Cimabue, Virgin and Child Enthroned

• Early Italian Renaissance
• Gold highlights make figures icons- physical manifestation of something divine
• Italo-Byzantine style- greek- dramatic narratives

Giotto, Virgin and Child Enthroned

• Early Italian Renaissance
• Plain, bulky figures project out toward viewer- makes icons accessable
• Greater spacial consistency with "3D" figures- idea of naturalism

Giotto, frescoes for the Scrovegni (Arena) Chapel

• Early Italian Renaissance
• Buon fresco- water-based paint on wet plaster
• Enrico Scrovegni- infamous usurer- patronry was seen as penance

Giotto, Lamentation, from the Scrovegni (Arena) Chapel,

• Early Italian Renaissance
• Linked to mourning of Lazarus

Giotto, Crucifixion, from the Scrovegni (Arena) Chapel

• Early Italian Renaissance
• Jesus is center- flanked by scattered activity on sides
• Symbols- angels, skull under cross

Duccio, Maestà Altarpiece, painted for the Cathedral of Siena

• Early Italian Renaissance
• Synthesis of Byzantine and French Gothic sources
• Has predella- bottom panels below main altarpiece
• Painted on both sides- gives different narratives to different viewers
• Inscription acts as prayer and also business card for Duccio

Ambrogio Lorenzetti, The Effects of Good Government in the City and in the Country

• Early Italian Renaissance
• King is surrounded by positive virtues- take lessons from walls
• Good rule leads to good city- building, commerce, peace, safety

Rogier van der Weyden, Miraflores Altarpiece

• Early Northern Renaissance
• Oil painting- lifelike expressions and bright color contrasts
• Modern Flemish households and settings with ancient stories
• Donors painted on side panels

Workshop of the Master of Flémalle, Mérode Altarpiece

• Early Northern Renaissance
• Flemish Style- oil painting- luminous and easy to adjust as it dries
• triptych- three panels
• Donors on left in focused prayer, Joseph on right in workshop

Jan and Hubert van Eyck, Ghent Altarpiece

• Early Northern Renaissance
• Polptych- closes w/ 2 st. johns facing viewer
• Anunciation on top- somber colors- mary's words upside down facing god
• God on top and lamb on bottom- God is large and commands attention while bottom is a scene predicted in the Book of Revelation
• Oil glaze- reflects light

Rogier van der Weyden, Last Judgment Altarpiece / “Beaune” Last Judgment

• Early Northern Renaissance
• Polypytch- painted for hospital chapel
• Clear seperation of heaven and hell through panels

Jan van Eyck, Holy Face (Icon of Jesus of Christ)

• Early Northern Renaissance
• Relates to "Man in a Red Turban"- possible features of van eyck in the work

Jan van Eyck, Giovanni Arnolfini and His Wife

• Early Northern Renaissance
• "Jan van Eyck was here 1434"- inscription turns painting into marriage certificate
• Solemn signs with informal aspects reveal that the scene is a betrothal

Jan van Eyck, Man in a Red Turban

• Early Northern Renaissance
• Inscription hints that it may be a self portrait
• Looks directly out at viewer as if it were a mirror

Rogier van der Weyden, St. Luke Drawing the Virgin and Child,

• Early Northern Renaissance
• Contrast between nature and modern city in background
• Lifelike qualities of St. Luke may mean it is a self portrait of the artist
• Highlights the artist's role as interpreter of the christian narrative

Lorenzo Ghiberti, Sacrifice of Isaac

• Italian Renaissance
  
• Ornate details- panders to judges
• Describes success as unanimous

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Filippo Brunelleschi, Sacrifice of Isaac

• Italian Renaissance
• Raw emotion shines through in blunt carving
• Refused to split prize and drops out instead
• Becomes an architect and combines Roman antiquity w/ mathematical precision

Nanni di Banco, St. Philip

• Italian Renaissance
• commissioned by the shoemakers guild
• Heavy, solid figure with deep facial expression

Nanni di Banco, The Four Crowned Martyrs,

• Italian Renaissance
• commissioned by the stonecarvers and woodworkers guild
• Semicircle arrangement w/ protruding feet gives sense of space

Andrea del Verrocchio, David

• Italian Renaissance
• Response to donatello- figure is clothed and confident

Donatello, David

• Italian Renaissance
• Nudity and effeminate pose reflect the influence of Eros- god of platonic love

Masaccio, Trinity

• Italian Renaissance
• Standing viewer set vanishing point in center- right above altar
• Classical influences in columns
• Skeleton is symbol of the death that waits for all of us

