Title: "Adoration of the Magi"

Artist: Gentile de Fabriano

Time: 1423

Culture: International Gothic

Subject: Coming of the three Magi

Patrons: Commissioned by Strozzi Family

Medium: Gold Leaf, Tempura on wood panel

Original location: Santa Trinita Church, Florence

Other: No real perspective (stacked people), declaration of wealth and importance of Strozzi family

Title: "Adoration of the Magi"

Artist: Gozzoli

Time: 1459

Culture: Early Italian Renaissance

Subject: Arrival of the Magi in response to the birth of Christ, members of Medici family

 Patrons: Medici Family; commissioned public works to promote republican ideas, private commissioned work however was much more lavish

Medium:

Original Location: Medici Chapel

Other: Became family portrait of Medici family (Cosimo & Lorenzo), declaration of wealth of Medici family

Title: "Adoration of the Magi"

Artist: Leonardo da Vinci

Time: 1482

Culture: Italian Renaissance

Subject: Arrival of Christ on earth (Incarnation)

Patrons: Unknown, assumed to be unfinished altarpiece

Medium:

Original Location: Florence, Italy

Other: Done as climax of the Florentine Period, work is about transformation (all figures around Madonna & child appear to be moving)

Title: "Assumption of the Virgin"

Artist: Titian

Time: 1518

Culture: High Renaissance

Subject: Mary ascending into Heaven (Assumption), God the father

Patrons: Commissioned by Germano da Caiole (abbot of Monastery of the Frari) 

Medium: Oil on wood, altarpiece

Original Location: Santa Maria Gloriosa dei Frari, Venice, Italy

Other: Sense of movement and elevation, maintains triangular symmetrical Renaissance composition, triad of primary colors consistent with High Renaissance art

Title: "Bacchus"

Artist: Michelangelo

Time: 1497

Culture: Italian Renaissance

Subject: Drunken Pagan god Bacchus

Patrons: Rejected by Cardinal who commissioned it

Medium: Marble

Original Location:

Other: Obviously drunk by his unbalanced stance, the wine chalice in his hand, and the fact that he doesn't notice the cherub stealing his fur behind him, shows the revival/rediscovery of lost culture during Renaissance as they became interested in Paganism

Title: "Bacchus and Ariadne"

Artist: Titian

Time: 1559

Culture: High Renaissance

Subject: God Bacchus, Ariadne, Lacoon (man surrounded in snakes)

Patrons: commissioned by Alfonso d'Este for the room Camerino d'Alabastro

Medium: Oil painting

Original Location: Ducal Palace, Ferraro

Other: Bacchus and followers emerge, Bacchus falls in love with Ariadne at first sight, picture shows her initial fear of him but he raised her to heaven and turned her into a constellation (seen above her head), first Bacchus & Ariadne love story narrative painting made

Title: "Baptism of Christ"

Artist: Piero della Francesca

Time: 1455

Culture: Italian Renaissance (Florentine)

Subject: 3 young men in Byzantine clothes represent Magi (marriage to the church), Baptism of humanity, Christ 

Patrons: Commissioned by the Camaldolese abbey of Sansepolcro

Medium: Tempera on panel

Original Location: Altarpiece in Chapel of St. John the Baptist

Other: San Sepolcro=Valley of the Walnuts (*walnuts symbol of Christ's resurrection) Italian for "Holy Sepulchre", Dove symbolizes the Holy Spirit, Man stripping in background represents stripping off vice, River Tiber of Tuscany represents the River Jordan, organized proportionally geometric

Title: "Birth of Venus"

Artist: Sandro Botticelli

Time: 1484-86

Culture: Italian Renaissance

Subject: Birth of Venus as a full-grown woman, Zephyr, Chloris, Neoplatonism

Patrons: most likely commissioned by a member of the Medici family

Medium: Tempera on canvas

Original Location: Florentine palace, may have functioned as a processional banner

