1. Almost permanent 

2. Dries very, very quickly

3. Produces a pale pastel color that can be darkened with varnish

4. Usually applied in small brushstrokes

1. Mostly baltic oak

2. Panels could be cut to size and glued for larger surfaces

3. Covered in "ground" (chalk and animal skin glue)

4. Ground provided a surface for the paint to adhere

1. Pigments suspended in oil, usually linseed oil

2. High degree of subtle variations in tone. Can be made deep and luminous through "glazing"

3. Allowed for remarkable effects of color and texture

Portinari Altarpiece 

Hugo van der Goes, c. 1476

The peasants in the scene reflect Northern Renaissance style. Flowers symbolize the Virgin Mary. On the opposite side, there's a nontraditional Annunciation painting where an angry blue jay replaces the usual dove.

Saint Francis Altarpiece

Bonaventura Berlinghieri, 1235

Combination of two different styles of painting during the time (Byzantine style [flat, geometric, symmetrical] and international gothic style [more distended, impossible proportions to reflect godly status, mostly used for statues])

Holy Trinity

Masaccio, c. 1428

Single point perspective. Masaccio had an obsession with math and gridding out his art. Inscription on the bottom means "reminder of death." Makes a stable triangle out of the Trinity, where the Holy Spirit is on the collar of the Father.

Garden of Earthly Delights

Hieronymous Bosch, 1505-1510

Painting where everything seems to be going wrong. People indulge in sin and are being punished. Bosche has access to psychotropic substances. Adamites celebrated "free love." (Basically hippies of the 16th century)

Ghent Altarpiece

Jan van Eyck, 1432

Very detailed painting. He used a brush made from a single camel hair for some of the details. This was a polyptic altarpiece with the couple that paid for the altarpiece painted on the two outside, lower panels. Two grisaille figures symbolize a rivalry. **Clarification**

Interior of Santo Spirito, Florence

Filipo Brunelleschi, began ca. 1436

Almost an exact copy of a Roman basilica. Kind of a rip-off.

Merode Altarpiece 

Robert Campin, c. 1425-1428

Illustration of an Augustinian strain of theology. Uses the mousetrap metaphor to represent Jesus. Northern Renaissance style used to humanize biblical stories. Made for the Ingleberitch family and depicts a more mondern Annunciation.

David

Donatello, c. 1420-1450

He used a lost cast technique for the statue. David is a symbol of Florence (a small city competing with bigger cities). This David is almost childlike, like he's too small for the sword that's supposed to make him look powerful.

Lamentation

Giotto, c. 1305

Fresco painting in the Arena Chapel (Padua, Italy). Represents the emotional and rational resonance of bibilcal stories. Paintings were the sole source of biblical stories to those who couldn't read Latin.

Bartolomeo Colleoni

Andrea del Verrocchio, c. 1483-1488

Very tall and proud. The angle of the elbow mirrors the angle of the knee. It's a revival of ancient styles.

Sant' Andrea, Mantua

Leon Battista Alberti, c. 1470

Signifies the revival of the ancient triumphal arch.

David

Michelangelo, 1501-1504

More muscular. This David was preparing to becomea a man of power. Intended to be in the niche of a clocktower, but ended up in a courtyard, gazing southward toward Rome. As you walk around the statue, the face reveals many emotions: fear, rage, contentment.

School of Athens

Raphael, 1509-1511

The scene is a painting of the room where the Pope signs official documents, but the people in the room are Pagans. Shows how the church was interested in humanism.

The Last Supper

Leondardo da Vinci, ca. 1495-1498

Exaple of Renaissance triangle with Jesus at the center. The company erupts in shock. Repetitive boiling water in the area caused part of the painting to fall away. (half of it has been restored).

Sacrifice of Isaac

Lorenzo Ghiberti, 1401-1402

This was the winner of a contest between Ghiberti and Brunelleschi to see who could better depict the story of Abraham sacrificing his son.  This one shows more tension because the angel hasn't reached them yet. Isaac is more courageous and less timid.

Descent From the Cross

Jacopo Pontormo, 1525-1528

Painting done in Florence, which is a divided city. This painting depicts the body of Christ being brought down after his crucifixion. The middle of the painting has a void instead of a subject matter. Most of the colors are very pastel because they lack saturation. Gives it a sense of elegance, expect the bottom figure which is very awkward.

The Last Supper

Tintoretto, 1594

Spin-off from da Vinci's painting, which was gridded and more rational space. This painting was more mysterious and focused on setting a mood. In situ> This painting is still in it's original place from about 500 years ago. It creates space using a strong diagonal line. It provides a sense of chaos and energy. Uses chiaroscuro, a heavy juxtaposition between light and dark.

Assumption of the Virgin

Titian, 1516-1518

Departs from Renaissance tradition. It's in a church where famous people were buried. Its 22.5 feet high. When you walk in the front door, this painting is perfectly framed, just as it was intended 500 years ago. It was originally spotlit by windows, painted in a deep Venetian red. The weight of the virgin bends the cloud down. God the Father is tilted and dark, where he is usually painted straight across. This angle gives the painting motion.

Pesaro Altarpiece

Titian, 1519-1526

In the same church as Assumption of the Virgin, but on the left side.

The Tempest

Giorgione, c. 1505

Oil on canvas painting in Venice. First example of a landscape in western art. There is much uncertainty on who the people are. Commonly considered to be Demeter and Iasion and their son Plutus. Venice was an international hub of trade, and a disease ridden city. Life can end at any moment.