Pisa Cathedral. Pisa,Italy

1063

Pisa:port at river opening - trading center, rich

ambitious, powerful for a powerful city, reference to old St. Peters, Basilica style

Pisa Baptistery. Pisa, Italy

1153

detail added in 18th century, funnel shape with no top-oculus, Roman-circular building with oculus, recreate pantheon, Political-Pisa is the new Rome, bringing back antiquity

Pulpit of Pisa Baptistery. Pisa,Italy

1259-1260. Nicola Pisano

Roman-like, arches, columns and relief on panels. sculptures of people between pulpit and column. represent fortitude, ideal person-strength-Roman, restore roman in renaissance 

Adoration of Pisa Pulpit. Pisa, Italy

1259-1260. Nicola Pisano

King large size, kneeling. non-Jewish kings, Christianity for all. storytelling relief-Roman. Natural and detailed, beards and hair

Siena Cathedral Pulpit. Siena, Italy

1265. Nicola Pisano

commission to make pulpit bigger and better than Pisa, octagon 8 reliefs of Christ

Adoration of Siena Pulpit. Siena, Italy

1265. Nicola Pisano

different adoration of the kings, gifts and kneeling, scene of kings traveling to christ, more engaging, detail, retell story differently

Virgin and Child Enthroned of Maesta altarpiece. Siena Cathedral, Italy

1308-1311. Duccio

wood panels, gold-leaf painted on. 2 sides, Life of Mary and Life of Christ. saints and angels kneeling, Mary on throne-carved marble. face blue under coat for dark shadows. conventional features, expensive patterned robe w/ gold-leaf. quote under throne=painting to mary from him and siena

Entry into Jerusalem of Maesta altarpiece. Siena Cathedral, Italy

1308-1311. Duccio

on donkey w/ apostles, palm leaves waving. not in bible: boys in trees getting more palms, artists liberty

Deposition of Maesta altarpiece. Siena Cathedral, Italy

1308-1311. Duccio

christ off cross

Ognissanti Madonna of church of Ognissanti. Florence, Italy

1310. Giotto

mary throned and saints. 3D imagery w/ light and dark, dramatic shading. used real space w/ overlapping people

Arrest of Christ of Arena Chapel. Padua, Italy

1305. Giotto

identified jesus by kiss of Judas, betrayal - make drama the center of the panel

Lamentation of Arena Chapel. Padua, Italy

1305. Giotto

weeping over jesus and angels, 2 figures seen from behind looking at christ-we are engaged in the scene. Dead tree in lamentation, live tree in resurrection. Hill and faces point to jesus, generic faces-relatable. lots of blue to show wealth

Allegory of Justice of Arena Chapel. Padua, Italy

1305. Giotto

painted to look like marble, painted in recess/niche. personification of justice. holding scale, below a relief of a safe city, traders can come and go, young women dancing in the city

Allegory of Good Gov. of Sala dei Nove of Palazzo Pubblico. Siena, Italy

1340. Lorenzetti

ideas of good gov. Large throned woman-justice. wisdom over her holding scale w/ punishment and reward. bottom representations of sienien officials, rep public.

Effects of Good Gov. in the City of Sala dei Nove of Palazzo Pubblico. Siena, Italy

1340. Lorenzetti

naturalistic city and city walls, everyday life, shops + traders, teachers, young women dancing-safe

Effects of Good Gov. in the Country of Sala dei Nove of Palazzo Pubblico. Siena, Italy

1340. Lorenzetti

hills and traders, cultivating land, vineyards and villas, supply city, allegory figure -security, safety outside city is important for city

Florence Cathedral. Florence, Italy

1296. Arnolfo Di Cambio

Florence grew in wealth, large cathedral, new capital. reduced weight of dome, made two domes, brick inside and roof over. first dome since rome, larger than pantheon

Trinity. Santa Maria Novella, Florence, Italy

1425. Masaccio

Trinity: God, Jesus, Mary. and church patrons. one point perspective, geometric formula, spacial recession. under sarcophagus, skeleton, reminder of mortality, related to presence in space

