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| Life of Saint John the Baptist; Andrea Pisano; baptistery of San Giovanni Florence; 1330-1336; gilded bronze. Baptism of the Multiples- drapery, naturalistic, French Gothic tradition |
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| Virgin and Child Enthroned; Cimabue; Santa Trinita Florence; 1280; tempura and gold on wood. Not too real looking so people worship the idea and not the item. Byzantine style with more depth in robes/halos |
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| Virgin and Child Enthroned; Giotto di Bondone; Florence; 1305-1310; tempura and gold on wood. Depth and space in the throne/halo. More body shown - knee, chest |
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| Arena Chapel; Giotto di Bondone; Padua; 1305-1306; fresco. For artist to go to heaven |
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| Lamentation; Giotto di Bondone; Arena Chapel, Padua; 1305-1306; fresco. Shows divided days of work. Placed with natural light to enhance |
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| Kiss of Judas; Giotto di Bondone; Arena Chapel, Padua; 1305-1306; fresco. Focus on what's most important |
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| Conjectural Reconstruction of the Maesta Altarpiece; Duccio; 1308-1311; tempura and gold on wood. Byzantine style with drapery / turned heads. Punched designs in gold |
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| Betrayal of Jesus; Duccio di Buoninsegna; Siena Catherdral; 1308-1311; tempura and gold on wood |
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| Annunciation; Simone Martini and Lippo Memmi; Siena Cathedral; 1333; tempura and gold on wood. Elaborate punch work. Dress was expensive blue turned black over time |
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| The Effects of Good Government in the City and the Country; Ambrogio Lorenzetti; Siena, Italy; 1338-1339; fresco. First example of landscape |
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| Tres Riches Heures; The Limbourg Brothers; 1402; ink on vellum. Depth and detail in miniature paintings. Included seasonal calendars and astrological signs |
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| Mary and her Devotions; Mary of Burgundy Painter; Vienna; 1482; colors and ink on parchment. Luxury items, architectural detail |
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| Well of Moses; Claus Sluter; Dijon, France; 1395-1406; limestone with paint. Life-size statues - realism/texture |
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| Saint Wolfgang Altarpiece; Michael Pacher; Austria; 1471-1481; carved, painted, gilt wood. Blend of techniques |
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| Annunciation Visitation Presentation in the Temple and Flight into Egypt; Melchior Broederlam; altarpiece of the Chartreuse de Champmol; 1393-1399; oil on wood. Oil dried slower than tempera. Glazed in layers for a more natural color |
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| Merode Altarpiece; Workshop Master of Flemalle; 1425-1430; oil on wood. Flemish Household - everyday people feel connected to Biblical story |
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| Miraculous Draft of Fishes; Konrad Witz; Geneva Switzerland; 1444; oil on wood. Identifiable landscape |
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| Ghent Altarpiece: Adoration of the Mystic Lamb / Annunciation with Donors; Jan and Hubert van Eyck; Bavo, Ghent; 1432; oil on panel. Grisaille - figures painted grey like statues |
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| Double Portrait of Giovanni Arnolfini and His Wife; Jan van Eyck; 1434; oil on wood. Displays wealth of the merchant. Artistic license since mirrors were never that big |
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| Saint Luke Drawing the Virgin and Child; Rogier van der Weyden; 1435-1440; oil and tempera on wood. Honors artists using silverpoint. Adam + Eve detailed on railing. Saint based after artist |
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| Deposition; Rogier van der Weyden; Louvain Belgium; 1443; oil on wood. Cross doesn't have enough wood for Jesus's arms |
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| The City of Nuremberg; Michael Wolgemut, Wihelm Pleydenwurff; 1493; Berlin; woodcut with hand-colored painting. Same places/people used multiple times |
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| The Temptations of Saint Anthony; Martin Schongauer; 1470-1480; Engraving |
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| Sacrifice of Isaac; Brunelleschi; 1401-1402; bronze with gilding; Florence. Full of action |
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| Sacrifice of Isaac; Ghiberti; 1401-1402; bronze with gilding; Florence. Winner - less material, lighter, cheaper |
