Caravaggio, The Calling of St. Matthew, 1599-1600, oil;

Italian Baroque, Counter-Reformation;

In a chapel with other paintings of St. Matthew;

Uses naturalism (ordinary people outside a tavern) and tenebrism (contrsasts light and dark)

Botticelli, The Birth of Venus, 1485, tempera;

Italian Early Renaissance;

Painted for the Medici family;

Shallow modeling, emphasis on outline -> weightless

Bramante, Tempietto (Rome), 1502-11;

Italian High Renaissance;

Built for Spanish monarchs Ferdinand and Isabella at the site of St. Peter's crucifixion;

Evokes circular Roman temples;

Wanted to include a circular, colonnaded courtyard

Bernini, David, 1623, marble;

Italian Baroque;

In the act of fighting the implied Goliath;

Vitality and energy

Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, 1625, oil;

Italian Baroque;

One of few female artists;

Jewish widow Judith got Assyrian general (about to attack the Jews) drunk, and cut off his head;

Theatrical gestures and scene (tenebrism from candle)

Brunelleschi, Dome of Florence cathedral, 1420-36;

Italian Early Renaissance;

Based on study of Gothic, Roman, Byzantine, and Persian buildings;

It was a feat to engineer a way to put a dome on this rectagular building

Michelangelo, Sistine Chapel ceiling (Vatican), 1508-12, fresco;

Italian High Renaissance;

Center features 9 scenes from Genesis;

Edges show prophets and Christ's ancestors

Campin, Merode Triptych, 1425-30, oil;

15th Century Northern Europe (Belgium);

Annunciation in a contemporary house w/ symbolism through the lillies, candle, and Joseph's mousetrap

Donatello, David, 1420s-60s, bronze;

Italian Early Renaissance;

Made for the Medici palace courtyard;

Young David stands upon Goliath's head after the battle;

Symbol of FLorentine civic virtue, viligance, and victory over tyranny

Raphael, The School of Athens (Vatican), 1508-11, fresco;

Italian High Renaissance;

On the walls of Pope Julius' library with other scenes of humanism;

Plato points up, Aristotle points down;

Idealists on the left, empiricists on the right

Albrecht Durer, The Four Horsemen of the Apocalypse, 1498, woodcut;

16th Century Northern Europe (Germany);

Travels allowed him to synthesize Flemish technique with Italian Renaissance lessons (energy, volume);

Prints made for the open market, not individual patrons;

Image shows War, Conquest, Famine, and Death overrunning the Earth (book of Revelation)

Leonardo da Vinci, Mona Lisa, 1503-05, oil;

Italian High Renaissance;

Young woman in simple garments in front of a sfumato landscape, looking at the viewer;

Layers of color create the image, with a gentle light from within

Jan van Eyck, The Arnolfini Portrait, 1434, oil;

15th Century Northern Europe (Holland);

Symbols include the removed shoes (holy ground), the dog (fidelity), the fruit (wealth/temptation), and the single candle;

The mirror creates depth and depicts van Eyck (maybe)

Leon Battista Alberti, Palazzo Ruccellai (Florence), 1446-51;

Italian Early Renaissance;

Modeled after the Coleseum;

Columns, arches, and the stones' scale and style change with the 3 floors to show their development over time

Giotto, Madonna Enthroned, 1310, tempera;

14th Century Italy;

Madonna and child against a golden background;

Fabric, throne, modeled faces, and overlapping crowds give the illusion of three-dimensionality

Michelangelo, David, 1501-04, marble;

Italian High Renaissance;

In the Palazzo della Signoria (seat of Florentine government), showed Florence's republican virtues;

Anxiously and tensely awaits the battle (emotion through muscle)

Grunewald, Isenheim Altarpiece, 1509-15, oil;

16th Century Europe (German);

Painted for the hospital of the monastery church of the Order of St. Anthony;

Shows many scenes of Christ's life, including a gruesome image of him on the cross, and a beautiful resurrection image;

Color and technique from the Renaissance, but main goal was emotion, not weightiness

Masaccio, The Holy Trinity, 1425, fresco;

Italian Early Renaissance

In Santa Maria Novella;

First painting to use linear perspective!

Michelangelo, The Creation of Adam (Sistine Chapel ceiling), 1508-12, fresco;

Italian High Renaissance;

 Depicts God giving Adam the divine spark (a soul);

Shows human's relationship with God

Stages of the Renaissance

(with years and traits)

Proto-Renaissance (1300-1400): North: realism of particulars, merchant-class patrons, guild system; South: structural realism

Early Renaissance (1400-1495): self-awareness, study of Greece and Rome and human works, rivaled nature with perspective, oil paints, and printmaking; Medici

High Reniassance (1495-1520): artists were celebrated and famous ('genius'/'divine'), idealized nature, used forms of antiquity, balance, clarity, emotion; church, rulers

Late Renaissance (1520-1600): during Protestantism's birth; Mannerism rejected the Renaissaince's standards of proportion and ideal forms