The Master of Flemalle, Merode Altarpiece c. 1425, Flemish Art, Flanders. Triptych, patrons shown on L, All wooden panels, annunciation scene. 

Symbolism: purity(White towel), Baby sliding into frame holding cross, starburst at womb of Mary to show incarnation. Joseph pictured to side, suggests he is an outsider to Holy Family. Making mouse trap in workshop (symbol for catching satan), Very slick, smooth details. 

John Van Eyck, Ghent Altarpiece, Flemish (Flanders) c. 1432. Cathedral of St. Bavo, Ghent. 

Complicated, polyptych (many altars). 

Grisaille-paint a figure to look like a stone sculpture. 

3 Registers: top-2 old test. prophets, woman fortune teller (sybills)drawing pagan images, greek mythology to foretell biblical period. 

Middle-New Test. , annunciation, flemish town in back. Bottom, 2 donors in color, Jean Baptist patron st. of ghent. sculptures because dont exist in "now." 

John Van Eyck, Ghent Altarpiece, Flemish (Flanders) c. 1432. Cathedral of St. Bavo, Ghent.

Top Center, God in center (earthly crown @ feet), Mary & John the Baptist. Angel choirs don't match, prob. came from other piece. Adam & Eve on outer top. Bottom scene: Reps All Saints Day, continuos scene. This was done by several artists not just one. Use of oil a trade secret, to make bright and textual. 

Rogier Van der Weyden, The Deposition c. 1435-38. Flemish, Flanders. 

Presented like a play, low wall in back suggests ditch, angle of mary and christ's body paralleled, intentional tie together, white cloth tied around him symbolizes the transubstantiation. Skull=golgatha, where crucifixion took place, momento mori. Everything very symbolic. top corners-elaborate crossbows (archers guild paid for). 

Michaelozzo, Palazzo Medici Riccardi, Florence c. 1446. Early Renaissance Italy. 

Medici family biggest supports of renn. in Italy @ time, bank owners. Sumptuary laws of how big/showy home could be. 

Three stories, first level is the ground level, then 1 and 2. rusticated stone blocks, ground level unfinished and rough stone. 1st floor more finished, 2nd floor most finished, makes it very heavy looking. Has a string course running along, horizontal lines. Balance & rythym in arched windows. pitched roof. Classical accuracy, atrium in center open, used as yard. 

Masaccio, Trinity with the Virgin. c.1425, Early Renaissance, Rome. Fresco (paint on wall while plaster is still drying so chemically binds to wall, made in a hot pit "putty" giornata- one days work). Church of Santa Maria Novella, Florence. 

Vanishing point at foot of Christ, Mary looking out @ us to invite, participate. First see the Crypt, memento mori, see as lined up, christ on cross, God, Holy Spirit (dove). Barrel Vault illusion, uses chiaroscuro (shading dark to light) to help believability, rounded space. 

Predella is space below painting, horizontal band, contains memento mori, reminds to be humble. 

Donatello, David c. 1446 Early Renaissance, Florence Italy. Classical Moment. 5' 2"

Classical Moment-Clam & Relaxed, post-battle. 

Gift to city of Florence, David is the city's symbol (underdog over Milan). 

Subtle emotion shown (Renn.) Goliath's head @ feet. Portrayed as small, not as muscular. 

Andrea del Castagno, Last Supper. c. 1445-50, Florence, Italy. Early Renaissance. 

Painted in dining hall of a nunnery. 

Andrea wanted to show his expertise, not linear details. Vanishing points- multiple. The lines do not match up. 

Judas on forefront side, Jesus opposite him. Eyes supposed to go to supper but go to details of wall, textiles, etc. 

Shown at a long booth, probably no booths in antiquity. Hard to define Christ from others. 

Technique "show off" overwhelms story. 

Perugino, Christ Giving The Keys to St. Peter, c. 1481. Rome. Early Renaissance. 

Fresco, Sistine Chapel in Vatican, Rome. 

Classical moment, classical subject. Idealized naturalism. Classical design: 

Figures symmetrical, parallel to picture plane (planar), primarily horizontal and vertical.

Not meant to resemble any actual place. 

 Peter considered the 1st Pope, important figure for all Popes- political message. 

Octagonal building shapes, ideal, written as such by architects of the time. 

Linear perspective, vanishing point should be at key but is at door in background. 

Line of people horizontal, not natural. Suggests motion. Awkward crowding. 

Leonardo da Vinci, The Last Supper. High Renaissance. c. 1495-98. Milan. 

Mixed Fresco, tempura oil on wet plaster left it in bad shape. 

Ultimate expression of order, chose moment of Jesus saying "one will betray me." Grouped in threes. Symbolic and classical moment. 

Geometrical. 

Subtle symbolism, jesus is traingle, most stable geometric form. Halo suggested above his head, three windows for trinity. 

Told story more than technique, used architecture and geometry. 

Michelangelo, David. C. 1501-04 Florence, Italy. High Renaissance. Marble, 17' high. The marble had been quarried no one wanted to touch because had crack. Extremely difficult to carve. 

Originally meant to be on top of Chapel of Florence, huge and created with that viewpoint, so legs shorter when seen head-on. 

Classical moment, naturalized idealism. Emotional but not too much, can be seen in eyes and brows, hands and veins tensed. Sling ready to go, before the action. 

Michelangelo, Creation of Adam. C.1508-12. High Renaissance. Rome.

Sistine Chapel, Rome. Vatican. Fresco, ceiling. Not seen di sotto in su. 9 scenes in book of Genesis. A-symmetrically balanced, breaks classical composition.

Viewed looking up at plane, open ceiling.

Dominated by diagonals, same angle all across, most physical depiction of God. 3d conception of individual.

not limited to specific colors, not his medium so free with colors. Innovative, unique, Adam has unformed land, about to be given spark of life.  

Raphael, School of Athens. C. 1510-11, High Renaissance. Rome. 

fresco, stanza della Segnatura, vatican. Lunette (little moon, upper half of circle, created by dome of cieling). In Pope's private room for events. 

4 sectors of learning that every educated person would know: Philosophy, law, theology, poetry. 

Plato and Aristotle. Imaginary gathering of famous philosophers. 

Grunewald, Isenheim Altarpiece, c. 1510-15. Northern Renaissance, Germany. 

Hospital chapel of the Community of St. Anthony, Alsace France. oil on panel. 

Closed: crucifixion, St. Sebastian & Anthony. Associated w/ plagues. Arrows=plague, randomly hit people from sky. 

Second level: Annunciation, Virgin & Child with Angels, resurrection. 

In pedella, Jesus laying out, split below knees, associate with plague patients whose legs got amputated below knees. 

Jesus' feet indicate skin diseases similar to plague patients. 

German work shows suffering, more accurate and emotional. Italian crucifixion by Raphael is more spiritual, glowy. 

Linear perspective, spacial/scientific accurate. 

Albrecht Durer, Self Portrait. C. 1500, Germany High Renaissance. Oil on wood. 

Created after his first trip to Italy, saw the artists being respected as creators. Wanted this as well, focused on being very forward. Looking straight ahead, confrontational. Uses hand gesture seen on Christ and priests when blessing, intentional link as creator. 16th c-start to call artists. Monogram not usually seen, owning the piece, elevating his name. 

Albrecht Altdorfer, Danube Landscape. C. 1525. high North Renaissance, Germany. 

Oil on wood. 

Awkward for landscape, vertical. Making the landscape the central figure. Not an actual place. Claustrophobic quality. 

Filippo Brunelleschi, San Lorenzo, Florence. C. 1425. Early Renaissance. 

Nave,