Expulsion of Adam and Eve. Brancacci Chapel, Santa Maria del Carmine, Florence

1425. Masaccio

narrative, naturalism, one point perspective. angle with flaming sword banishing. cast shadows 3D reality. shame, covering body, nakedness

Tribute Money. Brancacci Chapel, Santa Maria del Carmine, Florence

1425. Masaccio

Jesus tells peter to get coin from fish for city entering tax. 3 scenes in one space, orthogonal lines all lead to jesus, plausible size of people and arch. tax collector dressed diff and facing away, we relate to him, Apostles robes like roman officials, lined up heads. diff ages, compare old peter and young john, dramatic contrast

Saint Mark. niche Florence Cathedral, Italy

1412. Donatello

uses ancient elements, contrapposto weight shift, casual, movement, not stiff, hips and shoulders tip, asymmetric, straight leg w/ straight drapery, bent leg disturbs drapery-more complex, left arm and leg straight, right arm and leg bent, twist in body, vitality, subtle, dignity, restraint to violent movement

David. Florence, Italy

1440, Donatello

wealthy family commissioned for courtyard statue, young shepherd boy, fought in war and killed giant. roman sculpture of athlete w/ victory wreath. delicate and effeminate, young, emphasize god is acting through David

Ghent Altarpiece. Saint Bavo Cathedral, Ghent, Belgium

1432. Jan van Eyck

Adam, angels, mary, god, st. john, angels, eve. 3D reality, oil paint, layers colors, depth. Adoration of the Lamb, sacrifice of lamb to show christ sacrifice, apostles, church officials virgin martyrs, angels. Adam and Eve not very ideal

Arnolfini Wedding. 

1434. Jan van Eyck

interior of house, commemorate a real marriage, maube not wife, ideal wife. witness document-witness wedding, artist signed "was here". single candle in chandelier-marriage. mirror on back wall, concave, can see the man and wife from behind, 2 men watching, one van Eyck

Man in a Red Turban. 

1433. Jan van Eyck

self portrait, "as i can" on top, I've done the best I canto make realism, perfection in detail-reality

Deposition. Notre-Dame hors-les-murs, Belgium

1435. Rogier van der Weyden

glowing and deep colors, scene in a stage like space, no escape from drama, gold background-older art, naturalism texture, natural wounds, slight suffering but ideal body. virgin mary fainting, same pose as jesus, as powerful as jesus, shows kinship, 2 hands almost touch. people real everyday faces, believable 

Temptation of St. Anthony. 

1480. Martin Schongauer

engraving, metal print-detail. St. in the woods for prayer, demons attack him. grotesque and intense, imagination of artists

Spring (Primavera)

1478. Botticelli

story from ancient mythology, Venus-goddess of spring, 3 Graces, Flora, Cupid, Mercury, Chloris, Zephor, idea of spring from ancient poet-sophisticated, beauty erotic nature, woods grass, no perspective

Birth of Venus

1482. Botticelli

born in the sea and received by nymphs, modest pose, hair blowing around from nymphs arriving to greet her

Portrait of Ginevra de'Benici

1474. Leonardo da Vinci

wealthy Florentine woman, inspired by Netherlands painting, skin shadowing, colors from skin to lips, curls of hair, expressionless maybe counteracted by hands folded holding flowers-spring natural beauty

Last Supper

1495. Leonardo da Vinci

announcement that one of them will betray jesus, each apostle reacts-drama-energy, jesus center, 6 on each side, 2 groups of 3, relieve monotony, organized, one point perspective, bare room, out thrown arms and pointing to self, peter leans to john, judas leans back holding money paid, jesus isolated reaching for wine and bread

Mona Lisa

1503. Leonardo da Vinci

painting of a beautiful woman, emphasize attractiveness, flesh coloring, realistic, repose hands, looks at us, smile-conveying the right kind, delicate smile, sophisticated pose, not passive, engaging. mountains terrain mist fantasy landscape

