The Merode Altarpiece: The Annunciation 

Robert Campin 

1425-1450 

Disguised symbolism, little attention to anatomy, secularization, diagonal lines and overlapping planes to create space, personalized features of donors.

Ghent Altarpiece: The Adoration of the Lamb 

Jan van Eyck 

1425-50 

Polyptic, oil technique, FIRST LIFESIZE NUDES, personalized figures, figures reach into viewer's space, disguised symbolism, atmospheric perspective.

Portrait of a Man in a Red Turban 

Jan van Eyck 

1425-50 
 

Secular portrait, self-portrait, individualistic.

Arnolfini Portrait

Jan van Eyck

1425-50

Secular subject matter, disguised symbolism- shoes, dog, bed, candles, fruit, etc., references to religious subject matter- stations of the cross in mirror, single candle, rosary.

Deposition

Rogier van der Weyden

1425-50

Jewel-like color, intense emotions demonstrated through expressions, shallow space, overlapping planes, repeated S rhythm.

Portinari Altarpiece: Adoration of the Shepards 

Hugo van der Goes

1475-1500 

Hierarchical scale of figures, disguised symbolism, atmospheric view in background, no real attention to anatomy, continuous narration of the nativity in the background.

The Garden of Earthly Delights 

Hieronymus Bosch 

1480-1515* 

Atmospheric perspective, bright, intense colors, unrealistic scale, Creation ->Earth ->Hell

Temptation of St. Anthony 

Martin Schongauer 

1475-1500 

Woodcut print, circular composition, diagonal lines point toward the center of the piece. 

Four Crowned Saints 

Nanni de Banco 

1400-1425 

Emphasis on human anatomy, life-like believeable space, based on Greek/Roman sculpture, semicircle to create space, panel below advertises the builder's guild. 

St. Mark

Donatello

1400-25

FIRST EXAMPLE OF CONTRRAPASTO SINCE CLASSICAL ANTIQUITY, emphasis on anatomy, balanced stance with potential for movement.

St. George

Donatello

1400-25

Contropasto stance, foot reaches out into viewer's space, active mind-prepared body, militant style.

Feast of Herod 

Donatello 

1425-50 

FIRST USE OF ONE POINT PERSPECTIVE, continuous narration, overlapping planes, variation in height of relief to create depth, composition demonstrates shocking nature of subject matter.

David

Donatello

1425-50

FIRST LIFESIZE FREE STANDING FIGURE NUDE MALE SINCE CLASSICAL ANTIQUITY, contropasto, debatably sensual essence, adolescent boy demonstrated through anatomy.

Gattamelata 

Donatello 

1425-50 

FIRST LIFESIZE EQUESTRIAN MONUMENT SINCE CLASSICAL ANTIQUITY, forms simplified to basic geometric shapes, physical force being controlled by the mind, balance between simplification/detail and old/new.

Mary Magdalen 

Donatello 

1425-50 

Made of wood, demonstrates self-denial for spirital reasons, rectangular composistion. 

Jacob and Esau

Ghiberti

1425-50

One point perspective, continuous narration, contropasto, revealing anatomy through clothing, variation in height of relief.

San Lorenzo 

Brunelleschi 

1421-69* 

Longitudinal layout, semicircular arches, coffered roof, intuitive floor plan revealed through lines in floor, proportional elements.

Ospidale degli Innocenti

Brunelleschi

1421-* 

Semicircular arches, horizontal entableture, simple geometric shapes, repetition and proportionality.

Old Sacristy, San Lorenzo 

Brunelleschi 

1425-50 

Centralized building, columns, semicircular arches, pilasters-flat columns, floor plan demonstrated on floor, horizontal entableture, portal windows for 12 disciples, proportionality.

(The Holy) Trinity

Masaccio 

1425-50

Fresco, one point perspective, stable equilateral triangle composition, muted colors, Mary connects audience with gesture: transitional figure.

Tribute Money 

Brancacci Chapel 

Masaccio 

1425-50

Fresco, continuous narration, ONE DIRECT LIGHT SOURCE, one point perspective, atmospheric perspective, semicircle of figures, generalization of features, soft color.

Expulsion from Paradise 

Brancacci Chapel 

Masaccio 

1425-1450 

Foreshortening, basic emotions, emphasis on anatomy, attention to core, fresco- muted palette, generalized figures/faces.

Tomb of Leonardo Bruni 

Rossellino 

1425-50 

Brunelleschian architectural details, attributes to the man's humanistic characteristics, traditional Christian symbolism, family crest.

Annunciation 

Fra Angelico 

1425-50 

More spiritual subject matter than mathematical layout or accurate anatomy- vague draping, fresco, one point perspective, overlapping planes, columns show space.

The Last Supper

Castagno

1425-50

Fresco in nun's refectory, stonework behind disciples draws attention to Judas and Jesus, varied psychological responses, each person is separate, additive composition.

Madonna and Child with Saints 

Domenico Veneziano 

1425-50 

Tempura painting, high key tonality- white modifies colors, one point perspective, overlapping planes, a sacred conversation-Sacra conversazione, balance of outdoor/indoor lifestyles, old.young, elaboration on what was there, multiple light sources.

Santa Maria Novella 

Alberti 

1450-75 

Longitudinal church, emphasis on geometry, influenced by Greek and Roman architecture, horizontal entableture, pediment, columns, proportional parts of building, grid pattern layout.