Other: Among first large-scale mythological paintings, she is blown ashore by Zephr and Chloris in a storm of roses and received by one of her attendants, her pose is based on that of ancient Greek sculpture, Neoplatonists equated Venus with the Virgin Mary as a source of divine love

Title: "David"

Artist: Donatello

Time: 1440

Culture: Italian Renaissance

Subject: David defeating Goliath

Patrons: Commissioned by Cosimo Medici

Medium: Bronze

Original Location: Medici Palace (begun 1444)

Other: Meant to show that Medici family were defending rather than usurping Florentine freedom, Republican symbol because David was a small individual defeating larger foe just as Florence defeated Milan, feminine features show that only through God's intervention was he able to defeat Goliath, **first life-size nude sculpture in the round since antiquity shows Medici were sophisticated patrons, sensuality noted in the feather that runs up David's leg into his inner thigh

Title: "David"

Artist: Michelangelo

Time: 1504

Culture: High Renaissance

Subject: David (moment when David is sizing up his enemy Goliath), Political statement of Florentine potential power

Patrons: Commissioned by the Cathedral Administration to be placed on a buttress below dome of Florence Cathedral

Medium: Marble

Original Location: *a committee that included Leonardo and Botticelli decided instead to place it at the entrance to the Palazzo della Signoria

Other:Idealized representation of the nude body, muscular quality and heroic scale meant to declare to both Florentines and their enemies the potential power of Florence, *re-emergence of the idealized nude is an important indication of new attitudes towards validity of life in this world in European thought

Title: "Diana and Acteon"

Artist: Titian

Time: 1559

Culture: High Renaissance (Venetian)

Subject: Diana and Acteon meeting for the first time, nymphs surrounding (characters seem to by interchangeable)

Patron: Commissioned for King Philip of Spain

Medium: Oil on canvas

Original Location: Palace of King

Other: Acteon, while hunting, accidentally walks upon Diana bathing, Acteon's fate of being turned into a stag is foreshadowed by the head of the stag up on the column (will eventually be chased down by his own dogs), Titian himself referred to this along with his other works as poesie because he saw his paintings as visual poems, dynamic arrangement of figures, light, and intense color enhance the impact of Acteon's intrusion, *face in fountain possible believed to be self-portrait of Titian

Title: "Early Spring"

Artist: Guo Xi (court artist)

Time: 1072

Culture: Northern Song Dynasty

Subject: Mountainous landscape with parts of the scene obscured by dense atmosphere

Patron: Commissioned by court

Medium: Hanging scroll, ink, and slight color on silk

Original Location: Unmentioned

Other: *atypical of court paintings it is signed and dated by artist, used same techniques as calligraphic scribes to create feeling of dormant energy, in accordance with yin and yang, the immense mountain is balanced by the water and fog, enormous mountain peaks in center to create an axial composition (although curvilinear lines such as the bending branches and the flow of water over tiered falls), inscription in upper right corner is an example of calligraphy by Emperor Qianlong of Qing dynasty (poem), eye is meant to progress up the mountain (Chinese mountains often represent celestial realm)

Title: "Flagellation of Christ"

Artist: Piero della Francesca

Time: 1460

Culture: Italian Renaissance (Florentine)

Subject: Christ being whipped, Ottaviano Ubaldini della Corda (front left), Ludovico II Gonzaga (front right), possibly Ottaviano's deceased son Bernardino (front center)

Patron: Federico da Montefeltro at Urbino

Medium: Tempera on panel

Original Location: Ducal Palace

Other: Uses geometry and perspective, consolation piece, rewards in heaven for the torment experienced on earth, background light source coming from right, foreground light source coming from left, depiction of deceased son creates overall dream-like scenario, use of linear perspective

Title: "The Trinity with the Virgin Mary, Saint John, and Two Donors"

Artist: Masaccio

Time: 1425-28

Culture: Italian Renaissance

Subject: God the Father, Christ on the cross, Virgin Mary, John the Evangelist, unidentified kneeling figures