Vitruvian Man

1490. Leonardo da Vinci

multitude of different fields, notes, vitruvius-proportions of buildings w/ math, same with men, god places signs of divine right, disected men to study muscles to understand to paint

Pieta

1497. Michelangelo

'devotion' rep of virgin mary holding dead christ, sobbing, not emphasizing gruesome death or suffering, christ ideally beautiful body-god like, beautiful neutral face of mary-show perpetual virginity, young face of chastity. make the sculpture moving through idealization

David

1501. Michelangelo

for florence cathedral buttress, moved to city hall. old testament prophet, now defender of his city. show he can equal and surpass ideal roman male, nudity-seeing qualities of body, whats under the clothes, tensed muscles, anatomy, blood vessels, animated, heroism + virtue

Creation of Man

1508. Michelangelo

god souring in heaven w/ angels, Adam lying on earth recieving life from god-weak body, weakly reaching. Adam ideally beautiful-as god's sculpture, intense relationship, adam relaxed, god active poses align

Libyan Sybil

1508. Michelangelo

much more complex twisting, beautifully, demonstrate ability to vary the human body

Nude

1508. Michelangelo

holding large medals with ribbons, still and ideally beautiful-has the power to be spiritual

Dome of St. Peter's

1560. Michelangelo

like the old church, animated, ascending to god, painting sculpture and architecture all connected

School of Athens

1510. Raphael

branches of learning, idea of philosophy, as if a group of known philosophers gathered and conversed, main debaters and others listening, 1 point perspective, brings viewer into debate, Plato and Aristotle, idealist and realist, plato LdV and leaning michlo, salute to contemporaries, grouping like LdV

Galatea

1512. Raphael

escape across sea from cyclops, nymphs help her, Tritons, cupids, on shell pulled by dolphins, like ancient sculpture, shallow space/relief, seen as painting of sculptures. painted brown hair, light hits to gold-as written in poem

Sistine Madonna

1512. Raphael

saint sixfis and princess barbara, madonna as queen of heaven, no throne, cloud. clouds behind are baby's faces, angels. pope and princess kneeling. princess most beautiful, madonna young and different beauty, humility of birthing christ, more beautiful in virtue than real beauty

Transfiguration

1520. Raphael

christ lifted off ground, messiah divinity, apostles cannot heal the sick, dark shadows and confusion,  contrast w/ simple light jesus, jesus center and apostles reacting-Last Supper

Portrait of Baldassare Castiglione

1515. Raphael

count, writer-book of manners, emblem of courtesy, painting understated and polite, no need to impress, human

Lady with a Veil

1515. Raphael

rich costume, palette constrained to white, beautiful face, pale, dark eyes and hair, dark background, focus on face. poetry-pulled back hair w/ one loose strand-beauty

Concert

1510. Titian

lute player and flute woman, not from real poem, poetic fantasy, pastoral-poetry related to shepherds, simple poets in humble living, liberal w/ sensuality, simple pleasures: music, sounds of flowing water, shepherd in background playing bag pipes, naked wood nymphs, music attracted nymphs-step back to ancient time, light-afternoon, pleasure will pass, lit hand to strum, rich-sensuous, senses enjoyment

Bacchanal

1520. Titian

god of wine, cult of sensuous excess, indulge. island of Andros-perpetually drunk, on mountain god sleeps and rolls around crushing grapes to make river of wine. shadows and light contrast, figures emerge out of shadows. dancers, little boy peeing-liberty, freeness, woman throws off clothes and lounges, abandon restraint, intense sensuality

Venus of Urbino

1538. Titian

portrait model as venus, bridges ancient, in house with servants, allude to venus, poetically as beautiful as. flesh warm, auburn hair, light sheet under and dark sheet behind, brings out her flesh, violets, intensely looking at the viewer, challenge of invoking sexual emotion

