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| Giotto, Ognissanti Madonna, c. 1310, tempera/gold leaf on wood panel |
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Donatello, David, 1430-1440, Florence, bronze
(First male nude statue since antequity, reveals sensuality, mimics Greek/Roman god statutues) |
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Claus Sluter, The Well of Moses, at the Chartreuse de Champmol, 1395-1406, polychrome and gilded stone |
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Parmigianino, Madonna with the Long Neck, 1534-1535, oil on wood.
(Focus on manneristic style, elegant and exaggerated illustration
of charcters and their garnments, in contrast to the earlier rennisance focus of naturalism and illustrating things as close to naturally as possible) |
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Raphael, The School of Athens, 1509-1510, fresco.
Stanza della Segnatura at the Vatican (The papal library where the pope signed official documents, School of Athens represents philospohy which is opposite the fresco of theology, showing Pope Julius II's knowledge and openness) |
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| Hieronymous Bosch, The Garden of Earthly Delights, 1490-1510, oil on wood panels |
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| (unknown artist) The Buxheim St. Christopher, 1423, hand-colored woodcut |
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Designed by Giacomo della Porta and Giacomo Barozzi da Vignola, Church of Il Gesu, 1580, Rome.
(Interior wide nave, dome before the altar, "theatrical appearance)
(Exterior, scroll butresses, two distinct levels) |
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House of Jacques Coeur, unkown artitecht, ca. 1450, Bourges, France
(Irregular plan with gothic architecture, I.E. pointed arches, tracey windows, pinnancles, stained glass, niches, crockets, finials. |
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Andrea Palladio, Villa Rotonda, 1566-1590s, Vicenza, Italy
(Centrally planned villa, 4 identical facedes with protruding porches, imitates the Pantheon/Roman temples) |
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Matthias Grunewald, Isenheim Altarpiece, 1512-1516, oil on wood, made for the Monastery of St. Anthony in Isenheim, Germany |
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| Lorenzo Ghiberti, The Gates of Paradise, 1425-1452, bronze, baptistery of San Giovanni, Florence. Images depict Old testament scences. In comparisson to Pisano's door, focus more on linear/atmospheric perespective, depth, and representation of space. Figures twist and turn, showing the focus on naturalism and the human body. |
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Filippo Brunelleschi, Basilica of San Lorenzo, ca. 1419, Florence.
(Has a perspective layout that implies untiy and coherence, nave is seperated from the aisles with round arches and corinthinan columns, nave has a coffered celiling, latin cross plan) |
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| Andrea Pisano, South Doors, Florence Baptistery, 1330-1336, gilded bronze. 20 panels depict scenes of the life of Saint John the Baptist, 8 represent Christ's virtures. |
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| Ambrogio Lorenzetti, Allegory of Good Government, 1338-1339, Palazzo Pubblico, Siena, Italy Effects of Good Government in the Country |
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| Ambrogio Lorenzetti, Allegory of Good Government, 1338-1339, Palazzo Pubblico, Siena, Italy, Effects of Good Government in the City, Fresco. |
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Simone Martini and Lippo Memmi, Annunciation, 1333, tempera and gold on wood panel, originally Siena Cathedral |
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| Giambologna, The Abduction of the Sabine Women, 1574-1582, Florence |
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| Paolo Veronese, Christ in the House of Levi, 1573, oil on canvas |
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Pieter Bruegel the Elder, Netherlandish Proverbs, 1559, oil on panel |
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Jan Gossaert, Neptune and Amphitrite, 1516, oil on wood panel.
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| Albrecht Durer, Melancholia I, 1514, engraving |
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| Albrecht Durer, Self-Portrait, 1500, oil on wood panel |
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| Michelangelo, Pieta, 1498-1499, St. Peter’s Basilica, marble |
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| Leonardo da Vinci, The Last Supper, Santa Maria delle Grazie, 1495-1498, tempera |
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Martin Schongauer, Saint Anthony Tormented by Demons, ca. 1470-1475, engraving |
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| Jan van Eyck, Arnolfini Portrait, 1434, oil on panel |
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The Limbourg Brothers, “January” from the Tres Riches Heures du Duc de Berry, (The very rich hours of the Duke of Berry), ca. 1412-1416, illuminated manuscript |
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| Sandro Botticelli, Primavera, 1477-1482, tempera on panel |
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| Veit Stoss, Krakow Altarpiece, Krakow, Poland, 1477-1489, polychrome limewood |
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| Masaccio, Expulsion from the Garden of Eden, Brancacci Chapel in Santa Maria del Carmine, Florence, ca. 1425, fresco |
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Masaccio, Tribute Money, 1425, Fresco
Brancacci Chapel, Santa Maria del Carmine, Florence
(Focus on illustrating nautral light)
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Michelangelo, Sistine Chapel, frescoes, 1508-1512, Vatican (see images in book for specific details of individual sections) |
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Palazzo Pubblico 1288-1309, Sienna, Italy
Was an imposing symbol of the power of Sienna.The town hall had fortified walls and battlements. The tower served as a bell tower, watch tower, and a defensive position. |
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Ghent Altarpiece, Hebert and Jan Van Eyck, Oil on wood,
Saint Bavo Cathedral, Ghent, Belgium. 1432. |
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