Patron: Unmentioned

Medium: Fresco

Original Location: Santa Maria Novella, Florence

Other: Triangle is a unifying compositional form, illusionary space created by scientific perspective, architecture represented accurately to Brunelleschi's at time, use of trompe l'oeil (decieving the eye), on the vertical axis God holds the cross presenting his crucified son to us, dove represents Holy Spirit, Mary and John the Evangelist on either side of Christ's feet (completing the triangle), skeleton at bottom with inscription reminding of human mortality ("I was once what you are; what I am, you will be") popular in 14th and 15th centuries because of plagues

Title: "Last Supper"

Artist: Leonardo

Time: 1495-98

Culture: Italian Renaissance

Subject: Last Supper of Christ, Eucharist & Betrayal

Patron: Commissioned by Dominican monastery of Santa Maria delle Grazie supported by Lodovico Sforza (duke and ruler of Milan)

Medium: Wall painting

Original Location: Refectory of Santa Maria delle Grazia, Milan, Italy

Other: Christ's 2-handed gesture=one hand holds the bread while the other holds wine *so is Judas, perspective focused on Christ's head, symmetry in work, variety on both ends

Title: Mihrab

Artist: Unmentioned

Time: early 16th century

Culture: Islamic (Iran)

Subject: Depicts writing from the Qur'an, used in Islamic worship

 Patrons: Unmentioned

Medium: Tin-glazed earthenware tiles

Original Location: Museum fur Islamische Kunst, Berlin, Germany

Other: Arabesque symmetrical designs

Title: "Pastoral Concert"

Artist: Giorgione/Titian

Time: 1538

Culture: Italian Renaissance

Subject: 4 young people, both young women are very lightly clothed

Patrons: Commissioned by the Gonzaga family

Medium: Oil on canvas

Original Location: Unmentioned, most likely home of the Gonzaga family

Other: Painting is perhaps and allegory of poetry and music, possibly fantasies of the two young men, pastoral idleness

Title: 2 lost Perspective Demonstration Paintings

Artist: Brunelleschi

Time: 1410s

Culture: Italian Renaissance

Subject: Brunelleschi's discovery of linear perspective

Patrons: N/A

Medium: Painting and mirror with sighting hole

Original Location: Dome, Florence Cathedral

Other: Discovered in his two lost paintings, this discovered perspective then used in works like Masaccio's Trinity and The Tribute Money and Leonardo's Last Supper

Title: "Madonna of the Pesaro Family" aka "Pesaro Altarpiece"

Artist: Titian

Time: 1526

Culture: Italian Renaissance

Subject: Madonna and Child, six male members of the Pesaro family (Jacopo on the left), Saint Peter, and Saint Francis 

Patrons: Main patron was Jacopo Pesaro, who led papal troops to victory over the Turks in 1502

Medium: Oil on canvas

Original Location: Santa Maria Gloriosa dei Frari, Venice, Italy

Other: *Assymetrical composition that had never been seen in earlier Renaissance art, the members of the Pesaro family are being introduced to the Madonna and Child by Saints Peter and Francis, twisting of St. Peter's body suggests the movement of the overall piece

Title: "Pieta (Brera)"

Artist: Giovanni Bellini

Time: 1467

Culture: Italian Renaissance

Subject: Representation of Virgin Mary mourning the death of Jesus, St. John on the right

Patrons: Unmentioned

Medium: Tempera on canvas

Original Location: Sampieri in Bologna

Other: Close observation of nature, bar separates viewer from scene, intense emotion portrayed through facial expressions and body language, softness of light and color meant to enhance naturalistic qualities

Title: "Pieta"

Artist: Michelangelo

Time: 1499

Culture: High Renaissance

Subject: Virgin Mary mourning the death of Christ

Patrons: Commissioned by French Cardinal Jean de Bilheres Lagraulas for the chapel he planned to be buried at in Old St. Peter's

Medium: Marble

Original Location: St. Peter's Basilica

Other: Medieval invention scene that's not actually scene in the Bible, Michelangelo reduced the age of Madonna which causes some to claim the sculpture has a slightly erotic feel 