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| The Four Crowned Martyrs; Nanni di Banco; 1409-1417; marble. Statues interact with one another. Contrapposto + Naturalistic |
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| Saint George; Donatello; 1417-1420; Florence. Stiff and strong. Relief below explains story and background fades into nothing |
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| Jacob and Esau, Gates of Paradise Baptistry Doors; Ghiberti; 1425-1452; Florence; gilt bronze. Uses vanishing point + perspective lines |
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| David; Donatello; 1446-1460; bronze. First standing life-size nude since Antiquity. Seen as young boy, but conqueror from below |
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| David; Verrocchio; 1470-1475; bronze with gilded features. Smaller than life-size, small sword |
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| Equestrian Statue of Erasmo da Narni; Padua; 1443-1453; bronze. Honor brilliant generals |
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| Dome of Florence Catherdral; Brunelleschi; 1420-1436. Revolutionary engineering - 2 layered construction |
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| Foundling Hospital; Brunelleschi; 1421-1427; Florence. Honored traditional forms with Italian Renaissance features. Circled medallions of infants |
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| Church of San Lorenzo, Florence; Brunelleschi; 1421-1428. Rectangular form with square units. Pietra Serena: durable + delicate grey stone |
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| Palazzo Medici-Riccardi, Florence; Bartolomeo; 1446. First floor rustic + strong then becomes more delicate up the building - each floor unique |
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| Contarini Palace, Venice "House of Gold"; 1421-1437. Very decorative + ornate |
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| Tribute Money; Masaccio; Brancacci Chapel, Florence; 1427; fresco. Multiple stories in one painting. Contrapposto painted - focus on anatomy and feelings |
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| The Expulsion of Adam and Eve from Paradise; Masaccio; Brancacci Chapel, Florence; 1427; fresco. Expression and shadows |
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| Trinity with the Virgin, St. John the Evangelist and Donors; Masaccio; Santa Maria Novella, Florence; 1425-1428; fresco. True one-point perspective. Bottom inscription - death is inevitable so live well |
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| The Last Supper; Andrea del Castagno; Sant'Apollonia, Florence; 1447; fresco. Obsessive use of perspective |
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| Annunciation; Fra Angelico; San Marco, Florence; 1438-1445; fresco. Contrast with shadows |
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| Portrait of a Woman and Man; Fra Filippo Lippi; 1435-1445; tempera on wood panel. Focus on woman not interacting with the man. Use of shadows |
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| Scenes from the Life of St. Francis, Altarpiece with Nativity and Adoration of the Shepherds; Santa Trinita, Florence; 1483-1486; fresco. |
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| Confirmation of the Franciscan Rule by Pope Honorius III; Ghirlandaio; 1483-1486; fresco. Honoring St. Francis. Background is in the city of Florence, not Rome. Lorenzo and kids included - political alliances |
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| Nativity and Adoration of the Shepherds; Ghirlandaio; Sassetti Chapel. Based on Northern work, but South included in scripted words and sarcophagus from Old Antiquity |
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| Birth of Venus; Botticelli; 1484-1486; tempera and gold on canvas. Based on ancient sculpture - Venus Pudica. Honors the myth. Wind moves the scene |
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| Primavera; Botticelli; 1482; tempera on wood panel. Ancient idea through a Christian view. Moves right to left - warns to love in an appropriate way |
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| St. Francis in Ecstasy; Bellini; 1470; oil on wood panel. Northern connection to the landscape and perspective. Florence influence through body and shadow. Oil paintings allow for more detail until tempura. |
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| Battista Sforza and Federico da Montefeltro; Francesca; 1474; oil on wood panel. He is always in strict profile due to missing an eye - had nose cut to see better. Woman in height of fashion |
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| Two Views of the Camera Picta, Ducal Palace, Mantua; 1465-1474; fresco. |
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| View of the Sistine Chapel showing paintings commissioned for the side walls by Pope Sixtus IV; Vatican, Rome; 1480-1482. |
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| Christ Giving the Keys to St. Peter; Perugino; Sistine Chapel, Rome; 1480-1482; fresco. |
