Italian Renaissance painting

3134: 3115: 1971: 767: 1423: 246: 196: 1334: 2393: 1891: 2195: 1596: 31: 1908: 3096: 3153: 420: 994: 897: 1086: 1408: 552: 1685: 836: 2272: 1098: 690: 2516: 1249: 1138:. Each panel shows some strongly classicising motifs indicating the direction that art and philosophy were moving, at that time. Ghiberti used the naked figure of Isaac to create a small sculpture in the Classical style. The figure kneels on a tomb decorated with acanthus scrolls that are also a reference to the art of Ancient Rome. In Brunelleschi's panel, one of the additional figures included in the scene is reminiscent of a well-known Roman bronze figure of a boy pulling a thorn from his foot. Brunelleschi's creation is challenging in its dynamic intensity. Less elegant than Ghiberti's, it is more about human drama and impending tragedy. 2834: 2648: 2922:(1480–1556), one of the most important High Renaissance painters in Venice, also spent time in other areas of Northern Italy as, perhaps due to his greater focus on realist detail and on line than rather than colour compared to the Venetian school, he was not much appreciated in Venice. While he painted a variety of subjects, he was an excellent portrait painter who had a superior ability to see into the soul of his subjects and to portray a depth of feeling in the painting. He usually included other objects in the background or foreground of the portrait to portray the subject's character. 1165: 1745:, demonstrates his superior ability at handling linear perspective and light. The composition of the small painting is framed by a late Gothic arch, through which is viewed an interior, domestic on one side and ecclesiastic on the other, in the centre of which the saint sits in a wooden corral surrounded by his possessions while his lion prowls in the shadows on the floor. The way the light streams in through every door and window casting both natural and reflected light across the architecture and all the objects would have excited 2552:, but lived a decade longer than the first two and almost three decades longer than the latter. He was painting right up until his death and his works illustrate several influences. His early works show the influence of Mantegna with incisive lines and clearly delineated colours, while after Messina's stay in Venice in 1475 to 1476 his works adopted a Flemish-like realism and luminous colours, which shows he was highly successful at adopting the techniques of oil painting brought by Messina. He was first the teacher of 2751: 2187:". But it was first and foremost as a painter that he was admired in his own time, and as a painter, he drew on the knowledge he gained from his other interests. Leonardo was a scientific observer. He learned by looking at things. He studied and drew the flowers of the fields, the eddies of the river, the form of the rocks and mountains, the way light reflected from foliage and sparkled in a jewel. In particular, he studied the human form, dissecting thirty or more unclaimed 8846: 2800:, 1516–1518, also features diagonal lines (shaped by the cherubs located around the Virgin), which carries the triumphant message of the painting upward into the upper levels of the Church of Frari in Venice on whose altar it stands. This work was the first to have visual suggestion of movement; all of Titian's works have a new dynamism in the movements of people compared to the static elements of other High Renaissance painters. The 2263:–1519); the monumental three-dimensional quality of the group and the calculated effects of dynamism and tension in the composition made it a model that inspired Classicists and the Mannerists in equal measure. Apart from the direct impact of the works themselves, Leonardo's studies of light, anatomy, landscape, and human expression were disseminated in part through his generosity to a retinue of students. 2916:, 1517. His figures show a greater individuality than earlier High Renaissance works while losing none of the nobility. In the 1520s, he remained faithful to the ideals of the High Renaissance, such as in paintings’ compositions, and with the faces of his figures usually being calm and often beautiful, showing none of the torment of his Mannerist contemporaries, some of whom were his pupils. 2389:'s (1483–1520) name is synonymous with the High Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost 30 and died at the age of 37 just one year after Leonardo. It cannot be said that he as greatly advanced the state of painting as did his two famous contemporaries. Rather, his work was the culmination of all the developments of the High Renaissance. 62:, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas. 2778:

colour, not line, as the major determinant in painting, thereby consummating the Venetian High Renaissance style. He did this by applying colours of paint paste-like in patches alongside each other with loose and sweeping brush strokes. This brought out the light and colour in equal measure at the same time; he was famous in his own day as the master of light and colour.

