1. Durer, Self-Portrait (age 28); 1500

• Nuremburg
• Christ-like
• Centrality/ Frontality
• Eyes staring to the right
• Inscriptions in latin ' Indelible Colors'
• Identification with internal life

2. Durer, Melancholia; 1514

3. Jan Van Eyck, Arnolfini Wedding Portrait; 1434 

• Very Real
• Mirror
• Showing Jan van Eyck was here
• Mimics experience with viewers
• Artistic illusionism

4. Botticelli, Portrait of a Young Man holding a Portrait of Cosimo the Elder; c.1474-75

5. Tomb of King Ladislas of Naples; 1420s

6. Gentile Bellini, Sultan Mohammed; 1480

• Oldfashioned Tomb
• Court artist for the Sultan
• Focus on Wealth an Status
• Islamis Art, Looks European
• Open to western style, blending of techniques = Hybrid Images

7. Gentile Bellini, Madonna and Child Enthroned; before 1507

• Under Islamic Art Christ is nude
• Robe is detailed textile, no more lapus lazuli
• Exchange of cultures
• " Eastern Madonna"

8. Anon., Indians Flee Columbus’ Approaching Ship; 15th Cen.

• Readily available in many copies
• Clothing: Cultural Meaning
• Indians - annonymous mass
• Fantasy Image of the other "European Fantasies"
•  Bigger to look at and analyze
• Collecting of people and things/ Noble Savage

9. Leonardo da Vinci, Last Supper; 1495-8

• Jesus Right and Mary Magdalene
  Cafeteria in Monestary in Milan
  Didn't use french plaster
  1512 was crumbling and flaking
  Shows moment about 'one of you will betray me' moment of action/ Leonardo's innovation
• Not unusual to look feminine
• Linked to youth and beauty not gender
• Judas has his elbow on the table - rude
•  

10. Leonardo da Vinci, Study for the Monument to Francesco Sforza; c. 1485-9

• lost wax method
• non-finito - unfinished
   
• Usually on all fours
• How to balance

11. Leonardo da Vinci, Madonna of the Rocks; 1483

• christ blessing another child
• st.john the baptist
• different configuration
• in a grotto - spirituality and miracles

12. Leonardo da Vinci, Virgin and Child with Saint Anne; 1508-19

• Religious Scene St. Anne Mother of the Madonna
• Conventional Family Tree
• High Renaissance
•  

14. Leonardo da Vinci, Bernardo Baroncelli Hanged; 1479

• Stable composition/ figures intertwined
• Emotions
• study with black and white chalk paper

15. Leonardo da Vinci, Study of a leg, larnyx, and mouth; 1510, pen and ink

• Access to bodies at the hospital
• Bodies disected/ criminals punished

16. Pollaiuolo, Battle of the Nudes; 1460-75

• Same  body from multiple angles
• Utilizing anatomical disection to learn male body musculature

17. Rogier Van der Weyden, Deposition of Christ; 1435-38

• Strong emotive Presence
• What Christ Went Through
• Shift away from subject matter of devotion to actual happening
• Wanted people to relate to image
• **Artistic Illusionism

18. Unknown Venetian designer (workshop of Titian?), for Vesaluis’ De humani corporis

            fabrica; 1543

19. Raphael, Madonna of the Meadows, 1505

• Composition - relating to each other, stable
• Facial Expression - illuding to the future
• Clear Meadow vs. Grotto
• Use of Light/ Spumatto (Smokey)
• Rapheal = Linear
• Gratzia: Grace, sweetness *Not appreciated any more

20. Raphael, Disputà; 1509-10

• Fresco, surrounded by tile floors
• created by students and he was the master
• Arguing about the status of the host (Bread)
• Reinactment of the last supper
• Story (Is it bread or is in flesh?)
• 14th C. official BREAD = FLESH = TRANSUBSTANTIATION: Transformation of bread into flesh
• About the authority of the church
• Recognizable saints - participating in the debate
• Political, impressive, overwhelming

21. Michelangelo, Madonna of the Stairs, 1489-92

• Wet nursing: Child sent to another woman/ increase fertility of a noble woman/ nurse can help shape the child
• Stairway to heaven/ means to ascend
• Intermediary
• Can pray to Madonna
• Son can't refuse anything she requests