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| Madonna of the Rocks; Leonardo da Vinci; 1485; oil on wood. Pyramid movement. Chiaroscuro: light and dark. Sfumato: smoky/hazy edges |
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| The Last Supper; Leonardo da Vinci; 1495-1498; tempera on oil and plaster. Linear perspective with door and ceiling lines. No halo but natural lighting with window. Fresco on dry wall doesn't work! |
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| Madonna of the Gold Finch; Raphael; 1506; oil on panel. Pyramid movement. Known for feathery trees |
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| School of Athens; Raphael; Vatican, Rome; 1510-1511; Fresco. Honor philosophers like Plato and Aristotle. Apollo + Athena statues. Highlights anatomy + humanities studies |
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| Pieta; Michelangelo; 1500; marble. Criticized for Virgin being too young and big |
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| Creation of Adam, Sistine Chapel Ceiling; Michelangelo; 1511-1512; fresco. Large figures with not too much detail to be seen from a far. Females based on male bodies |
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| Allegory with Venus and Cupid; Bronzino; 1540; oil on panel. Man suffering from syphilis. Awkward bodies |
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| The Tempest; Giorgione; 1506; oil on canvas. Strom about to rage |
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| Venus of Urbino; Titian; 1538; oil on canvas. Nothing identifies her as Venus. Promising a fruitful marriage? Modest or suggestive? |
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| Feast in the House of Levi; Veronese; Venice; 1573; oil on canvas. Dwarfs, soldiers and animals. Too crazy to be the last supper |
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| Last Judgement Fresco; Michelangelo; 1536-1541; fresco. Deemed too much nudity so robes were painted on. Greek mythology figure |
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| Isenheim Altarpiece; Grunewald; Alsace, France; 1510-1515; oil on wood. Placed next to a sick room. Christ depicts different sicknesses of the patients - opening the piece divides his body. Pain + disease = hope |
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| Self Portrait; Albrecht Durer; 1500; oil on wood. Resembles Jesus: front facing + specific hand position. Two inscriptions to definitely signify its him - 28 years is important. Known for hair |
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| Four Horseman of the Apocalypse; Durer; 1497-1498; woodcut. People believed the world would end and Jesus would return. Dynamic movement and details from the Bible story |
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Marin Luther; 95 Theses; 1517. Claimed church to be corrupt and that popes only cared about power - must remain focused on the Bible.
Iconoclasm: Destroying religious art. Churches no longer would commission artists |
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| Death and the Matron; Hans Baldung Grien; 1520-1525; oil on wood panel. Death is coming for everyone. Warning not to get wrapped up in world pleasures |
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| Danube Landscape; Altdorfer; 1525; oil on vellum on wood panel. Lancet: landscape. Honors Gods creations, but not always necessarily religious |
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| A Meat Stall with the Holy Family Giving Alms; Pieter Aertsen; 1551; oil on wood panel. Genre to highlight details in everyday life. Virgin seen in background |
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| The French Ambassadors; Hans Holbein the Younger; 1533; oil and tempera on wood. Famous for details in textiles and fabrics. Skull distorted to be viewed at a specific angle - adds unique trick for enjoyment |
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| Garden of Earthly Delights; Bosch; 1505-1515; oil on wood panel. Not placed in a church, rather a personal collection. Creation of Adam + Eve on left, hell on the right panel. No idea about its purpose/reason for commission |
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| The Harvesters; Pieter Bruegel the Elder; 1565; oil on wood panel. Represents the months of August and September. Shows everyday people. No longer a religious connection |
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| Self Portrait; Caterina Van Hemessen; 1548; oil on wood panel. First well-known female. 11 portraits signed and dated |
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| Burial of Count Orgaz; El Greco; Toledo, Spain; 1586; oil on canvas. Counters the Protestant Revolution. Earthy bodies vs heavenly bodies |
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| Façade of the Church of San Carlo Alle Quattro Fontane; Borromini; 1638-1667. Switch from circles to ovals. Movement + dynamic |
