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| Combination of classical and gothic. Crowding of figures typical of earlier styles. Distortion of figures. Father of Giovanni:
Annunciation and Nativity |
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| Figures more slender. Elegance and space not found in earlier styles. Intensity of feeling typical of Northern late-gothic styles. Relief tilted towards the viewer, for greater impact.
Son of Nicola:
Nativity and Annunciation to the Shepherds |
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| Derived from the italo-byzantine tradition. Attempts at 3-D in the shading on the body.
Gold and Yellows
Religious Art:
Crucifixion;
Madonna Enthroned with Angels and Prophets |
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| Use of architectural elements to give space. First signs of International gothic style.
Religious Art:
Madonna Enthroned with Saints;
Annunciation of the Death of the Virgin |
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| student of Cimabue. Most influential artist of his era, moving towards a Renaissance aesthetic. Solidity of figures, attempts at realism:
Madonna Enthroned with Child, Angels, and Saints;
The Meeting of Joachim and Anna;
The Lamentation over the Dead Christ;
Saint Francis Renounces His Worldly Goods |
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| rich colors, expressive style, typical of International Gothic.
Gold Plating:
The Annunciation with Saint Ansano and Margaret |
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| attempts at believable perspective in buildings.
landscapes:
"the city" and "countryside" detail from The Good City (Also called The Effects of Good Government on the City and the Country) |
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Rise of Burgundy as an important cultural center. Focus on everyday subjects:
Calendar Art |
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| late example of International Gothic style:
Adoration of the Magi |
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| Monumental, classical, symmetrical. Early manifestation of Renaissance ideals. Attempts a realism and perspective:
The Holy Trinity;
The Tribute Money;
Expulsion of Adam and Eve from Eden |
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| symbolic painting: prosperity of Italian bankers. Exquisite detail and visual tricks (the mirror):
Giovanni Arnolfini and His Bride |
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| first free-standing nude sculpture since antiquity. Biblical scene rendered with classical influence. Classical reticence in face. Mary Magdalene statue very expressive, though:
Saint George;
David;
Saint Mary Magdalene |
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| Debt to Masaccio. Observation of the natural world, but some illogical aspects (proportions, lighting) that are not classical:
Annunciation |
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| Fascinated with perspective and foreshortening. Liked to include horses in his paintings. Frozen quality to the compositions:
The Battle of San Romano |
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| Classical scenes, lightness, airiness. In Adoration of the Magi, the work praises the Medici more than the baby Jesus:
Adoration of the Magi;
La Primavera;
The Birth of Venus |
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| Wide-ranging genius. Studied anatomy to improve his figural painting. Classical/symmetrical arrangements:
Madonna of the Rocks |
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| Transitional figure. Art tends to show (or imply) motion, not strictly static. Extraordinary technique (Pieta) and monumental style (David):
Madonna of the Stairs;
Pieta;
David;
Moses;
Sistine Chapel |
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| Ordered space, classical inspiration, symmetrical arrangements, brilliant color and clarity.