Title: "Primavera(Spring)"

Artist: Botticelli *first person doing mythological paintings in large scale

Time: 1482

Culture: Italian Renaissance

Subject: Venus, Zephyr, Chloris, 3 Graces, Mercury

Patrons: Commissioned most likely by Lorenzo di Pierfrancesco de' Medici

Medium: Tempera on wood with oil glazes

Original Location: Wedding chamber of Lorenzo di Pierfrancesco di Medici

Other: Meant to teach Lorenzo about virtue, follows Neo-platonic precepts of taming earthly passions, Venus representing Spring, citrus fruit shown in trees sacred to her, *goes from left to right=Mercury drives away the clouds, unpredictable nature of love suggested by blindfolded Cupid, physical nature of love suggested by Zephyr (far right) who has the nymph Chloris in his arms, he sees her transform into the goddess Flora (shown to left of Chloris)

Title: "Rustam Sleeping" from Houghton Shahnama

Artist: Sultan Muhammad

Time: 1522

Culture: Islamic

Subject: Rustam sleeps soundly while his faithful horse Raksh defends him frojm a lion, Rustam is angered with his horse's risk and says he could've easily slain the lion

Patrons: Commissioned by Shah Tamasp

Medium: Illuminated manuscript

Original Location: Unmentioned

Other: From the Shahnama(Book of Kings) written by Firdawsi in 1010, Persian national epic, one of longest poems in the world, dreamy effect created because main focus is Rustam sleeping, narrative leads you up through the manuscript

Title: "San Giobbe Altarpiece"

Artist: Giovanni Bellini

Time: 1475

Culture: Italian Renaissance (Venetian)

Subject: Madonna and Child surrounded by saints

Patrons: Unmentioned 

Medium: Oil on panel

Original Location: Franciscan church of San Giobbe

Other: Uses realism to give sense of illusionism, use of linear perspective, Madonna and Child sitting on throne, sacra conversazione (conversation among saints)

Title: "Seated Scribe"

Artist: Gentile Bellini

Time: 1479-81

Culture: Renaissance with Islamic influence

Subject: Islamic scribe

Patrons: Ottoman Emperor Mehmed II

Medium: Drawing

Original Location: Court of Mehmed II

Other: Took trip to Constantinople, shows knowledge of Islamic techniques

Title: "St. George and the Dragon"

Artist: Donatello

Time: 1417

Culture: Italian Renaissance

Subject: St. George, Dragon

Patrons: Commissioned by Confraternity of Cuirass-makers

Medium: Marble

Original Location: Placed in niche below St. George statue located on the outside of Orsanmichele, Florence, Italy

Other: Orthoganals noticed, "squashed" relief, one of first examples of central-point sculpture

Title: "St. George and the Dragon"

Artist: Carpaccio

Time: 1504-7

Culture: Italian Renaissance

Subject: St. George, Dragon

Patrons: Commissioned by Scuola (guild) of the Schiavoni (Dalmations)

Medium: Tempera on panel

Original Location: Scuola di San Giorgio degli Schiavoni, Venice, Italy

Other: 3rd century Roman soldier, matyr, dragon led into city after defeat so mass conversion to Christianity, complete opposite of Venice at the time, lance piercing dragon's head creates diagonal line up to face of the praying princess

Title: "St. John the Baptist"

Artist: Ghiberti

Time: 1410

Culture: Early Renaissance

Subject: St. John

Patrons: Commissioned by Calimala, guild of cloth importers and finishers

Medium: Bronze

Original Location: Orsanmichele, Florence, Italy

Other: Late Gothic style, no body substance or movement

Title: "St. Mark"

Artist: Donatello

Time: 1410

Culture: Early Renaissance

Subject: St. Mark

Patrons: Commissioned by the linen weaver's guild

Medium: Marble

Original Location: Exterior niche of Orsanmichele, Florence, Italy

Other: Contraposto, Realism/illusionism, was much more realistic than Ghiberti's St. John, reminiscent of classical Greek sculpture, realistic depiction of linen