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| St. Peters Basilica and Piazza; Bernini; 1607-1626; Rome. Piazza acts to draw people in to show the power and control of the church. Melted down previous art to make it for this Christian purpose. Wants visitors to leave in awe |
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| David; Gianlorenzo Bernini; 1623; marble; 5'7". In an action pose. Holding the sling-shot not sword - hasn't slayed Goliath yet. Positioned so the viewer is in Goliath's shoes - interacting with the audience |
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| St. Teresa of Avila in Ecstasy; Bernini; Rome; 1645-1652; marble. Much expression (pain? Lust?). Patrons carved as statues watching the scene from opera boxes |
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| Bacchus; Caravaggio; 1595-1596; oil on canvas. Fruit in still life rotting to support not to get caught up with pleasures |
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The Calling of St. Matthew; Caravaggio; 1599-1600; oil on canvas. Jesus shown in the shadows reaching out with one hand. Contemporary outfits so the calling could be happening NOW
Tenebrism: dramatic lighting |
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| Judith Beheading Holofernes; Gentileschi; 1619-1620; oil on canvas. Gruesome and bloody - shows strength of women. Sharp contrast |
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| The Triumph of the Name of Jesus and Fall of the Damned; Baciccio; 1672-1685; fresco. Painted shadows to enhance the light. Statues incorporated. Bel Composto: beautifully whole |
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| The Immaculate Conception; Murillo; 1660-1665; oil on canvas. Blue and white dress with babies to highlight purity. High volume of Mary art created to spread Christianity |
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| St. Serapion; Zurbaran; 1628; oil on canvas. White rob against black tree background contrast. Viewers could relate |
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| Still Life with Quince, Cabbage, Melon, and Cucumber; Cotan; 1602; oil on canvas. Cotan known for windowsill structure. High contrast |
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| Las Meninas; Velazquez; 1656; oil on canvas. Painter shown looking at/painting the viewer. Mirror shows the king and queen being painted - in viewers position? |
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| The Raising of the Cross; Rubens; 1610-1611; oil on panel. Light and dark contrast, emotional expression, definition in anatomy |
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| Arrival of Marie de Medici at Marseilles; Rubens; 1621-1625; oil on canvas. Personification of France and Victory, Sea God Neptune. Rubenesque Women are full figured. Later made into a tapestry |
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| Still life with Flowers, Goblet, Dried Fruit, and Pretzels; Peeters; 1611; oil on panel. First to combine food with flowers. Important woman artist |
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| Officers of the Haarlem Militia Company of St. Adrian; Hals; 1627; oil on canvas. Lively individualized figures - comfortable as if interrupted from conversation. Incorrect lighting so each face is lit and badges shown |
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| The Anatomy Lesson of Dr. Tulp; Rembrandt; 1632; oil on canvas. All men in corner and body draws lines for the eye. Lighting as a spot light to make it seem theatrical |
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| The Night Watch; Rembrandt; 1642; oil on canvas. Figures are painted life size. Tenebrim + emotion. Varnish tarnished over time - scene isn't at night. Criticized since many figures are only in the shadows |
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| Self Portrait; Judith Leyster; 1635; oil on canvas. Impractical, formal outfit to paint in. Important woman artist |
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| Woman Holding a Balance; Vermeer; 1664; oil on canvas. Delicate use of light - creates soft edges. Painting of Last Judgement behind her which would have been unusual in the Protestant territories. Balance is symbol for a balance of religion and life. Used most expensive blue pigment |
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| Hall of Mirrors in Palace of Versailles; Hardouin-Mansart and Le Brun. Epitome of ornamentation - splendor and expansiveness by light reflections |
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| Landscape with St. John on Patmos; Poussin; 1640; oil on canvas. Antique style |
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| St. Pauls Cathedral; Christopher Wren; 1695-1710. Combined Renaissance and Baroque styles. Hidden flying buttresses to not show older techniques. Leads into Neo-Classical in the Americas |
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