14-3 “Annunciation, Nativity”

Pisano

13^th Century

This relief sculpture depicting the Nativity

 and the Annunciation was placed around the

pulpit of the baptistery. Mary is depicted twice

in different sizes and the posture and drapery

of figures are reminiscent of lid figures in Etruscan art. 

14-6 “Madonna Enthroned”

Cimabue

13^th Century

This artist was one of the first artists to break

away from the maniera greca style. The image

was depicted three-dimensionally with the

Madonna’s throne receding into space. 

14-10 “Life of Jesus”

Duccio

14^th Century

This altarpiece depicted Jesus’s passion in

 24 scenes on 14 panels beginning with his

Entry into Jerusalem at the lower left. It

is painted in tempera and the original order

in which it should be read is unclear upon first sight.

14-10A “Entry into Jerusalem”

Duccio

14^th Century

This work depicts Jesus’s entry into the city of

 Jerusalem and uses angles to signify depth.

The linear perspective that is somewhat present

is very awkward as it had not yet been invented. 

14-11 “Betrayal of Jesus”

Duccio

14^th Century

This work uses a wide array of emotions and

reactions to convey Judas’s betrayal of Jesus.

It took a great step towards the humanism

of religious subject matter by making it relatable.  

14-7 “Madonna Enthroned”

Giotto

14^th Century

Regarded as the first Renaissance painter, Giotto

gave his figures substance, dimensionality, and

the illusion that they could cast shadow.

This work was painted for the high altar

of Florence’s church of the Ognissanti.

14-8 “Lamentation”

Giotto

14^th Century

In this work, the artist employed the use of the

buon fresco technique which required completed

sections before the plaster dried. The composition

of this picture led the viewer to the subject of

the scene and replaced the usual gold skies with blue. 

14-8B “Betrayal of Jesus”

Giotto

14^th Century

This artist chose to depict the halos around

the wearer’s heads as more three-dimensional.

The torches being wielded are angled, pointing

at the scene between Jesus an Judas at the

moment of the betrayal.

14-18 “Santa Maria del Fiore”

Cambio

13^th Century

This structure carries on the Tuscan Romanesque

architectural tradition and is linked closer to

Early Christian Italy than Gothic France.

The dome was not added until years later

when a newer style of construction was invented.

15-2 "Well of Moses"

Sluter

15th Century

This symbolic fountain of life was made for the duke of Burgundy and served as a water source for the monestery. The figures recall French Gothic jamb statues but are far more realistic. 

15-3 "Retable de Champmol"

Broederlam

1399

This piece is a good example of an oil painting attempting to represent the three-dimensional world on a two-dimensional surface. The gold background and flat halos recall medieval pictoral conventions.

15-15 "January"

Limbourg Brothers

15th Century

This painting depicts characteristic activities performed in each month, for example, in January. It was part of an illuminated book of prayers and reflected the increacing integration of religious and secular art.

15-1 "Merode Alterpiece"

Campin

15th Century

This work depicts the Annuncition from Isaiah 7:14 and was set in a Flemish merchant's home. The cityscape seen through the window shows the locale of the biblical event. 

 15-6 "Giovanni Arnolfini and His Wife"

Van Eych

15th Century

This painting depicts an Italian financer and his wife taking their wedding vows with the artist himself portrayed in the mirror at the back of the room. The mirror at the back of the room extends the image past the realm of the picture to the viewer as well. 

15-7 "Man in a Red Turban"

Van Eych

15th Century

This piece is the first known western painted portrait in a thousand years where the sitter looks directly at the viewer. It is most likely a self portrait of the artist and created an illusion that the sitter's eyes follow you.

15-8 "Deposition"

Van Der Weyden

15th Century

This piece resembles a relief carving in which biblical figures act out a drama as if upon a stage. The artist created a very close/claustrophobic feeling which sucks the viewer into the image. 

15-10 "A goldsmith in his Shop"

Christus

1449

This piece was made for the Bruges goldsmiths guild and most likely depicted a couple shopping for a wedding ring. The bride's brothel girdle upon the table is a representation of chastity. 