Title: "St. Matthew"

Artist: Ghiberti

Time: 1410

Culture: Early Renaissance

Subject: St. Matthew

Patrons: Commissioned by Arte del Cambio (bankers)

Medium: Bronze

Original Location: Exterior niche of Orsanmichele, Florence, Italy

Other: Made in response to Donatello's St. Mark, much more realistic than the first, use of contraposto, anatomical accuracy, clearist evidence of humanist principles

Title: "Saint Matthew"

Artist: Michelangelo

Time: 1506

Culture: Italian Renaissance

Subject: St. Matthew

Patrons: Commissioned by the Opera del Duomo in Florence

Medium: Marble

Original Location: Meant to be placed in the niche of one of the pillars in the dome of the Florence Cathedral

Other: Unfinished, not at ease, seems like figure imprisoned within the stone, was able to work on it some until he left for rome in 1505, the contract for the commission of all 12 saints was dissolved in 1505 and the task was given to other artists

Title: "The Tempest"

Artist: Giorgione

Time: 1506

Culture: High Renaissance (Venetian)

Subject: Young man and nude woman nursing a child, possibly a soldier and a gypsy

Patrons: Commissioned by the Venetian noble Gabriele Vendramin

Medium: Oil on canvas

Original Location: Galleria dell'Accademia, Venice, Italy

Other: Intentionally mysterious/ambiguous, landscape contains both ruins and contemporary buildings, *main purpose may be to set a mood rather than tell a story, this is a new idea in the history of art (importance of emotional sensation) seems consistent with Venetian interest in the Venetian interest in the suggestive and poetic

Title: "The Rongxi Studio"

Artist: Ni Zan

Time: 1372

Culture: Ming Dynasty

Subject: Mountains with inscription

Patrons: Given to Ni's physician friend Zhong-ren

Medium: Hanging scroll, ink on paper

Original Location: Rongxi Studio, the home of the physician

Other: Painting done first and inscriptions done later at request of Zhong-ren, epitomizes Ni Zan's style

Title: "Tribute Money"

Artist: Masaccio

Time: 1425-28

Culture: Italian Renaissance

Subject: Jesus and apostles confronted by tax collector

 Patrons: Commissioned by a member of the Brancacci family

Medium: Fresco

Original Location: Left wall and portion of altar walls of Brancacci Chapel, Santa Maria del Carmine, Florence

Other: Exemplifies a continuous narrative (thematic device used in ancient Roman painting and sculpture), Jesus and followers confronted by tax collector, Jesus tells Peter to go get money from mouth of fish, Peter pays tax collector and fulfills prophecy, atmospheric perspective used in the background, light source corresponds with with light source of chapel, advanced innovations of Giotto by combining them with coherent illusory space that distinguishes Renaissance painting

Title: "Venus of Urbino"

Artist: Titian

Time: 1538

Culture: High Renaissance (Venetian)

Subject: Suspected to be modeled after the wife of the patron

Patrons: Commissioned for Duke Guidobaldo II della Rovere of Urbino

Medium: Oil on canvas

Original Location: Galleria degli Uffizi, Florence, Italy

Other: Modeled after Giorgione's Sleeping Venus, has same red white and green tones that enhance the flesh of Venus except nude is awake and posing without embarrassment, known to be Venus because of roses in her hand and the myrtle (both symbols of Venus), dog at bottom symbolizes marital fidelity

Title: "Hamzanama (Tales of Hamza)"

Artist: Unmentioned

Time: 1577

Culture: Persian

Subject: Illustration from scene of Hamzanama (Tales of Hamza)

Patrons: Unmentioned

Medium:

Original Location: Persia

Other: Atmospheric perspective, staggering of characters

-a term describing the position assumed by the human body when the weight is borne on one leg while the other is relaxed

-creates a figure that seems to be relaxed and yet suggest the potential of movement

