Cimabue 

Virgin and Child Enthroned

1280

• uses byzantine stylistic for the virgin

Giotto

Virgin and Child Enthroned

1305-10

• Giotto studied under Cimabue, but he practiced more renaissance techniques and interest in humanism

Giotto

Arena Chapel (Scrovegini Chapel) in Padua

1305

• Painted Buono Fresco in Padua
• commissioned by Enrico Scovegini
• was a Userur (charged interest on loans)
• he built the chapel as a repentance act

Giotto

The Last Judgement (in Arena/Scrovegini Chapel)

1305

• Last Judgement - Good is on Jesus' right hand
• Everything Satistic and evil is on the left
• Enrico Scrovegini is depicted as carrying the chapel just onto the side of good/the right

Giotto

Lamentation (Arena/Scrovegini Chapel)

1305-6

• employs palpable human suffering and draws viewers in
• very humanistic- everyone mourns differently

Giotto

Meeting At The Golden Gate

1305-6

• depicts the virgin Mary's mother and father discovering they are going to have a child
• Giotto uses much human expression, and creates many characters in the situation

Duccio (di Buoninsegna)

Virgin and Child in Majesty

Maestà Alterpiece, Siena Cathedral

1308-11

Simone Martini

Annunciation

1333

• shows human emotion from humanism studies (Mary's reaction)
• validates spoken language in the world it is set in

Ambrogio Lorenzetti

Allegory of Good Government 

from the Fresco Series in Palazzo Publico Sala delle Pace, Siena

1338

• personification of Justice on a throne
  
• surrounded by virtues (faith, hope, charity, justice, temperance, peace)

Ambrogio Lorenzetti

Allegory of Bad Government

Fresco Series in Palazzo Pubblico Sala delle Pace, Siena

1338

• Tyrany on the throne, surrounded by other evils
• sins of vain glory, pride, and greed
• The figure of justice is bound and is not free

Ambrogio Lorenzetti

Effects of Good Government

Palazzo Publico, Sala della Pace fresco, Siena

1338

• depicts the town and the countryside with flourishing shops, etc.
  
• also the personification of Security near the gate, showing that those who are wicked are punished for their crimes

Brunelleschi

Dome of Florence Cathedral

1420-36

• Duomo is the cathedral/dome
• Brunelleschi was forefront of Renaissance
• mostly architecture- traveled and studied in Rome
• not just revives but adds to Roman architecture ideas
• becomes grand symbol for Florence

Filippo Brunelleschi

Interior of San Lorenzo, Florence, Italy

1421-28

• very mathematical, symetrical structures
• based on mathematical principles - very Renaissance/Humanistic
• Coffers in the ceiling - ancient Roman form modified 
• columns
• arches

Michelozzo

Palazzo Medici

begun 1446

• Cosimo Medici - rich family basically ruled everything
• ground floors for commercial space
• reminiscent of Roman coliseums 
• Rusticastion - treatement of stones - shows strength and power

Compatition Panels

Sacrifice of Isaac

1401-2

• Lorenzo Ghiberti and Filippo Brunelleschi
• both designed one
• Ghiberti won - was more sophisticated - less dark and violent - more skilled and cast in only 2 pieces
• Brunelleschi went on to study architecture

Lorenzo Ghiberti

"Gates of Paradise" - east doors of Florence Cathedral Baptistery

1425-1452

• this is the other set of doors he was commissioned to make after he made the first set of doors for the Baptistery
• not required to stay in quatrefoil
• very renaissance
• much linear perspective

Lorenzo Ghiberti

Jacob and Esau - Gates of Paradise

1435

• sense of space
• linear perspective and classical architecture - Arcades

Nanni di Banco

Four Crowned Martyrs

1409-1417

• in between gothic and renaissance
• for sculptures guild - relief of renaissance sculptor's studio

Donatello

Saint George

Orsanmichele, Florence

1415-17

• Donatello was one of first sculptures associated with renaissance
• Saint George patron saint of sword maker's guild
• much christian symbolic elements
• includes much emotion, actually how normal people stand, animated, not stylized, realistic and natral
• low relief at bottom - uses arcades to show subtle sense of space

Donatello

David

1420s-1450s

• originally in courtyard for medici palace
• David is a patriotic symbol of Florence
• Harkens back to classical design of depicting male nudes

Gentile da Fabriano

Adoration of the Magi- Strozzi Alterpiece

1423

• a lot of focus and embellishment
• shows story from far away
• tempera on wood panel

Masaccio's Expulsion and his brother Masolino's Temptation

1427

• painted for Brancacci Chapel
• Fresco
• Masolino - Temptation is not presented in a very renaissance style - not much perspective - not convincing emotions
• Masaccio - Explsion - very renaissance - studying human emotion
• true shame, despair, regret - treatement of shapes and light/shadow