1939:. Whereas both tempera and fresco lent themselves to the depiction of pattern, neither presented a successful way to represent natural textures realistically. The highly flexibly medium of oils, which could be made opaque or transparent, and allowed alteration and additions for days after it had been laid down, opened a new world of possibility to Italian artists. 2038:. The remaining 12 pictures indicate the virtuosity that these artists had attained, and the obvious cooperation between individuals who normally employed very different styles and skills. The paintings gave full range to their capabilities as they included a great number of figures of men, women and children and characters ranging from guiding angels to enraged 1728:, in Milan in early 1456 and likely learned the techniques of oil painting, including painting almost microscopic detail and minute gradations of light, directly from Christus. As well, his works' calmer expressions on peoples' faces and calmness in the works' overall composition also appears to be a Netherlandish influence. Antonello went to 2865:, 1526–1530, in Parma Cathedral. One art scholar states that in the latter, Correggio creates a “dazzling illusion: the architecture of the dome seems to dissolve and the form seems to explode through the building drawing the viewer up into the swirling vortex of saints and angels who rush upwards to accompany the Virgin in to heaven.” 1316:, demonstrated his mastery over linear perspective and also over the science of light. Another painting exists, a cityscape, by an unknown artist, perhaps Piero della Francesca, that demonstrates the sort of experiment that Brunelleschi had been making. From this time linear perspective was understood and regularly employed, such as by 2155:, Frederick Hartt states that 1520 to 1530 was a transition period between the High Renaissance and Mannerism. The High Renaissance was dominated by three painters: Leonardo da Vinci, Michelangelo and Raphael; while Giovanni Bellini, Giorgione and Titian were the leaders of Venetian High Renaissance painting, with 1656:, talking, greeting a younger son and his tutor on their return from Rome, preparing for a hunt and other such scenes that make no obvious reference to matters historic, literary, philosophic or religious. They are remarkable for simply being about family life. The one concession is the scattering of jolly winged 2319:, and their leader Peter as first Bishop of Rome, that make that bridge. But Michelangelo's scheme went the opposite direction. The theme of Michelangelo's ceiling is not God's grand plan for humanity's salvation. The theme is about humanity's disgrace. It is about why humanity and the faith needed Jesus. 2249:

or "smoke". He exhibited a revolutionary use of colour by defining the transition between figures by colour modulation instead of by actual lines. His work invited the viewer into a mysterious world of shifting shadows, chaotic mountains and whirling torrents. Another significant work of Leonardo's

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took 27 years to complete, after which he was commissioned to make another. In the total of 50 years that Ghiberti worked on them, the doors provided a training ground for many of the artists of Florence. Being narrative in subject and employing not only skill in arranging figurative compositions but

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and the soft but dark clouds filling the sky, which seem to envelop Io’s gleaming body. Correggio was able to execute the diffuse effect of clouds, haze, or mist perfectly, and together with colour modulation, this infuses his characters with a distinct sense of weightlessness. He painted flesh in a

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one of the most important paintings produced in Italy, as the components are held together by colour, and there is a dreamy atmosphere of perfect harmony. Giorgione was the first painter to assign a leading role to nature, and whenever his paintings feature a landscape it becomes an integral part of

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In particular, the individual parts of the painting had a complex but balanced and well-knit relationship to a dynamic whole. Painting of the High Renaissance is considered to be the absolute zenith of western painting and achieved the balancing and reconciliation, in harmony, of contradictory and

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arrived in Florence. Painted as early as 1475 at the behest of the Portinari family, it was shipped out from Bruges and installed in the Chapel of Sant' Egidio at the hospital of Santa Maria Nuova. The altarpiece glows with intense reds and greens, contrasting with the glossy black velvet robes of

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of 1348 caused its survivors to focus on the need to approach death in a state of penitence and absolution. The inevitability of death, the rewards for the penitent and the penalties of sin were emphasised in a number of frescoes, remarkable for their grim depictions of suffering and their surreal

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and other Roman painters, did not base the figures he painted upon any painterly tradition, but upon the observation of life. Unlike those of his Byzantine contemporaries, Giotto's figures are solidly three-dimensional; they stand squarely on the ground, have discernible anatomy and are clothed in

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paintings many of the details were rigidly fixed by the subject matter, the precise position of the hands of the Madonna and Christ Child, for example, being dictated by the nature of the blessing that the painting invoked upon the viewer. The angle of the Virgin's head and shoulders, the folds in

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alongside Giorgione and then assisted Giorgione. Following Giorgione's death, he was the monarch of the Venetian School for over 60 years. His early work shows strong influences of Bellini and Giorgione, but he soon he took the principles of form and colour announced by those two, and established

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1510, Giorgione painted the very first female nude that stands, or rather, lies, as a subject to be portrayed and admired for beauty alone. While it had been long accepted that Titian finished the landscape of the painting after Giorgione's death, many art scholars are increasingly questioning if

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The High Renaissance of painting was the culmination of the varied means of expression and various advances in painting technique, such as linear perspective, the realistic depiction of both physical and psychological features, and the manipulation of light and darkness, including tone contrast,