16-2 "Sacrifice of Isaac"

Brunelleschi

15th Century

This bronze door entry depicts Abraham's sacrifice of Isaac to show is loyalty to god. It recalls the emotional agitation of Pisano's relief sculpture and showed frantic motion, swirling robes, and movement.

16-3 "Sacrifice of Isaac"

Ghiberti

15th Century

This piece was Ghiberti's entry into the competition for the bronze door art. It features graceful posed figures that recall classical statuary and show a deep appreciation for the nude male form and how the muscular system and skeletal structure move the body.

16-7 "Saint George and the Dragon"

Donatello

15th Century

This piece marks a turning point in Renaissance sculpture by creating an atmospheric effect within a relief sculpture. The depth of the background cannot be measured but it was conceived as a window onto an infinite vista. 

16-8 "Feast of Herod"

Donatello

15th Century

Two arched courtyards in the background of diminishing size open up the space of action into the distance. This piece was an introduction of rationalized perspective space in Renaissance relief sculpture. 

16-5 "Saint Mark"

Donatello

15th Century

This statue was carved for the guild of linen makers and tailors and has natural and flowing drapery on the figure. It introduced classical contrapasto into Quattrocento sculpture. 

16-12 "David"

Donatello

15th Century

This revived nude figure possessed both the relaxed contrapasto and the sensuous beauty of Greek gods. It is a revival of classical statuary style which greatly appealed to its patrons, the Medici. 

16-13 "David"

Verrocchio

15th Century

This narrative, made for the Medici, displays brash confidence and realism which contrasts strongly with the quiet classicism of Donatello's David. It depics David as sturdy and wiry with Goliath's head at his feet. 

16-16 "Gattamelata"

Donatello

15th Century

This work was based on an equestrian statue of Marcus Aurelus and was placed in the square in front of the church of Saint'Antonio in Padua.It was the first since antiquity to revive the grandeur of Roman imperial mounted portraits. 

16-17 "Bartolommeo Colleoni"

Verrocchio

15th Century

Providing the funds himself, this artist provided contropasto to this statue, where Donatello's mounted statue did not have it. The horse moves in a prancing stride, arching and curving it's powerful neck. 

16-20 "Expulsion of Adam and Eve from Eden"

Masacchio

15th Century

The figures in this image were presented with convincing structural accuracy which suggested substantial body weight. The hazy background gives no specific locale, but it does suggest space around the figures. 

16-21 "Holy Trinity"

Masaccio

15th Century

This artwork posesses the first use of systematic liner perspective in painting. It is an early example of the use of application of mathematics to depict space. 

16-19 "Tribute Money"

Masaccio

15th Century

The figures in this painting are modeled with light coming from a source outside the picture. Through the use of color perspective (darker, bluer background as it goes farther back), the artist signify's depth and atmosphere that draws the viewer into the scene. 

16-10 "Isaac and His Sons"

Ghiberti

15th Century

This work employed linear perspective and aerial perspective to create the illusion of distace. The background is slightly bluer and blurrier and it retained the medieval narrative method of presenting several episodes within a single frame.

16-44 "Flagellation"

Piero Della Fancesca

15th Century

The three unknown foreground figures in this work appear to be discussing the biblical tragedy taking place in Pilate's palace behind them. Piero planned the structures of his paintings using the same mathamatics as actual architectural structures.

16-43 "Battista Sforza and Frederico da Montefeltro"

Piero Della Francesca

15th Century

This painting combines the profile views on Roman coins with the landscape backgrounds of Flemish portraiture. The piece was comissioned after Battista's death to pay tribute to her.

16-1 "Primavera"

Botticelli

15th Century

This piece focussed on more Pagen beliefs with multiple gods such as Venus, Mercury and Cupid. The artist drew attention to Venus by opening the landscape behind her head to reveal the sky which acts like a halo.

16-50 "Foreshortened Christ"

Mantegna

16th Century

This work displays a tragic biblical scene of Jesus as a cadaver. The perspective of the piece is slightly off, most likely so the artist could include the whole body. 

16-49 "Ceiling of the Camera Picta"

Mantegna

15th Century

In this fresco, the viewer becomes the viewed as they look up and find figures gazing at them through an oculus opening onto a blue sky. It is the first completely consistant illusionistic decoration of an entire room.

