Giotto, Ognissanti Madonna, 1310

Monumental

• Similar in subject/layout of Cimabue's Madonna Enthroned, though much more realistic. 
• Good sense of Depth through the contrast of Lights/Darks. Figures and drapery appear to have volume.
• Christ is not an infant (Still shown as tiny man).
• Captures subtle details
• Focus is on symbolism, but without sacrificing realism.

Simone Martini, Annunciation, 1333

Iternational Gothic

• Figures are long and curve-linear.
• Elegnat, Courtly, Aristocratic style.
• Less focus on Humanistic Style.

Lorenzo Ghiberti, Jacob and Esau (From Gates of Paradise), 1440

Early Italian Renaissance

• Clean/simple Layout with 3 "mini" Scenes.
• Good sense of Depth/perspective.
• Figures are realistic and shown in contraposto.
• Focus on Humanism and Realism. 
• Tells story of Esau selling birthright

Donatello, St Mark, 1412

Early Italian Renaissance

• Larger than life figure carved from stone
• Strong Classical Roman influence.
• Strong Contraposto form
• Individualized, powerful facial expression.
• Good sense of Body/weight
• Sense of Movement
• Facial intensity would inspire Michaelangelo years later

Masaccio, Holy Trinity, 1425

Early Italian Renaissance

• Commisioned by Linzi Family (included in image)
•  Very strong Triangular compostion featuring Christ, God, and Holy Ghost (in form of Dove).
• Scene takes place under Roman triumphal arch (combining Christian and Pagan symbolism)
• Very strong Chiaroscuro.
• Strong sense of depth and perspective.
• Illusionistic architectual details
• Realistic human figures in 3d space.

Gentile da Fabriano, Strozzi Altarpiece, 1423

Early Italian Renaissance

• Clear inspiration from International Gothic style, figures are long and curve-linear.
• Portrays Strozzi family as the 3 maji. Shows the family as nobility (they were not, just wealthy merchants) wearing wealthy clothes,
• Very opulent, filled with rich details. 
• some sense of depth and perspective, though still relatively flat feeling.

Pollaiuolo, Battle of Ten Naked Men, 1470

• Print, probably part of a pattern book used to train students
• Relatively flat, though some sense of Depth.
• Figures are realistic with intense individualized facial expressions.

Botticelli, Birth of Venus, 1480

Early Italian Renaissance

• Strives to portray beauty.
• Commissioned by Medici Family.
• Part of a series by botticelli of pagan/mythological paintings.
• Filled with Symbolism (Half-shell = eternal life, symbols in fabric relate to Medici family members,)
• Elongated bodies.
• Stylized imagery.
• Contour lined.
• Very flat feeling due to lack of highlight/shadow.
• Filled with Details.
• Strongly Inspired by ancient greek sculpture "Venus Pudica".
• Becuase Botticelli works exclusively for Medici family, his work is much less "renaissance" than his peers becuase everything was personally commisioned.

Leonardo, Mona Lisa, 1504

High Renaissance - Italy

• Strong atomospheric perspective.
• Strong use of Sfumato.
• New approach to portraiture - Composition.
• Very Soft/Round look to whole piece.
• No Contour lines, shapes are conveyed with light and shadow.

Raphael, School of Athens, 1510

High Renaissance - Italy

• Very balanced composition.
• Features portraits of Raphael and his peers along with the greats of ancient greece, plato and Aristotle.
• Michaelangelo was added to painting after Raphael saw what he was doing with Sistine Cieling.
• Located in the Stanza della Segnatura in Vatican near the Sistine Chapel.
• Strong sense of depth and perspective.
• Illusionistic architectual details.
• Classic setting.

Michaelangelo, David, 1502

High Renaissance - Italy

• the David was a common subject matter and became the symbol of Florence.
• 17 feet tall, was intended to be put atop cathedral, but was instead placed in front of city hall.
• Proportions are off because it was designed to be seen from way below.
• Clear inspiration from classic greek statue "Spearbearer" by Polykleitos.
• Portrays david before the victory of Goliath.
• Intense, Individualized emotion.
• Carved from discarded flawed piece of marble.

Michaelangelo, Moses (from tomb of Julius II), 1515

High Renaissance - Italy

• 3d version of figures painted in sistine celing.
• Stong, powerful, large body.
• Intense emotion on facial expression.
• Inspired by Donatello's St Mark.

Pontormo, Descent from the Cross, 1526

Mannerism

•  Very crowded composition
• Bright colors
• Visually stimulating.
• No Horizon, No Background (just a single cloud)
• No Visual focal point, Eye is constantly moving throughout.

Bologna, Rape of the Sabine Women, 1583

Mannerism

• 3 figures - the largest multifigure sculpture since ancient Rome.
• Meant to be viewed from all angles.
• Figures are large, muscular, and powerful.
• Strong use of diagonals in composition leads you eyes through the sculpture.

Giorgione, Pastoral Concert, 1510

Venetian Art

• May have been completed by Titian.
• Complicated/unclear subject matter.
• Landscape plays a major role in composition.
• Men in center wearing opposing fashions, one in upper class clothing, one in working class clothing.
• Strong use of texture.
• Rich landscape.
• Very soft feeling.
• Very contemporary feeling.

Titian, Pesaro Madonna, 1526

Venetian Art

• Commisioned by Pesaro family who appear in painting.
• Intended to be viewed at an angle (based on location in church) so the perspective of the painting is at an angle.
• Asymetrical/unbalanced triangular composition.
• Strong use of movement
• Dramatic and active
• Illusionistic archtectual elements that extend the space.

Jan Van Eyck, Giovanni Arnolfini and his Bride, 1434

Northen European

• Emphasize things other than human figure.
• Shows the happening of an important ceremony, perhaps the endowment of power from husband to wife.
• Disguised/secondary symbolism throughout. ( single candle = light of christ. pet dog = fidelity, broom = domesticality)
• Extreme detail (wood grain and nail heads on floorboards)
• Everyday items with symbolic meanings.
• Mirror in back reflects backs of subjects along with two others, possibly the artists.
• Filled with texture

Grünewald, Isenheim Altarpiece, 1510

Northern Art

• Mulitple layers that open telling a story.
• Most gruesome portryal of crucifixion.
• Baren landscape
• Gruesome distorted body of Christ.
• Dull dead colors.
• Strong sense of suffering, figures in exagerated poses of mourning.
• Purposfully brutal to amp up recation from viewers.
• Inner portion features bright and hopefull scenes from Christs life and resurection. A clear contrast to the crucifixion portion.
• Inside scene is filled with color in and alomst cosmic, otherworldy setting.
• (Exact contemporary to School of Athens)

Dürer, Adam and Eve, 1504

Northern Art

• Engraved print, much softer feel to earlier woodcut prints.
• Calm setting with good sense of depth.
• Realistic figures with sense of volume.
• Sense of light and dark in print.
• Filled with symbolism.
• Influenced by Dürer's exposure to Italian art.

Dürer, Knight, Death, and Devil, 1513

Northern Art

• Mercenary soldier on horse (symbolising christian soldier) with dog running along.
• Death in background with hourglass.
• Animalistic Devil following behind.
• Large massiv forms (inspired by italian sculpture) in a traditional northen landscape.
• Deep realistic space, strong sense of depth.
• Symbolism throughout.
• Warning of mortality, and call to action

Brugel, Return of the Hunters, 1565

Northern Art

• Genre painting, real people in everyday actions.
• Incredible detail, though not nessicarily realistic.
• No traditional symbols of God, god is in everything.
• Microscopic view of real world.