-ex: Donatello's St. Mark

perspective

(vanishing point, orthogonals, recession)

-depth. An illusion of perspective is suggested in many paintings

-vanishing point: in a work created using the linear perspective system, the vanishing point is the place where the converging orthogonals would converge if continued

-orthogonals: the converging diagonal lines that meet at the vanishing point in the scientific perspective system (in reality these lines would be parallel)

-one of the most influential humanist philosophers of Italian Renaissance

-one of the revivers of Neo-Platonism

-first person to translate Plato's works into Latin

-wrote in a letter that Venus is personified Beauty

-Dominican friar who spoke out against domination of the Medici and the conspicuous wealth and humanist interests of the Florentine citizenry

-After Medici were exiled in 1492, he assisted in restoring a more representative form of government

-Eventually too much for Florence, executed for heresy in 1498

1. Giovanni de' Bicci (1360-1429)

2. Cosimo il Vecchio (1389-1464)

3. Lorenzo the Magnificent (1449-92)

Giovanni de' Bicci

(1360-1429)

-Founded the Medici fortune by making his family's bank the bank for the papal Curia

-Also served as head of the priori government and was a sponsor of Ghiberti's Baptistery commission

Cosimo il Vecchio

(1389-1464)

Lorenzo the Magnificent

(1449-92)

-Most beloved of the Medici

-Devout humanist and patron of the arts who, alongside many accomplishments of his own, sponsored Michelangelo's early career

-Able ruler of the city

-a debate from the Italian Renaissance in which one form of art (architecture, sculpture, or painting) is championed as superior to all others

-Leonardo was in favor of painting

 -A word, from the Latin (via Italian) fumare ("to smoke"), used to denote a painting technique. Sfumato means that there are no harsh outlines present (as in a coloring book). Areas blend into one another through miniscule brushstrokes, which makes for a rather hazy, albeit more realistic, depiction of light and color.

-Ex: Leonardo's Mona Lisa.

Pope Julius II

(patron of Michelangelo for Sistine Chapel)

-greatest art patron of the papal line (reigned 1503–13) and one of the most powerful rulers of his age. Although he led military efforts to prevent French domination of Italy, Julius is most important for his close friendship with Michelangelo and for his patronage of other artists, including Bramante and Raphael. He commissioned Michelangelo’s “Moses” and paintings in the Sistine Chapel and Raphael’s frescoes in the Vatican.

Duke Sforza of Milan

(patron of Leonardo)

-He was famed as a patron of Leonardo da Vinci and other artists, and presided over the final and most productive stage of the Milanese Renaissance. He is probably best known as the man who commissioned the The Last Supper.

Piero della Francesca revived the lifesize, freestanding nude figure.

True or false

Portraits, mythological subjects, and secular decorations were new types of art that were commissioned by individuals to adorn their private palaces, town houses, or country villas.

True or False

Michelangelo's Pieta (1498-99) was originally intended to be displayed in the Vatican Museum, but was subsequently moved to St. Peter's Basilica.

True or False

-Gothic: refers to medieval art during Italian Renaissance, from perspective of Renaissance seemed crude and irrational. (1) Use of sumptuous colorful materials (2) Painting largely limited to manuscript illuminations (3) Use of gold and other fine materials such as ivory and precious gems (4) Personal jewelry, tapestries, ivory boxes, and mirror backs common (5) "Hip-shot" pose in sculpture (6) Use of heavy drapery (7) Unsigned works

-Renaissance: (1) Reference to antiquity (2) Republicanism (3) Naturalism (4) Perspective (5) Nudity (6) Paganism

Early Renaissance

vs

High Renaissance

-Early Renaissance: a style of art developed principally in Florence, Italy, during the 15th century and characterized chiefly by the development of linear perspective, chiaroscuro, and geometrically based compositions.

-High Renaissance:  the period from about the 1490s to the 1520s in painting, sculpture, and architecture in Europe, esp in Italy, when the Renaissance ideals were considered to have been attained through the mastery of Leonardo, Michelangelo, and Raphael.