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he demonstrates a knowledge of how light is proportionally disseminated from its point of origin. There are two sources of light in this painting, one internal to a building and the other external. Of the internal source, though the light itself is invisible, its position can be calculated with

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of flowers in contrasting containers, one of glazed pottery and the other of glass. The glass vase alone was enough to excite attention. But the most influential aspect of the triptych was the extremely natural and lifelike quality of the three shepherds with stubbly beards, workworn hands and

657:, as were important local religious festivals. History and historic characters were often depicted in a way that reflected on current events or on the lives of current people. Portraits were often painted of contemporaries in the guise of characters from history or literature. The writings of 570:

During the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Patrons of art works such as altarpieces and fresco cycles often were included in the scenes, a notable example being the inclusion of the

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Raphael, who moved to Florence in 1504 and to Rome in 1508, unashamedly drew on the skills of the renowned painters whose lifespans encompassed his. In his works the individual qualities of numerous different painters are drawn together. The rounded forms and luminous colours of Perugino, the

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But the main source of Raphael's popularity was not his major works, but his small Florentine pictures of the Madonna and Christ Child. Over and over he painted, in slightly different poses, a similar plump, calm-faced blonde woman and her chubby babies the most famous probably being

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More than any other artist, Masaccio recognized the implications in the work of Giotto. He carried forward the practice of painting from nature. His frescos demonstrate an understanding of anatomy, of foreshortening, of linear perspective, of light, and the study of drapery. In the

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Giotto had a number of contemporaries who were either trained and influenced by him, or whose observation of nature had led them in a similar direction. Although several of Giotto's pupils assimilated the direction that his work had taken, none was to become as successful as he.

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lifelike portraiture of Ghirlandaio, the realism and lighting of Leonardo, and the powerful draughtsmanship of Michelangelo became unified in the paintings of Raphael. In his short life he executed a number of large altarpieces, an impressive Classical fresco of the sea nymph,

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As Titian aged, he maintained a generally High Renaissance style until his last years, when figure was almost completed dissolved in the movement of colour, so he became increasingly isolated from the mainstream of Italian painting, which had moved almost completely towards

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had direct influence on the figurative compositions firstly of Raphael and his pupils and then almost every subsequent 16th-century painter who looked for new and interesting ways to depict the human form. It is possible to trace his style of figurative composition through

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is remarkable for the clarity and simplicity of its composition, the beauty of the figurative painting, which includes a self-portrait among the onlookers, and especially the perspective cityscape which includes reference to Peter's ministry to Rome by the presence of two

2671:, often achieved by tonalism, to define the shapes of figures and landscapes and to create an atmosphere wherein all components of the painting are unified. Some believe he may have been taught this by Leonardo da Vinci, who is said to have visited Venice in 1501. In his 1379:. Both here and on the four heads of prophets that he painted around the inner clock face in the cathedral, he used strongly contrasting tones, suggesting that each figure was being lit by a natural light source, as if the source was an actual window in the cathedral. 2868:

In those domes and other works, his bold use of perspective, usually by setting a dark colour against light colours to enhance the illusion of depth, is described as astonishing. His chief interest was painting light and he anticipates the effects to be achieved by

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before moving to Milan, where he worked from 1482 to 1499 before returning to Florence from 1500 to 1506. Because of the scope of his interests and the extraordinary degree of talent that he demonstrated in so many diverse areas, he is regarded as the archetypal

2304:. Michelangelo soon devised an entirely different scheme, far more complex both in design and in iconography. The scale of the work, which he executed single handed except for manual assistance, was titanic and took nearly five years to complete. 1800:, which focused on humanity as the centre of the natural universe, on each person's personal relationship with God, and on fraternal or "platonic" love as being the closest that a person could get to emulating or understanding the love of God. 2334:, it really looks as if God himself had designed the figure, rather than Michelangelo. But despite the beauty of the individual figures, Michelangelo has not glorified the human state, and he certainly has not presented the Humanist ideal of 1592:. He also worked on the high altar and created a series of bronze panels in which he achieved a remarkable illusion of depth, with perspective in the architectural settings and apparent roundness of the human form all in very shallow relief. 275:

A number of Classical texts, that had been lost to Western European scholars for centuries, became available. These included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in

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garments with weight and structure. But more than anything, what set Giotto's figures apart from those of his contemporaries are their emotions. In the faces of Giotto's figures are joy, rage, despair, shame, spite and love. The cycle of

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in Padua. Unfortunately, the building was mostly destroyed during World War II, and they are only known from photographs which reveal an already highly developed sense of perspective and a knowledge of antiquity, for which the ancient