22. Michelangelo, Bacchus, 1496-97 (marble)

• Reference to classical antiquity
• Marble (One piece)
• Eucharist
• Wine = body of christ
• Catholic Faith
• Tries to make it look Roman
• Comissioner doesn't like it and it goes to French gardens 

23. Michelangelo, Pietà; 1498/99-1500

• Image of Power
• Iconoclasm
• Northern Subject: German Theme
• Suffering Madonna craddling dead christ
• Scene of lamentation Giotto 

24. Michelangelo, Dying Slave; 1513-15

• War-like personna
• Erotic, Contemplate nature
• One piece
• Non-finito (Supporting Background)
• Delibertely leaves things undone 

25. Michelangelo, Creation of Eve; 1510

26. Pollaiuolo, Hercules and Anteus; 1470s

• Battle in which they can lift Anteus

27. Properzia de’ Rossi, Joseph and Potiphar’s Wife; 1520

• Mentioned by Visari (delicate hands, can do everything a woman can do and much more)
• Public comission for cathedral

28. Anguissola, Portrait of the Artist’s Three Sisters with their Governess; 1555

• Oil/ panel
• Trained in family business, painted things around her/ daughters educated and trained in art
• Causal/ not official faimily portrait
• Emotional/Candid

29. Fontana, Portrait of a Noblewoman; 1584

• Made portraits of wealthy
• Miracle of Nature
• Bolognia
• Summoned by Pope to Rome
• Painted religious works
• Elected by Roman Academies

30. Giovanni Cristoforo Romano, Portrait medal of Isabella d’Este; 1505

• Transported/ moving/ changing

31. Jacopo del Sellaio, Morelli-Nerli Cassone; 1472

32. Patanazzi family workshop, Scene of birth, scodella; c. 1580

33. Giovanni di ser Giovanni (Lo Scheggia), Triumph of Fame, 1449, desco da parto

34. Giorgione, Sleeping Venus; c. 1510

• Passave
• Completely nude/ touching herself in a suggestive way
• not properly married
• sexualized image

35. Michelangelo, Last Judgment; 1537-41

• Large Fresco in Sistene Chapel (wall behind alter)
• All bodies originally nude
• People dragged to hell by their genitals
• Figures like classical antiquity/ overt display of technique
• political connotations
• Devil has faces of Popes helper
• Shown holding his own skin
• Everyone naked including saints
• Mary closest to Christ

36. Michelangelo, Tomb of Giuliano de Medici; 1526-33

37. Giulio Romano, Palazzo del Te, Mantua; 1524-1537, east garden façade

• Built for Duke Federigo Gonzaga 
• 1527 =  Sack of Rome
• Artists must flee to courts around Italy
• Giulio flees for Mantua
• Rustification - Rough Stone
• Empty niches
• Columns for decoration
• Giant key stones over entry way
• * No function but appeals to a particular audience. Destruction of surface related to political turmoil

38. Giulio Romano, Sala dei Giganti, Palazzo del Te, Mantua; 1530-32

• Destruction of the Giants
• Giants think they can challenge the Gods
• Giants being crushed
• Everything is swirling/ falling/ instabilitiy
• Colorful/ expressive 

39. Parmigianino, Madonna with the Long Neck; 1534-40

• Oil/ panel
• Alien child/ looks dead/ elongated torso/ arms
• musculature exaggerated
• neck elongated like wedding portraits
• canon of female beauty
• long slender, delicate hands

40. Pontormo, Halberdier; 1528-30

• Gracefulnes (hand on hip - long fingers)
• Not really a soldier
• Above us but not addressing us
• Renaissance elbow - not polite
• Well dressed with golden chain and expensive clothing
• Phallic reference
• Elongated

41. Bronzino, Venus, Cupid, Folly and Time; 1546

• Smaller court painting
• Father time - exaggerated musclulature
• Cupid, elaborate, elongated pose
• Deliberately stylized
• Masks reference to acting and deceit
• Venus acted upon and displayed deliberately
• Erotic scene but cupid is her son
• Intentione
• Allegorical figures
• Swirling composition
• Fraud, folly, venus, cupis, father time
• Not sybolic
• Illusive and deliberately confusing