas, 31 x 28 ¾”. Galleria dell’Accade mia, Venice.

Shows a woman intertwined with nature, since she is breast feeding in the woods, while a man is watching her. The man was suppose to be a woman but then was painted over. Uses atmospheric perspective and through the use of a architecture that is unidentifiable sfemato and churroscaro is use. No real narrative-very mysterious: typical venetian sfumato in woman pastoral scene of woman breastfeeding

Titian and Giorgione. The Pastoral Concert. c. 1508. Oil on canvas, 43 x 54”. Mus ée du Louvre, Paris

Current controversy of whom had painted the picture. Shows woman intertwined with nature. Two voluptuous woman naked with two men all of which cannot be identfied like the villa in the background. Alot of attention to detail like in the trees. The man on the right has been questioned to have been painted later or not.

Titian. Venus of Urbino. c. 1538. Oil on canvas, 3’11” x 5’5”. Galleria degli Uffizi, Florence

Uses the venus instead of wife since it would be less controversial in title. Shows a woman before her marriage and her servants behind her are preparing her dress and clothing. There is atmospheric perpective in the back ground perspective through the tiles. The dog represents fidelity.commisioned by the duke of urbino for his personal chamber. Very sexual and sensual, comletely out naked, smaless w/eye contact directly at viewer

St Peter’s, Vatican, Rome (renovation planned by Michelangelo)

c.1546-1564 ( dome completed 1590 by Giacomo della Porta)

MICHELANGELO BUONARROTI, Saint Peter’s (view from the northwest), Vatican City, Rome, Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590.

Pontormo, Entombment(Desposition), 1525-28

Mannerist. No central focus. Use of bright colors and exaggerated features and positions. Expressive positions and figures.

PARMIGIANINO, Madonna with the Long Neck, ca. 1534-40. Oil on wood, approx. 7’ 1” x 4’ 4”. Galleria degli Uffizi, Florence.

exaggerates the size of the virgins body. She is given a long neck and long body. Baby jesus body is also exaggerated in size. Does not abide by the principles of perspective like how the man in the back is too small and the column in the background does not seem quite proporitional. A very mannerist painting.

PAOLO VERONESE, Christ in the House of Levi, 1573. Oil on canvas, approx. 18’ 6” x 42’ 6”. Galleria dell’Accademia, Venice.

Mannerist style with reagrds to color and disorganization of people. But the composition is high renaissance since it is very organized. It uses atomospheric perspective. Was first titled as last supper but since there were many characters christ would not associate himself with they changed the name. There is a jester and midgets in the painting. Ancient references seen through the columns.

TINTORETTO, Last Supper, Chancel, San Giorgio Maggiore, Venice, Italy, 1594. Oil on canvas, 12’ x 18’ 8”.

mannerist paintings with the use of varied colors no main focus. it was different since the orthogonals do not point to christ but into the corner of the room. This was to show after the reformation that church was doign good, since it was shown that christ is giving food to the others rather than the depiction of the the betrayal of christ like in da vincis last supper.

ANDREA PALLADIO, west facade of San Giorgio Maggiore, Venice, Italy, begun 1565.

ANDREA PALLADIO, interior of San Giorgio Maggiore (view facing east), Venice, Italy, begun 1565.

Ancient references to the large columns and the(triangles on top of triangles?) Need more info

ANDREA PALLADIO, Villa Rotonda (Villa Capra), near Vicenza, Italy, ca. 1560s.

Reference to the panthenon and ancient references. round top with triangle top(find out the name)? Need more info

Isenheim Altarpiece, first opening. Left to right: Annunciation, Virgin and Child with Angels, Resurrection. c. 1510-15. Oil on wood panel.

Brighter than the altarpiece before. Lots of use of colors. need more info

Albrecht D ürer, Self-Portrait. 1500. Oil on wood panel

First to charge a law suit on something. First to move outside to other areas to have commissions. need more info

Albrecht D ürer. Adam and Eve. 1504. Engraving, 9 7/8” x 7 5/8”. Philadelphia Museum of Art

Adam in contraposto position, very accurate proportions. references to nature. Need more info

Albrecht D ürer, Four Apostles. 1526. Oil on wood panel. Alte Pinakothek, Munich

Really simple, this was a non-commisioned piece of work. Shows Saint peter and other apostles. This was after the reformation to reasure those to the catholic church.

El Greco. Burial of Count Orgaz. 1586. Oil on Canvas, 16’ x 11’10”. Church of Santo Tom é, Toledo, Spain.

Shows two different styles in the top in the bottem. The to being more towards mannerist and the bottem being more high renaissance. Alot of attention to detail in the fabric. Need more info

El Greco. View of Toledo. c. 1610. Oil on canvas, 47 ¾” x 42 ¾”. The Metropolitan Museum of Art, New York

mannerist style