St. Andrea, Mantua 

Alberti 

1450-75 

Roman triumphul arch-bracket and columns, horizontal entableture, overlayed arch with Greek pediment, COLOSSAL ORDER, bilateral symmetry, combination of Roman/Greek.

Hercules and Antaeus 

Pollaiuolo 

1450-75 

FIRST FREE STANDING, MULTIVIEW SCULPTURE, studying the human figure, dynamic views, meant to be walked around.

Battle of Ten Naked Men 

Pollaiuolo 

1450-75

Relief print, extreme action and reaction, studied the bodies from multiple angles, looking at muscles at maximum physicality.

Madonna and Child with the Birth of the Virgin 

Fra Filippo Lippi 

1450-75 

Secularization, continuous narration, contemporary clothing/setting, idealized figures.

Battle of San Romano 

Uccello 

1425-50 

Part of a triptych, focus on mathematics and geometry, foreground laid out with a grid of lances, secular subject matter, foreshortening of dead soldier, simplification of shapes, background is drop cloth.

Primavera 

Botticelli 

1475-1500 

Interested in elegance, pattern, decoration, linear style, mythological subject matter.

Birth of Venus 

Botticelli 

1475-1500 

Possible link to virgin birth, linear style, idealized figures- elongated bodies, not realistic stance-more concerned with elegance than realism, neoplatonic philisophy-divine vs. physical love.

Old Man and Young Boy 

Ghirlandaio 

1475-1500 

Realistic, secular portrait, linear style, indoor to outdoor relationship explored, more active pose.

Resurrection 

Piero della Francesca 

1450-75 

Static, permanent figures, show solidity of human body, simplification of features, stable composisiton, life vs death motif, tempura?

Double portrait of Battista Sforza and Frederico da Montefeltro 

(Duke and Dutchess of Urbino)

Piero della Francesca

1450-75 

Profile view to show intelligence, individualized but idealized features, no clear relationship between foreground and background, fashionable aristocracy.

St. Sebastian 

Mantegna 

1450-75 

Interested in anatomy, slight contropasto, slight atmospheric perspective, old world v new world and man made v natural, idealized figure.

Camera Picta 

Mantegna 

1450-75 

Fresco, ILLUSIONISTIC, worm's eye view.

Colleoni 

Verracchio 

1475-1500 

Mercenary officer-recognizing everyday people, based on Gattamelata, taken a step further, more dynamic pose, more realistic face, idea of mind over body.

St. Francis in Ecstacy 

Bellini 

1475-1500 

Venitian-focus on the landscape, atmospheric perspective, disguised symbolism: shoes off, skull, donkey, crane, etc.

Madonna and Saints 

Bellini 

1500-25 

Architecture: arches, pilasters, horizontal entableture, semicircular figure group, triangular composition.

Leonardo 

Gievra de' Benci 

1474-8* 

Figure-background relationship, painterly style, atmospheric perspective, symbolic plant life.

Virgin of the Rocks

 Leonardo 

1475-1500 

Equilateral triangle composition, primary colors scheme, gestures lead the viewer around the painting, generalized and idealized figures and faces, began with drawings as studies and moved to paintings, BASED ON REALITY.

The Last Supper 
Leonardo

1475-1500

Fresco- experimental, balance of opposites: up/down, 6 on either side, in/out, VARIETY WITHIN UNITY, one point perspective, equilateral composition, architectural "halo", figures all connected, could not remove one.

Mona Lisa 

Leondardo 

1500-25 

Vegura perpentinata: twisted line, potential for movement in pose, hands off to side and darker so they don't compete, figure background relationship, sfumato:soft transistion from light to dark, atmospheric perspective, transitory state of mind.

Tempietto 

Bramante 

1500-25 

Centralized church, circle motif, classical elements:triglyphs, repetition of shapes, VARIETY WITHIN UNITY. 

Pieta 

Michelangelo 

1475-1500 

Idealization of a common theme, worked composition to make Christ fit on Mary-based on sketches, high polish- no scars, no wrinkles, focus on anatomy

David 

Michelangelo 

1500-25 

Idealization and generalization, more perfect than reality, torso was key, contrapasto, one main view, thinking mind, healthy body.

Moses 

Michelangelo 

1500-25 

Idealistic adult male, serpentine line in body to suggest movement, horns-translation error, mental alertness of face.

Sistine ceiling: Creation of Adam 

Michelangelo 

1500-25 

Fresco, extremely active God reaching out to passive man, based on sketches, focus on torso and other anatomy, hands almost touch-tension.

Sistine ceiling: Libyan Sibyl 

Michelangelo 

1500-25 

Serpentine line, experimental colors-secondary, studies done of man's back for this.

Sistine ceiling: Fall of Man and Expulsion from Paradise 

Michelangelo 

1500-25 

Divided composition, idealized figures, woman is muscular like man, similar to Masaccio's Expulsion from Paradise 

La Belle Jardiniere 

Raphael 

1500-25 

Influenced by Madonna of the Rocks, gestures lead viewer around composistion, equilateral triangle composition, figures fit into landscape, atmospheric perspective. 

School of Athens 

Raphael 

1500-25 

Bilaterally symmetrical, one point perspective, semicircle of figures, overlapping planes, balance of gesture/pose, primary colors, generalized features, hand gesture pointing up as seen in The Last Supper.

Pope Leo X with Cardinals

Raphael 

1500-25

 Environmental portrait, objects reflect the pope's intelligence and taste, linear style.

"Sacred conversation" 

Like in Madonna and Child with Saints by Domenico Veneziano