Assumption of the Virgin

1518. Titian

virgin dies and is seen rising to the heavens, clouds of angels, apostles watch on ground, yellow glow and dark cloud God ready to receive, contrast, dissolving heads of angels, great drama

Portrait of a Man

1522. Titian

muted colors, focus on his face part lit and part shadow, drama in face, glove leather texture, less meticulous, more free

Portrait of Pope Paul III

1545. Titian

pope dressed and throned, made velvet texture, same freedom as leather, portrait-realism of old face, old slouching, gaze of wisdom but physically weak

Miracle of the Christian Slave

1548. Tintoretto

christian tortured by pagans, st. mark destroys torture weapons, judge lets christian go, naked male, st. mark above in the same axis. energy and cluster of crowds-variety and textures, streaks of paint, hair-energy in painting action

Feast in the House of Levi

1573. Veronese

last supper with servants and more people, rich fabrics

Assumption of the Virgin

1530. Correggio

fresco in dome of cathedral, used 1 point perspective complex, angels in concentric rings of clouds into glow, jesus seen on top ready to receive virgin, celebration of angels, dissolving into glow, positioned below and painted to see virgin from below

Nativity

1525. Correggio

night scene, glow from jesus, glow on face to shepherds and angels, dramatic contrast, dark and light, jesus is light in world of darkness, virgin sheer joy, glow warmth and love

Jupiter and Io

1527. Correggio

Zeus as cloud and mortal woman, surprise, erotic, nude, hand and face in cloud

Self-Portrait

1500. Albrecht Dürer

also painter, reproduce exact real details, better that photograph, naturalism, demonstration of artists skill

Fall of Man

1504. Dürer

wood carving, adam and eve, fruit and snake, ideal man-anatomically complex, animals around in garden of eden 

Four Horsemen of the Apocalypse

1498. Dürer

print wood-limited detail, end of the world in bible, famine disease war and death unleashed on world, vivid, victims falling on ground

Isenheim Altarpiece

1510. Grünewald

jesus on cross under grave of jesus, sculptures on inside, Crucifixion powerful and overwhelming, abused and starved body bruises, not naturalistic, beyond gruesome, emphasize suffering, other figures are distorted in grief, mary Magdalene collapsed on ground

Resurrection from Isenheim Altarpiece

1515. Grünewald

bursting out of tomb, guards tossed aside, sun glow from jesus-face dissolves into light

The Garden of Earthly Delights Triptych

1505. Hieronymus Bosch

left Garden on eden, adam and eve w/ animals and imaginary plants and animals. middle scene summarizing life on earth, imagined figures, scary grotesque scene of human life, cultivation of imagination, philisophical statement. right hell, punishments, things bosch dreamed  

Madonna and Child with the Family of Burgermeister Meyer

1528. Hans Holbein

naturalism, not idealism, living flesh

Ambassadors

1533. Hans Holbein

double portrait, left secular right religious official, table full of intellectual objects, men are worldly and intelligent, renaissance men. skull in anamorphic perspective viewed from extreme angle, remind them of mortality, 2 incomplete images, death and worldliness not compatible

Proverbs

1560. Brueghel

folk wisdom, scenes refer to proverbs "throwing flowers before swine", tongue and cheek, peasant philosophy

Peasant Dance

1568. Brueghel

reflected on time in italy, festival in Netherlands, peasants not usually painted, this painting shows peasants don't need to be looked down on, too simple, typecast peasants idealized as peasants, ugly and grotesque life, comic -drunkenness, couple kissing, simple earthiness

Parable of the Blind

1568. Brueghel

blind beggars, "blind leading the blind lead into a ditch", jesus speaking to people against his campaign, powerful

January (Hunters in the Snow)

1565. Brueghel

landscape painter, seasons and months, January, dutch village but mountains that don't exist, imaginary landscape, humble life, simple beauty, real fire moved by wind, people huddled, real trees lead ur eye to landscape, footprints in snow