Masaccio

The Tribute Money

Brancacci Chapel, Santa Maria del Carmine, Florence

1427

• tax colectors
  
• 3 different narrative episodes happening
• Much use of perspective - linear in building and atmospheric in the mountains in the background
• contemporary Florentine message of churches paying for taxes

Masaccio

The Trinity

Church of Santa Maria Novella

1428

Fra Angelico

Annunciation

at the Monestery of San Marco, Florence

1438-45

• extends the stairs and hallway and prepares monks for prayer
  

Sandro Botticelli

Primavera

1482

• Venus in center

Leonardo da Vinci

Annunciation

1470s

Leonardo da Vinci

Adoration of the Magi

1481

Maniera greca

"Greek style" - Byzantine influence

Provided models of dramatic pathos and narrative iconography as well as stlized features like using gold in drapery folds and big contrasts of highlights and shadows

litterally means "true fresh"

It is when paint is applied with water-based paints while the plaster is still wet

• advantage of durability
• chemical reaction occurs - pain is literally in the plaster

"a day's work"

These are the segments that Buon Fresco painters used when they were making a painting for only the day - they only plaster as much as he can paint in a day

"dry"

paint is applied to a dry plastered wall but it may flake off

both methods can be used on the same painting

• Patron who ommissioned Giotto to paint the Arena/Scrovegini chapel in Padua in 1305
• He and his father were both Userers (which is a sin- charching interest on a loan)
• built arena chapel as a repentance act - seek absolution for sin
• painted into The Last Judgement

A term for an Italian cathedral church

The term is mostly only used now for the Dome of Florence

• A vertical element, rounded shaft, with a capital and a base which serves as a support
• very Roman/ Classical architecture

• often used in arcades, supported on piers or columns with capitals
• again, an extremely Roman/Clasical form of architecture

• A sunken panel in the shape of a square (or another shape) in a ceiling, vault, or dome - used in a series
• Roman
• helps alleviate weight

• an italian humanist, author, artist, architect, poet, priest, linguist
• basically the epitomized renaissance man
• Created the rules of linear perspective in his book On Painting
• first to write down these rules
• they are how everyone follows for now

• dark grey Florentine stone used for interior architecture elements
• Brunelleschoi really likes these and uses them 

• The most powerful family in Florence
• basically ran it and stuff
• he came back even more powerful after he was forced out of town
• ran a bank
• wanted the house to show how powerful and important he was

• "flattened relief"
• involved extremely shallow relief carving
• creates striking atmospheric effect
• Donatell
• invented this relief in St. George Killing the Dragon

• the paint along the frame at the bottom of an alterpiece
• a lower panel in an alterpiece
• displays a scene that is subsidiary to the alterpiece

Jan van Eyck

Man in a Red Turban

1433

Jan van Eyck

Arnolfini Double Portrait

1434

Robert Campin

Mérode Alterpiece

c. 1424-1428

Rogier van der Weyden

Deposition

1435

Rogier van der Weyden

Portrait of a Lady

c. 1460

Hugo van der Goes

Portinari Altarpiece

1476

Leonardo da Vinci

Virgin of the Rocks

c. 1482-1485

Leonardo da Vinci

The Last Supper

Refectory of the Monestary of Santa Maria delle Grazie

Milan

c. 1495 - 1497/98

Leonardo da Vinci

Mona Lisa

c. 1503

Michelangelo

Pietà

in St. Peter's Cathedral, Vatican, Rome

c. 1500

Michelangelo

David

1501-1504

Michelangelo

Ceiling of the Sistine Chapel

Vatican, Rome, Italy

1508-1512

Michelangelo

Creation of Adam

Sistine Chapel

1508-1512

Michelangelo

The Temptation and the Expulsion from Paradise

Sistine Chapel

1508-1512

Raphael

Madonna of the Meadows

1505

Raphael

School of Athens

Stanza della Segnatura, Vatican, Rome

1509-1511

Bramante

Plan for the new Saint Peter's

Vatican, Rome, Italy

1505

• central-plan building, all sides equidistant from the center
• reminiscent of both early christian as well as classical forms
• similar to mosoleums, fitting because it housed remains of Saint Peter
• wanted to top it with a dome but didn't have skill to do it
• Bramante died before the plan was realized

Michelangelo

Dome of Saint Peter's

1546-1564

• Plan comes to Michelangelo after this
• tries to honor Bramante's form, but tries to make it more High Renaissance
• softens the esterior edges with diagonals, uses pilasters (square pillars) that are huge
• Colossal Order
• For the dome he references Brunelleschi's Duomo
• the dome is referred to and designed based on this, and it quotes it in a deliberate way
• drum has windows and columns/pilasters
• has ribs, but they are more masked

Michelangelo

Last Judgment in the Sistine Chapel, Vatican, Rome, Italy

1536-41

Jacopo Pontormo

Descent from the Cross/Deposition

1525-1528

oil on panel

Parmigianino

The Madonna with the Long Neck

1535

Bronzino

Allegory with Venus and Cupid

or Venus, Cupid, Folly, and Time

1546

Matthias Grünewald

The Isenheim Altarpiece

1510

Albrecht Dürer

Self Portrait at Age 28

1500

Dürer

The Fall of Man (Adam and Eve)