Masaccio, The Tribute Money

• Italian Renaissance
• Peter is located in three different locations- shows different phases of the scene
• Peter catches fish with coin- represents graduated tax in florence for defense spending

Masolino, St. Peter healing the cripple and raising of Tabitha,

Fra Filippo Lippi, Annunciation

• Italian Renaissance
• Depth seems exaggerated- eye can pick up on inconsistences
• Vanishing point depends heavily on viewing point- vanP is directly across from viewP

Fra Angelico, Annunciation

• Italian Renaissance
• Painted by Dominican monk for prayer and reflection- i.e. inscription
• Natural light from left gives figures almost supernatural radiance

Domenico Ghirlandaio, Nativity and Adoration of the Shepherds

• Italian Renaissance
• Iris flower, symbol of christ's passion, grows around
• Pilasters w/ sarcophagus shows ancient Roman influence
• Aerial perspective- joins foreground w/ rest of scene

Sandro Botticelli, Calumny of Apelles

• Italian Renaissance
• Light from a consistent source w/ linear perspective
• Recreation of lost work from Rome
  

Sandro Botticelli, Primavera,

• Italian Renaissance
• painted for the wedding of Lorenzo di Pierfrancesco de’ Medici
• Symbols of Medici family- orange globes in trees, laurel tree
• Flowers on ground represent love and marriage- grow in Florence
• Venus replaces the traditional figure of Mary
• Represents Ovid's "Fasti"- shows Medici as intellectual equal to Boticelli

Sandro Botticelli, Birth of Venus

• Italian Renaissance
• "Modest Venus"-hides body with hair but still draws attention to her sexuality
• Brings new level to the idea of beauty through nudity

Giovanni Bellini, Madonna and Child

• High Renaissance
• "Fuses the real and the ideal"
• Emulation of classical art- sense of gravity and decorum

Leonardo da Vinci, Mona Lisa

• High Renaissance
• Pyramidal style- eyes look directly at viewer vs. to side as was the norm for portraits
• Expressive smile different than the usual masklike faces- contraposta

Raphael, Small Cowper Madonna

• High Renaissance
• Serenity of body and mind shows through expression- more idealistic than Leo
• Pyramidal composition and clinging clothing influences from Leo

Leonardo da Vinci, The Last Supper

• High Renaissance
• Sfumato- shadow- blurred edges around figures
• Emotion emphasized through gestures
• Stable, pyramidal Jesus at table parallel to viewer- vanishing point behind his head
• Places Judas at Jesus's right instead of hiding him as was the norm

Raphael, Madonna of the Meadow

• High Renaissance
• Softness and serenity show the ideal matronly form- prevalent in Raphael's work vs. Da Vinci's

Michelangelo, David

• High Renaissance
• Placed in principal city square of florence
• Takes place before the fight- intense gaze differentiates it from other interpretation
• Controposto- off balance - ancient pose shows complexity of the mind

Michelangelo, paintings for the Sistine Chapel ceiling

• High Renaissance
• Scenes go across the ceiling and tell chronological stories from Genesis

Michelangelo, Creation of Adam

• High Renaissance
• Adam has langorous pose- waiting for the spark of life from God to connect his mind and body

Agnolo Bronzino, Lamentation

• Mannerism
• anti-classical - artificial grace takes place over naturalism
• Complicated poses, esoteric subjects, and strange color combos were the norm

Jacopo Pontormo, Deposition

• Mannerism
• Movement is toward the viewer's space- claustrophobic- placed in family tomb
• Reaction against Raphael's work- flips 90 degrees the wrong way
• Moment is right after Jesus is removed from the cross

Parmigianino, Madonna with the Long Neck

• Mannerism
• Mary has unnaturally long neck, legs, torso- contrasts with small St. Jerome on side
• Column in back also works to show revolt against normal measuring standard

Michelangelo, Last Judgment

• Counter Reformation
• Saints should have ideal body- thus the muscular form and nudity
• Mary is shrunken under Jesus's arm- departure from Gothic tradition
• Drapery added to cover nudity after Mich's death

Titian, Venus of Urbino

• High Renaissance
• Fingering herself
• Painted as marriage gift- combined Venus with bride

Paolo Veronese, Feast at the House of Levi

• Counter Reformation
• Focuses heavily on archictecture, guests, and city in background- not Jesus
• Popular with Venetians but not Church- forced name change from Last Supper

Jacopo Tintoretto, Last Supper

• Counter Reformation
• Figures move in intertwined line
• Light comes from oil lamp and Jesus's halo

Jacopo Tintoretto, Last Supper

• Counter Reformation
• Distributes Eucharist in an authentic fashion
• "Nuclear" halo coming from Christ energizes those around him