-a device, used in painting to suggest perspective, in which forms nearer the horizon are blurred and their color is less intense and higher in value, while the sky gradually shades from blue toward white above the horizon.

-aka Aerial perspective

-developed in 15th century Europe, a method of representing three-dimensional objects on a two-dimensional plane

-has all parallel edges and lines converging as orthogonals toward one or more vanishing points on a two-dimensional surface

-aka Scientific perspective

(1) Franciscans

(2) Dominicans

-*these orders were the ones who commissioned all the pieces

-"sacred conversation", saints gathered together in single place (usually around Madonna and Child)

-Ex: San Giobbe Altarpiece

-took Constantinople in 1453 and renamed it Istanbul

-Converted Hagia Sophia into a mosque (1451-81)

-Commissioned portrait Mehmed II from Gentile Bellini in 1480

-Ruled from 1520-66

-He and his successors conquered & spread Islam to Syria, Egypt, & Arabia

-Hundreds of imperial artistic societies (called the Ehl-i Hiref, "Community of the Talented") were administered at the Imperial seat, the Topkapı Palace.

-expanded Hagia Sophia mosque

-Time Period: 1501-1732

-Isfahan= capital of Persia

-Ottoman: Sunni; Safavid: Shi'ite

-born 570

-Caused rifts between rich and poor, Mecca was to be his qiblah

-first used in late 5th century to distinguish Christian present from the Roman-pagain past

-"modernus" from the adverb modo, meaning recently/just now

1. Loss of, or greater distance from, God (secularization)

2. A different kind of politics: from kingships to democracies

3. A different economic system: from feudalism to capitalism

4. Rise of new science & newfound interest in nature (problem of skepticism)

-cold and unreasonable without reason and is, moreover, compassionless

-*Michelangelo known to use donna petrosa when depicting the Virgin Mary

Paragone:

painting vs sculpture

- a painting is executed on a flat surface, and a sculpture is usually viewed from all angles

-The sculptor, had to be strong and work with physically challenging materials, which were often quite expensive. A painter can cover a mistake, but a sculptor can ruin a block of marble with one wrong blow.

Paragone:

Painting vs Poetry

-Poetry is transmitted to the brain more slowly than “the eye transmits with the highest fidelity the true surfaces and shapes of whatever is presented

- The final blow for poetry was the fact that it depended on language and on words, which were “the work of man”. Language could never be truly universal. Painting on the other hand represents the work of nature, which can be understood by all of mankind.

-Mughal ruler

-Commissioned Taj Mahal (1632-48) for favorite wife that died during childbirth

-Commissioned Portrait of Shah Jahan by Abu'l Hasan (Prince Khurram) in 1618

-Immense interest in architecture

-series of illustrations commissioned for Abdul Fazl's Akbarnameh. This series demonstrates the unique and superb qualities of the nascent Mughal School and set it far apart from its Safavid or Timurid precursors. In this series, crowded and bustling scenes of men and animals are full of vigor and movement; the use of color is uninhibited; and detail is finely observed.

-Commissioned The Red Fort in 1565

-Commissioned Delhi Gate on the west and the Amar Singh Gate

-Commissioned his tomb in Sikandara (1605)

-Italian Renaissance: Naturalistic/illusionist realism and linear perspective

-Islamic/Indian/Chinese art: Representational realism and atmospheric perspective

True or False

The most important patron of Early Renaissance art was the Medici Family.

True or False.

Flanders was ruled by wealthy merchants, whose wealth was based on the wool trade and banking.

True or False.

Sandro Botticelli's The Realm of Venus and Birth of Venus are among the first large-scale paintings of mythological themes since antiquity.

True or False.

Florence was a democratic republic.

True or False.

Brunelleschi's Dome of Florence Cathedral was the largest dome since antiquity.

True or False.

Filippino Lippi probably assisted Masaccio with the architectural elements in his The Trinity with the Virgin Mary, Saint John, and Two Donors.