1504

Dürer

Four Apostles

1526

Bosch

Garden of Earthly Delights

c. 1505

Pieter Brugel the Elder

Hunters in the Snow

1565

Annibale Carracci

The Butcher Shop

c. 1580

Annibale Carracci

Loves of the Gods

Ceiling of Gallery, Galleria Farnese, Palazzo Farnese, Rome

1597-1601

• employs the trompe l'oeil of quadro riportato (free standing framed picture)

Annibale Carracci

Triumph of Bacchus and Ariadne

Gallery Ceiling, Palazzo Farnese, Rome

ca. 1597-1600

Pietro da Cortona

The Glorification of the Papacy of Urban VIII

Palazzo Barberini, Rome, Italy

1632-1639

Giovanni Battista Gaulli

Triumph in the Name of Jesus

ceiling fresco with stucco figures

Il Gesù, Rome, Italy

1672-1685

Caravaggio

Conversion of Saint Paul

Cerasi Chapel, Santa Maria del Popolo, Rome, Italy

c. 1601

Caravaggio

Calling of Saint Matthew

Contarelli Chapel, San Luigi dei Francesi, Rome, Italy

1599

Caravaggio

Entombment

1603

Artemisia Gentileschi

Judith and Her Maidservant

ca. 1625

Carlo Maderno

Façade of Saint Peter's, Vatican, Rome, Italy

1607-1626

Gianlorenzo Bernini

Piazza, Saint Peter's Basilica, Vatican Rome

c. 1656-1657

Gianlorenzo Bernini

Baldacchino

Saint Peter's Basilica, Vatican, Rome

1624-1633

Bernini

Cathedra Petri

Saint Peter's Basilica, Vatican, Rome

1657-1666

Bernini

David

1623

Bernini

The Four Rivers Fountain

Piazza Navona, Rome

1648-1651

Bernini

Ecstacy of Saint Teresa

Cornaro Chapel, Aanta Maria della Vittoria, Rome

1642-1652

Francesco Borromini

San Carlo Alle Quattro Fontane Façade, Rome

1638-1667

Borromini

Interior of San Carlo Alle Quattro Fontane

1638-1667

Francisco de Zurbarán

Saint Serapion

1628

Diego Velásquez

Water-Carrier of Seville

c. 1619

Velásquez

Las Meninas

1656

Jules Hardouin-Mansart

and Charles Le Brun

Hall of Mirrors, Palais de Versailles

begun 1678

Nicolas Pussin

Burial of Phocion

1648

Claude Lorrain

Embarkation of the Queen of Sheba

1648

Claude Lorrain

Landscape with Cattle and Peasants

1629

Peter Paul Rubens

Elevation of the Cross

1610

Peter paul Rubens

Allegory of the Outbreak of War

1638

Jacob van Ruisdael

View of Haarlem

1670

Jan Vermeer

View of Delft

c. 1662

Jan Vermeer

The Letter

1666

Jan Steen

The Feast of Saint Nicholas

1660-1665

Pieter Claesz

Vanitas Still Life

1630s

Willem Kalf

Still Life with a Late Ming Ginger Jar

1669

Frans Hals

Archers of Saint Hadrian

1633

Rembrandt

Self-Portrait

1659-1660

Rembrandt

Return of the Prodical Son

1665

• The term for a free standing independently framed picture
• not a fresco
• Annibale Carraci employed this as a trompe l'oeil effect in his painting of the Farnese Palazzo Gallery in Rome Loves of the Gods in 1597-1601

• "Living Flesh"
• the idea that artists should only draw what they can see with their own eyes, from models
• the Carracci family taught this in their acadamy

• Art should educate and inspire
• The counter reformation in the Catholic church comes out the the Council of Trent, a series of meeting occurring between 1546-1564
• against the protestant idea that art was ideolotrist 
• decided that art should clarify and evoke emotion in people
• should be instructional, awe-inspiring, and inspirational
• wanted to keep people in the church or draw them back in through making art that is easily understood, accessible, inspirational, and teaches the people 

• Hallmark of Caravaggio's style
• This is the contrast of the bright lights and the strong dark used to create dramatic effect

• religious leader during the Counter-Reformation time
• Began the idea of Jesuits, a new way of thingking about the church

• Started by Saint Ignatius of Loyola in the counter reformation
• new way of thinking about faith
• worshiper can achieve a higher spiritual state through spiritual exercises
• missionary order- spread their teachings far in Asia, Africa, and the new world America
• At the core of their mission is education - monastic community

• A canopy over a large expanse, or over an alter or a throne

• A saint who wrote about how the spiritual state or spiritual ecstacy is only available when one submits themselves to being fully obedient to God/gives everything
• Proponent of completely accepting your faith and not questioning it, which is important durring this reformation/counter-reformation time period