Bronze Doors

North Side, Florence Baptistery

Lorenzo GHIBERTI

1423-1424

-create depth in flat quatrefoil space

-interest in naturalism and studying form 

-Hollow figures: cheaper and doors could open

St. Mark

Orsanmichele

Donatello

1411-1416

-Anatomy seems disproportionate outside of niche with the torso too long and legs too short, but in reality, this would have been a convincing depiction as the niche in the Orsanmichele was raised

-Interest in humanism in face

-weight implicated in pillow, depth and movement in shoulder tilt and contrapposto 

St. George,

Orsanmichele

DONATELLO

c. 1420

-Niche relief shows one of first uses of perspective and depth and linear perspective in sketchy, optical flat releif SCHIACCIATO

- st. george woukd have had weapons as he was comissioned by armoury guild

- not idealized, knitted brow, looks afraid and youthful

Four Crowned Martyrs

Orsanmichele

Nanni di Banco

c. 1409-16/17

- The semicircular organization of figures was unprecedented and deeply impacted Italian art 

-The pedestal was carved out so the viewer could see the feet of the figures and look up at their faces

-Naturalistically carved in emotional antimated faces w stubble

- united by cloth and drapery which flows along and behind the figures

Zuccone 

Campanile, Florence

DONATELLO 

1427-36

-Called squash head by locals as a result of the dramatic manipulation of perspective resulting from the view point of the viewer as 60+ feet away

- The glaring gaze and slightly opened mouth as well as the thin frame of the old testament prophet refers to his challenging job of spreading the word of god

Adoration of the Lamb Altarpiece

HUBERT and JAN VAN EYCK

1432

Rich colours and the power of oil paint to capture minute detail, particularly in the jewelry and the crown (captures idea of Christ the redeemer vs brutal christ of renaissance)

Arnolfini Portrait

JAN VAN EYCK

1434

Indicates a bigger ceremony/ contract, one candle lit, sacred space (no shoes)

Portrait of a Man 

Jan Van Eyck

1433

3/4 view typical of Flemish art, gives dept and the face pops out in contrast

Annunciation Triptych 

Robert CAMPIN

c. 1427-32

Crowded cluttered domestic interior, on floor in position of humility. Joseph on right with mousetrips (mice symbol of devil) enclosed garden on left

Trinity

Robert Campin

c. 1430-1434

Grisaille painting on panel representing christs redemption, evokes empathetic response. Elongated legs of christ and his shoulder and head point into our space

Deposition, ROGIER van der Weyden

c. 1435-1438

Capture drama, tears and puffy red faces.  painted for archers guild with bows and arrows in corners. Focuses on christ and mary

Coronation of the Virgin 

HANS VON JUDENBURG

1421-4

Elongated from all sides, viewed from many points

Carved altapiece that had to be separated because it was very big

St. Luke Altarpiece

Painter: Hermen RODE 

1484

-Painters used same pigment as doctors (purchased pigments from pharmacy 

Baptismal Font

St. Severi, Erfurt

1467

Deeply recessed and interconnecting geometric modules that join to form 3d shape

ornate ogee arches

vines and leaves 

anges and saints

Sacrament House

Church of St. Lawrence, Nuremberg

Adam KRAFT

1493-1496

Architecture and sculptural knowledge

Adam cradt depicts himseld as modern sculpto with hammer and chisel at base

Vines twist and lead to curved vaults

Hospital of the Innocents,

Florence 
Filippo BRUNELLESCHI
1419

rational design evident in loggia, which uses perfect squares as base, cube with half dome on top

composite collumns support arcade

Palazzo Medici
Attributed to MICHELOZZO di Bartolommeo
1445

Rough stone at the bottom expression of strength and wealth, deep joints in second level, create play of light  and dark, 3rd floor incredibly light

Dome,

Cathedral, Florence
Filippo BRUNELLESCHI
1420-35

Largest diameter of dome attempted since antiquity, also extremely large. Double walled dome, inner dome stone at the bottom and switches  to lighter brick

Palazzo Rucellai, Florence
attributed to Leon Battista ALBERTI
1452-58

each level has its own order bottom: Doric: masculine strength, top has most decorative order: corinthian

Middle: expected to be ionic instead invents own order, expresses that he can surpass antiquity

Sant'Andrea,

Mantua, 
Leon Battista ALBERTI
1470

Multilevel pulaster flank barrel arch with coffers. Built in original structure

Tribute money

Brancacci Chapel,

St. Maria del Carmine, Florence 

Masaccio

1420s 

masterpiece of illusionism

Expulsion 

Brancacci Chapel 

St. Maria del Carmine, Florence

1420s

Eve: bodily shame

Adam: internal shame

Crucifixion, Pisa Polytpych
MASACCIO
1425

High above viewer

Jesus looking down and is foreshortened

limited number of figures

model how to react to the event, show how terrestrial people should react

Trinity, Sta. Maria Novella, Florence
MASACCIO
1425

 employs architectural vocabulary in ionic collumns and barrel vault with coffers, expands space of church

Annunciation,

Hallway, Monastery of S. Marco, Florence 
FRA ANGELICO
1438-47

In friary at enterance to dorms

Recalls architecture of Brunelleschi

Corinthian collumns support arches

nothing distracts from virgin and gabriel

Annunciation
FRA FILIPPO Lippi
1440

Clustered organization

Adds two angels that balance the scene but are not part of the traditional narrative

Lots of detail: likes to add drama

Madonna of the Rose Garden
Stephan LOCHNER
1440

Calming as everything is a circle

lots of detail and ine line

madonna of humility

simple 

Altarpiece of the Communion of the Apostles

Joos van GHent

1473-4

places holy moment in church as was common in the north- idea of miracles happening close to us

Portinari Altarpiece
HUGO VAN DER GOES

1474/5-1482

The shepherds were truly humble, un-sanitized men

Man of Sorrows 

GEERTGEN

1495

Feel contrition for your sins, as every sin you commit hurts christ.

Last Supper 

Andrea Costagno

1447

Painted for are a refrectory, all need viewing point, distroys perspective created in ceiling

Battle of San Romano

Uttello

1435-60

large- battle in front of you
displayed in medici palace together 
-great use of linear perspective
-background archers reloading weapons
-decorative and scientific

St. Lucy Altarpiece

Domenico Vaneziano

1445-1447

 Easily mapped out space that uses the Sacra Conversazione: Sacred conversation 

Mafonna still most important as she is raised

Battista Sforza and Federico da Montefeltro
PIERO della Francesca
1458

put in profile to show status symbol of headpiece and duke's disfigurement

Camera Pica

Palazzo Ducale, Mantua,
Andrea MANTEGNA
1465-75

Portrait of the family and their collection of little people on an illusionistic parapet

Portrait of a Man

Antonello da Messina

1465

Maintain triangular composition that keeps the seld-portriat grounded in reality

Pieta

Giovanni bellini

1465-70

emotion in bluish tint of skin w closed eyes

St. Francis in Ecstacy

BELLINI 

1480

panorama, gold light, details

Nativity and adoration of the shepherds 

Ghirlandaio

1485

refers to antiquity in reference to sarcophagi and corinthian collumns 

St. Philip Exorcising the Demon, Strozzi Chapel, Sta. Maria Novella, Florence
FILIPPINO LIPPI
1485-1500

Confusing mismatched architecture that adds depth