16-40 "Santa Maria Novella"

Alberti

15th Century

Alberti was the first Renaissance architect to understand classical architecture in depth. Numerical ratios were the basis of the proportions for all parts of the facade which features a pediment-capped temple front and pilaster-framed arcades. 

16-30A "Dome of Florence Cathedral"

Brunelleschi

15th Century

The dome of the Florence Cathedral was the largest dome of its time, taking inspiration from the Pantheon in Rome with modifications made to support a larger dome. Verrocchio made the brass ball at the top of the dome. 

17-3 "Madonna and Child with St. Anne"

Da Vinci

16th Century

This picture's figures are remeniscent of classical statues, though the picture appears unifinished in places. A glowing light illumimated the people from one angle creating a dark and more intimate setting through a technique known as chiaroscuro. 

17-2 "Madonna of the Rocks"

Da Vinci

16th Century

Da Vinci used gestures and pyramidal composition to unite the Virgin, John the Baptist, Christ, and an angel. The foreground and water look realistic and the rocks and plants in the background are realistic and accurate to real life. 

17-5 "Mona Lisa"

Da Vinci

16th Century

The artist depicted the sitter as an individual who seems to engage the viewer personally and mysteriously. The Background almost travels through time as you look from the background to the foreground of the image. 

17-4 "Last Supper"

Da Vinci

16th Century

This picture depicts Jesus's last supper before his betrayal and puts heavy emphasis on the reactions of everyone sitting at the table. He was one of the first artists to get rid of the halos, but he placed Jesus in the doorway where he was illuminated from behind.

17-8 "Madonna of the Meadow"

Raphael

16th Century

The artist uses Da Vinci's pyramidal composition but his work contains less darkness and mystery than Da Vinci's. Madonna is imbued with beauty and grace and the plants are much more decorative than scientifically accurate. 

7-11 "Galatea"

Raphael

16th Century

This piece is based on a poem by Poliziano and depicts Galatea fleeing from Polyphemus. It celebrates the human body and the artist enhanced the liveliness by placing sturdy figures around Galetea in bounding movements. 

17-9 "School of Athens"

Raphael

16th Century

This picture depicts a gathering of philosophers and scientists, in which, the artist included his own self portrait. The Renaissance was a rebirth of Greek science and art, so painters studied the works of many of these ancient people. 

7-12 "Pieta"

Michelangelo

16th Century

This statue is a representation of Mary cradling Christ's corpse after his death and it captures the sadness and beauty of the situation. Michelangelo transformed marble into flesh, hair, and fabric with astonishing accuracy that was almost without parallel. 

17-13 "David"

Michelangelo

16th Century

The sculptor represented the biblical David in heroic classical nudity, capturing the tension of Lysippian athletes. This work was given a disproportionately large head so that, when viewed from below, the viewer could see the expression on the figure's face. 

17-17 "Sistine Chapel"

Michelangelo

16th Century

Michelangelo painted more than 300 figures illustrating the creation and fall of humankind. He originally had to redo the first section due to faulty preparation. 

17-18 "Creation of Adam"

Michelangelo

16th Century

This painting depicts the biblical Adam being brought to life by the spark from the extended hand of God. It recalls connections between Gods and heroes in the classical myths Renaissance humanists admired. 

17-19 "Last Judgement"

Michelangelo

16th Century

This painting depicted the terrifying fate which awaited sinners in hell. Michelangelo includes a self portrait within the flayed skin that Saint Bartholomew is holding. 

17-25 "Saint Peter's"

Michelangelo

16th Century

Replacing Old Saint Peter's, this structure has architectural artwork which extends up from the ground through the attic stories. Both this and the hemispherical dome unified the building and established balance. 

17-21 "Tempietto"

Bramante

16th Century

This architect was the first to revive the classical style making this the first major work of architecture in the classcal mode. "Little Temple" became its name because of its resemblance to a small ancient temple. 

17-28 "Villa Rotunda"

Palladio

16th Century

This structure contained four facades, each resembling a Roman temple. The great dome in the center was modeled after the Pantheon in Rome. 