Bright Reds and Blues:
Madonna of the Meadow;
Philosophy (School of Athens);
The Transfiguration |
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| “Terribilita,” twisting figures, “Michelangelesque” (muscular forms, even for women). Considered himself a sculptor first, painter secondarily:
Atlas Slave;
Creation of Adam;
The Last Judgement;
Medici Chapel;
Night |
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| oil paintings more suited to Venice’s damp climate. Detailed, classically arranged, allegorical works:
Enthroned Madonna with Saints Liberalis and Francis of Assisi;
Le Concert Champetre |
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| student of Giorgione
Rich colors and lighting
Titian red (in Venus of Urbino)
Dynamic paintings:
Assumption of the Virgin;
Venus of Urbino |
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| Mannerist, Perspective lines converge on darkness. Conflation of time periods in clothing. Christ difficult to locate in scene. Uses classical techniques for non-classical ends. Very Dark looking Art:
The Last Supper |
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| Mannerist. Upturned pyramid shape. Ambiguous. Shocking colors. Void in the middle of the painting:
Deposition |
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| Mannerist. Elongation of proportions, ambiguous scale, disturbing posing and color of baby combined with sensuality of left-hand side of painting:
Madonna of the Long Neck |
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| unstable “inverted pyramid” organization, bright colors, twisting and distortion of bodies:
Noli Me Tangere |
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| first artist to recognize the commercial potential for art. Specialized in reproducible genres (woodcut, engraving, prints). Combines passionate religion with classical learning and techniques. Has a signature (a D in a house):
"Saint Michael fighting the Dragon" (Apocalypse series);
Knight, Death, and the Devil;
Self-Portrait |
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| reintroduces Medieval hierarchy of figures (more important figures are larger), combined with intense passion and drama. Rejects classical restraint in favor of dramatic, even violent images of contemplation:
Crucifixion;
Resurrection |
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| one of the first landscape painters. Focus on nature an important trait in the renaissance:
Danube Landscape Near Regensburg |
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| religious artist, but paintings are often nightmarish. Surreal figures, garish colors:
Garden of Earthly Delights |
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| peasant scenes, everyday people. Diagonal lines and composition show Italian influence, but the scenes are Northern:
The Triumph of Death;
Peasant Wedding Feast;
Hunters in the Snow |
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| chiaroscuro used to highlight drama of religious scenes. Paintings tell a story, including back story and future events:
The Calling of Saint Matthew;
The Martyrdom of Saint Matthew;
Madonna of Loreto |
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| violence of biblical (or apocryphal) stories. Mastery of foreshortening. Influence of Caravaggio:
Judith and Holofernes |
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| classical subject matter, but intensified through repetition until it’s over the top. But “Flight into Egypt” is restrained, understated – figures are not seen until after the landscape has already been seen:
The Triumph of Bacchus and Ariadne;
Flight into Egypt |
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| David is dynamic, in motion, and with a powerful facial expression (self-portrait of the artist). St. Teresa is a mixed-media work (the metal rods are part of the sculpture), powerfully expressive of intense emotion:
Designed St. Peter's Basilica (Michelangelo designed the dome)
David (the expressive one throwing a rock);
Cardinal Scipione Borghese;
Saint Teresa in Ecstasy |
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| Undulating façade makes the building front seem like its moving. Introduction of the curve (baroque) into a classical design (renaissance):
Facade of San Carlo alle Quattro Fontane |
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| French baroque is more restrained than Italian. Less violent, figures seem polished, unreal. But still using chiaroscuro:
The Lamantation over Saint Sebastian |
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| classical subject matter, stylized posing. Bright colors, but artificial arrangement:
Et in Arcadia Ego (2 of them);
Abduction of the Sabine Women |
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| gentle landscape artist, showing the effect of diffuse light on the landscape. More beautiful than nature itself. |
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| aristocratic portraits. Combines realism with symbols of power:
Louis XIV |
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| works in Spain, but shows Italian (mannerist) influence in distortion and choice of colors. Lots of motion, dynamism in later paintings:
Martyrdom of Saint Maurice and the Theban Legion;
Burial of Count Orgaz |
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| shows /religious violent scene, but presented without judgment. Dispassionate and passionate at the same time. Strong J-line typical of baroque curvature:
The Martyrdom if Saint Bartholomew |
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| raises the artist to more than simply an employee. Ambiguity of representation. Who is the painting of? Who are we? :
Las Meninas |
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| known mainly for painting large naked women. Twisting figures in allegorical or classical paintings. Importance of light and color:
The Rape of the Daughters of Leucippus;
The Journey of Marie de' Medici |
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| portrait artist, assistant to Rubens:
Marchesa Elena Grimaldi |
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| Dutch artists had to rely on civic institutions for patronage, since there was no church or court patronage. Scene combines individualized portraits with group dynamic:
Banquet of the Officers of the Civic Guard of Saint George at Haarlem |
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| paintings are intimate, static, domestic, anonymous. Light is diffuse. Careful geometric arrangements. Women doing ordinary things:
Woman Reading a letter |
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| considered the biblical paintings his most important works. Use of suggestion, rough brush strokes, instead of detailed depiction (a baroque trait – invokes the imagination). Strong chiaroscuro for dramatic effect:
The Night Watch;
Jacob Blessing the sons of Joseph |
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