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Giotto di bondeone
lamination
chapel 1305-1306
fresco
right before the renaissance; the emotions are being shown to a greater extent and two we begin to see an implied perspective (the two in the front are used to create depth)
Lorenzo Ghiberti
Sacrifice of Isaac
1401-1402; Quattrocento
Gilded bronze
Compared to Filippo Brunelleschi, the sacrifice of Isaac for the competition of the Baptistery doors
Donatello
David
c. 1446-1460; Quattrocento
Bronze.
private commission for Palazzo Medici’s, first full size bronze nude
Perugino
Delivery of the Keys to Saint Peter
1481; Quattrocento
Fresco on the right wall of the Sistine Chapel
highlights the authority of the pope (jesus gives the keys to Saint Peter); clear single point pers.
history with he apostles+ contemporary figures= important for the renaissance
Masaccio
The Tribute Money
Brancacci Chapel, Florence.
c. 1427; Quattrocento
Fresco.
continuous narrative; three different scenes taking place
there is single point perspective and atmospheric perspective
Sandro Botticelli
Birth of Venus
c. 1484-1486; Quattrocento
tempera and gold on canvas.
private commission for Medici’s; inspired by a love poem; actually Venus
It is gilded
Neoplatonic painting
Leonardo Da Vinci
Virgin of the Rocks
c. 1485; Quattrocento
oil on wood panel
Sfumato
teaching within (John the Baptists and Jesus); Mary the god barer and the alter
Leonardo de Vinci
Vitruvian Man
c. 1490
ink
an ideal structure for a temple; mirrors the body; he meant to publish
Raphael
Madonna in the Meadow
1505-1506; Quattrocento
oil on wood.
change in Renaissance; everything is symbolic
Michelangelo
David
1501-1504
marble
he creates a narrative with David’s stance, expression, and gaze
made from a block of stone called the giant
Michelangelo
Interior
Sistine Chapel ceiling
1508-1512
fresco.
theme: the creation and fall of man
beginning with the fall of noah
Titian
Venus of Urbino
c. 1538
oil on canvas.
19th-century female nudes were called “Venus”; the story of the girl in the back packing her marriage trunk and representing what she will become
Pontormo
Entombment of Christ
1525-1528
oil on the wood panel.
An example of a mannerist painting
sensuality in mannerism does not follow nature’s imbalanced composition (opposite of Renaissance)
religious piece, alter piece
Raphael
school of Athens
1509-1511
fresco
many important figures
commisions by pope Julius II