17-36 "Assumption of the Virgin"

Titian

16th Century

This artist was known for his ability to convey light through color which he used to infuse the image with intensity and drama. It depicts the Vrgin Mary's ascent to heaven and was painted with oil on a canvas, a technique invented in Venice.

17-38 "Bacchus and Ariadne"

Titian

16th Century

One of the main figures in this painting was based off part of the recently (at that time) unearthed statue of Laocoon. It depicts Bacchus, accompanied by a group, arriving on a chaiot to save Ariadne. 

17-41 "Pieta"

Titian

16th Century

Titian used broad brush strokes and thick uneven patches of pigment built up like a paste (impasto) along with unsaturated colors in this painting. He intended it to be used in his own tomb and included a self portrait as Saint Jerome kneeling before the dead Christ. 

17-42 "Entombment"

Pontormo

16th Century

This picture represented a departure from the usual Renaissance compositions by leaving a void in the middle of the group of figures. This work depicts Christ's removal from the cross, though the artist chose not the represent the cross within his work. 

17-44 "Madonna of the Long Neck"

Parmigianino

16th Century

This work represented the stylish elegance which was a principle aim of the Mannerist style of the time. Mary was depicted with a small oval head, long slender neck and a sinuous body. 

17-47 "Portrait of the Artist's Sisters and Brother"

Anguissola

16th Century

This artist was the leading woman artist of her time. She used relaxed poses and expressions in intimate and formal group portraits. 

17-48 "Last Supper"

Tintoretto

16th Century

This artist made powerful use of angles and perspective to suck the viewer into the scene. This oil painting is imbued with emotional power, depth, glowing Venitian color schemes and dramatic lighting. 

18-1 "Garden of Earthly Delights"

Bosch

16th Century

This piece is a triptych, which suggests that it may have been used as an altarpiece. The left represents God presenting Eve to Adam, the center a paradise, and the right hell. One of the most fascinating and puzzling artists.

18-4 "Self Portrait"

Durer

16th Century

The artist presents himself as a frontal Christianlike figure remeniscent of medieval icons. Durer's right hand resembles Christ's standard gesture of blessing. 

18-4A "The Great Turf"

Durer

16th Century

This piece is a watercolor painting of nature which is botanically accurate. Durer shared Italian artist's interest in science. 

18-6 "Melancholia"

Durer

16th Century

This picture portrays Melancholy as a brooding winged woman surrounded by tools, but incapable of using them. Scholars regard it as a reflection of Durer's artistic psyche.

18-22 "Hunters in the Snow"

Bruegel

16th Century

This is one of a series of paintings illustrating the different seasons. It develops smoothly from foreground to background and draws the viewer diagonally into its depths. 

18-25 "Burial of Count Orgaz"

El Greco

16th Century

This artwork blends the styles of Byzantine and Italian Mannerist and uses a dramatic light which foreshadows the Baroque style. The intense emotional content captured the fervor of Spanish Catholosism.

18-26 "View of Toledo"

El Greco

17th Century

This piece was the only pure landscape ever produced by El Greco. It reflects the artist's increasingly abstract style, depicting stormy skies looming over a city.

18-24 "El Escorial"

Herrera and Bautista

16th Century

This structure was conceived by Charles V and was built by Phillip II. It is a royal mausoleum, a church, a monestery, and a palace all in one and it is classical in style with plain walls and massive towers.

19-1 "Fountain of the Four Rivers"

Bernini

17th Century

This artist was one of the most important and imaginative of the Baroque era. The marble statues in the middle of the fountain are personifications of the major rivers of four continents.

19-6 "David"

Bernini

17th Century

Following the tradition of the Baroque era's style, the artist depicts the biblical David as expansive and theatrical. The marble was made to seem flexible and soft, making the figure appear as though it had actual movement.

19-4 "Vatican Piazza"

Bernini

17th Century

The dramatic collonade at the front symbolizes the welcome of the catholic church during the counter reformation. The architect incorporated both an obelisk from the ancient Romans, and a fountain by Maderno.

