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GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco
[image] |
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Leonardo, The Last Supper, 1495-98
tempera on gesso, pitch and mastic
Santa Maria delle Grazie, Milan
Linear perspectiveon
a dry wall rather than on wet plaster, so it is not a true fresco. |
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| CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood |
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| GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood. |
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| Interior of the Arena Chapel (Cappella Scrovegni), Padua, Italy, 1305–1306. |
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Flemish artist Claus Sluter ( 1395–1406)
Chartreuse de Champol, France. Stone, height approx 6ft |
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Robert Campin Mérode Altarpiece, 1425-28
The piece is a hinged triptych
The Iconography contains religious symbolism
A scroll and book are in front of Mary, symbolizing the Old & New Testaments. Oil.
Metropolitan museum of art, New York |
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right----Robert Campin Mérode Altarpiece, 1425-28
The piece is a hinged triptych
A scroll and book are in front of Mary, symbolizing the Old & New Testaments |
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Jan van Eyck, Ghent Altar(closed), 1432
Church of St.Bavo, Ghent Belgium. Oil on panel |
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Jan van Eyck, Ghent Altar(open), 1432
Church of St.Bavo, Ghent Belgium. Oil on panel
The patrons of the cathedral, painted in GRISAILLE(a monochrome; in this case to imitate the grayish color of statues) |
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Jan van Eyck, Giovanni Arnolfini and His Bride,1434
Oil on oak, 82 x 60 cm
National Gallery, London |
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Rogier van der Weyden Deposition from the Cross, c. 1435
Oil on panel. (7' 2" x 8' 7") Museo del Prado, Madrid
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BRUNELLESCHI, Dome of Florence Cathedral (Florence, Italy)
Duomo,
High pointed arches in the nave arcade rest on piers, planned included ribbbin groin vaults (stone vaults comprised of four sections)
Gothic style |
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Brunelleschi,Pazzi Chapel,1430-1460,Florence
small domed chapel. |
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Donatello, St. George, 1417Or San Michele (Bargello),Florence
orginally in marble |
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Donatello, Feast of Herod. c. 1425
Bronze with gilding
60 x 60 cm
Baptistery, panel on the baptismal font, Siena
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| LORENZO GHIBERTI, east doors, baptistery, Florence Cathedral,Florence, Italy, 1425–1452. Gilded bronze. |
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baptistery, Florence Cathedral, Florence, Italy, 1425–1452.
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-4), east doors, baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. |
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DONATELLO, David, ca. 1420s-60s. Museo Nazionale del Bargello, floreance
bronze |
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Donatello, Gattamelata, Padua 1445-50
bronze, piazza del santo |
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Donatello, Mary Magdalene,1440s-1460s.
Polychrome and gold on wood. 6' 1".
Museo dell'Opera del Duomo, Florence |
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Masaccio The Holy Trinity,Santa Maria Novella,Florence, c. 1428
Fresco, detached from wall
All the lines perpendicular to the plane converge toward a point below the foot of the cross
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Masaccio Tribute Money, from the Brancacci Chapel in Santa Maria del Carmine,
Florence, c. 1427
Fresco.
Masaccio uses perspective ti create a deep space for the narrative and to link the painting's space to the space of the viewer |
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Sandro Botticelli The Birth of Venus, c. 1485.
Tempera on Panel Galleria degli uffizi, Florence |
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| Tempera. Mantegna, Dead Christ 1501, canvas |
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| Leonardo da Vinci, Ginevra de’ Benci, c. 1474-78. Washington, D.C., National Gallery of Art. Oil on panel |
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Vitruvian Man, c. 1487. Paris,
Bibliothèque de l’Arsenal. |
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| Da Vinci, The Virgin of the Rocks, c. 1485. Paris, Louvre. Oil on panel |
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| Mona Lisa, c. 1503-1505. Paris, Louvre. Oil on panel |
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Raphael, La Belle Jardinière, 1507. Paris, Louvre. oil on panel
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School of Athens, Room of the Signatures, 1508-11. Rome, Vatican Palace.
fresco |
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| Raphael, Galatea, c. 1513. Rome, Villa Farnesina. fresco |
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| Bosch, Garden of Earthly Delights, (1505) Oil on panel |
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Matthias Grünewald, Isenheim Altarpiece (closed), from the chapel of the Hospital
of St. Anthony, Isenheim, c. 1510-1515. |
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Dürer, The Fall of Man
(Adam and Eve), 1504,
Engraving. |
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| TITIAN, Bacchanal, 1518. Oil on canvas, 5’ 9” x 6’ 4”. Prado, Madrid |
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Bronzino Venus, Cupid,
Folly and Time, c. 1546 |
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| The iconography of a group of people consists of the symbols, pictures, and objects which represent their ideas and way of life |
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| A fresco is a picture that is painted on a plastered wall when the plaster is still wet. |
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| a kind of paint in which the colour is mixed with egg and water; a method of painting that uses this kind of paint |
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| A diptych is any object with two flat plates attached at a hinge. |
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| A patron is a person who supports and gives money to artists, writers, or musicians. |
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| A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. |
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| Lost-wax casting sometimes called by the French name of cire perdue is the process by which a bronze or brass is cast from an artist's sculpture |
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| Bas-relief is a technique of sculpture in which shapes are carved so that they stand out from the background |
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| To foreshorten someone or something means to draw them, photograph them, or see them from an unusual angle so that the parts of them that are furthest away seem smaller than they really are. |
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| Contrapposto is an Italian term used in the visual arts to describe a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs |
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| Chiaroscuro in art is contrast between light and dark, usually bold contrasts affecting a whole composition. It is also more technically used by artists and art historians for the use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modeling three-dimensional objects such as the human body. |
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| Sfumato is one of the four canonical painting modes of the Renaissance (the other three being Cangiante, Chiaroscuro, and Unione).[1] It refers to a mode of painting in which there are no extreme darks or lights, as the brightness values are grouped more or less tightly together around middle gray |
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