19-17 "Calling of Saint Matthew"

Caravaggio

17th Century

This work depicts Christ, cloaked in shadow, summoning Levi the tax collector to a higher calling. The hand of Christ is the same hand that Michelangelo used in the Creation of Adam.

19-19 "Judith Slaying Holofernes"

Gentileschi

17th Century

This artist favored narratives in which heroic women were the main focal point. The dramatic lighting used on the action in the foreground is very similar to Caravaggio's methods. 

19-28 "Water Carrier of Seville"

Velazquez

17th Century

The contrast of lights and darks in this picture pay tribute to Caravaggio's work. The artist represented characters with clarity and dignity and put a lot of detail into his work, for example, the water droplets on the jugs. 

19-30 "Las Meninas"

Velazquez

17th Century

The artist's intention was to elevate both himself and his profession in the eyes of Philip IV. The canvas in this painting suggests that he is painting this painting within the painting, due to the fact that the canvas's dimentions in the painting fit that of the painting in real life.

20-1 "Vanitas Still Life"

Claesz

17th Century

This artwork was a representation of successful merchants who took pride in their material posessions. Still life Baroque painting such as this were meticulously crafted and tried to portray items as accurately as possible.

20-1 "Elevation of the Cross"

Rubens

17th Century

Rubens chose to utilize foreshortened anatomy and voilent action in this altarpiece. He conveyed emotional and physical tension through the use of techniques such as highlights and shadows inspired by Caravaggio. 

20-4 "Consequences of War"

Rubens

17th Century

The artist released an official letter fully explaining the meaning of each figure in this work. He shows his style by presenting the characters in a very fluid manner with great energy throughout the chaos of the scene. 

20-5 "Charles the 1st Dismounted"

Van Dyke

17th Century

The artist, Van Dyke, showed his skill mainly in the form of court portraiture. He depicted the King Charles at a sharp angle so that he seemed to look down on the viewer when in reality, he is quite short.

20-23 "Flower Still Life"

Ruysch

1700

A female artist, she was internationally renowned for her depictions of lush floral arrangements. The composition of this painting was very carefully arranged, creating a diagonal running from the lower left to the top right of the canvas. 

20-19 "Woman Holding a Balance"

Vermeer

17th Century

This piece is believed to be an allegory for perfect balance, with the focus on the woman's hand holding the scale which is empty and perfectly balanced. The "Last Judgement" painting can be seen on the wall behind her. 

20-20 "Allegory of the Art of Painting"

Vermeer

17th Century

The artist shows himself within the painting, wearing historically accurate clothing of the time. In the painting, he is painting a model wearing a laurel wreath and holding a trumpet and a book. 

20-31 "Et en Archadia Ego"

Poussin

17th Century

This work is representitive of the classical world with figures based on antique statuary. Instead of using the intense emotion and dynamics in his painting, he chose to emulate Raphael's order and stability. 

20-26 "Versailles Palace"

Mansart, Le Brun & Le Notre

17th Century

This structure was comissioned by Louis XIV who wished his royal hunting lodge be converted into a massive palace and park. It was the greatest architectural project of the time and made a defining statement of French Baroque style. 

20-38 "St Paul's Cathedral"

Wren

18th Century

This cathedral was built to replace an old Gothic church and the dome resembles that of Saint Peter's in Rome. He did not finalize the design on the towers until after 1700. 

20-9 "Archers of St. Hadrian"

Hals

17th Century

This artist solved the issue of portraying each individual in a group portrait while still retaining action and variety in the painting as a whole. The sitters moods and expressions all vary throughout the piece. 

20-15 "Self Portrait"

Rembrandt

17th Century

Rembrandt's goal in this piece was to reveal the soul by giving focus to the face and it's expression. He used the lighting and a nonspecific background to achieve this goal. 

20-16 "Hundred Guilder Print"

Rembrandt

17th Century

In this piece, the artist showed his skill at etching and used light and dark to draw attention to Christ during his preaching. The name of the piece relates to the price he made when he sold it. 

20-13 "Night Watch"

Rembrandt

17th Century

The artist used dramatic lighting and a varnish which darkened over time to accentuate the animation of the group of figures. Despite the name, this scene was not set at night, though this was not intentional.