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and the mysterious painter upon whose style the school may have been based, the so-called Master of St Bernardino, all worked in a manner that was highly formalised and dependent upon the ancient tradition of icon painting. In these

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for the Medici. Increasingly, Classical themes were also seen as providing suitable allegorical material for civic commissions. Humanism also influenced the manner in which religious themes were depicted, notably on Michelangelo's

1214:, painted on the side of the arch into the chapel, are renowned for their realistic depiction of the human form and of human emotion. They contrast with the gentle and pretty figures painted by Masolino on the opposite side of 262:

The influences upon the development of Renaissance painting in Italy are those that also affected architecture, engineering, philosophy, language, literature, natural sciences, politics, ethics, theology, and other aspects of

2338:. In fact, the ancestors of Christ, which he painted around the upper section of the wall, demonstrate all the worst aspects of family relationships, displaying dysfunction in as many different forms as there are families. 1118:

The earliest truly Renaissance images in Florence date from 1401, although they are not paintings. That year a competition was held amongst seven young artists to select the artist to create a pair of bronze doors for the

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In all these subjects, increasingly, and in the works of almost all painters, certain underlying painterly practices were being developed: the observation of nature, the study of anatomy, of light, and perspective.

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worldwide, was particularly evoked in Florence, where there was a miraculous image of her on a column in the corn market and where both the Cathedral of "Our Lady of the Flowers" and the large Dominican church of

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where the stylistic comparisons between the three can easily be made. One of the features apparent in Giotto's work is his observation of naturalistic perspective. He is regarded as the herald of the Renaissance.

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of a powerful diagonal line (as opposed to the usual vertical or horizontal) which still focuses the attention on the Madonna. This was one of the first works to group figures in a circular, ascending structure.

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to the left and the folds in the Madonna's robe being placed in parallel, to more unify the subjects. Lastly, Giorgione's paintings are always ambiguous in their meaning and open to different interpretations. In

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In Florence, in the later 15th century, most works of art, even those that were done as decoration for churches, were generally commissioned and paid for by private patrons. Much of the patronage came from the

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her veil, and the lines with which her features were defined had all been repeated in countless such paintings. Cimabue and Duccio took steps in the direction of greater naturalism, as did their contemporary,

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Raphael was born the son of a painter, so his career path, unlike that of Michelangelo, who was the son of minor nobility, was decided without a quarrel. Some years after his father's death he worked in the

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after Michelangelo had downed his brush and stormed off to Bologna in a temper, painted at least two figures in imitation of Michelangelo's prophets, one at the church of Sant' Agostino and the other in the

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from 1457 to 1459. This polyptych of which the predella panels are particularly notable for the handling of landscape elements, was to influence the further development of Renaissance art in Northern Italy.

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In the 15th and first half of the 16th centuries, one workshop more than any other dominated the production of Madonnas. They were the della Robbia family, and they were not painters but modellers in clay.

93:(1520–1600). The dates for these periods represent the overall trend in Italian painting and do not cover all painters as the lives of individual artists and their personal styles overlapped these periods. 1063:

of Sant' Marco that Fra Angelico shows himself the artistic disciple of Giotto. These devotional paintings, which adorn the cells and corridors inhabited by the friars, represent episodes from the life of

2369:, painted on the altar wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist style, with generally elongated bodies, which took over from the High Renaissance style between 1520 and 1530. 1670:

view of the sky that decks the ceiling of the chamber. Mantegna's main legacy in considered the introduction of spatial illusionism, carried out by a mastery of perspective, both in frescoes and in

2981:'s knowledge of the works of both Titian and Raphael is apparent in his portraits. The direct influences of Leonardo and Raphael upon their own pupils was to effect generations of artists including 622:

Other motifs were drawn from contemporary life, sometimes with allegorical meaning, some sometimes purely decorative. Incidents important to a particular family might be recorded like those in the

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in his honour, appears to have been planned from the start to have a series of 16 large frescoes between its pilasters on the middle level, with a series of painted portraits of popes above them.

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in 1475 and remained there until the fall of 1476 so it is likely that Antonello passed on the techniques of using oil paints, painting the gradation of light, and the principles of calmness to

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cycle in the small chancel. While the whole work is exceptional for its breadth, quality and intact state, the treatment of human emotion is conservative by comparison with that of Altichiero's

788:(1266–1337), by tradition a shepherd boy from the hills north of Florence, became Cimabue's apprentice and emerged as the most outstanding painter of his time. Giotto, possibly influenced by 1500:

at the cathedral, was the first sculptor to use glazed terracotta for large sculptures. Many of the durable works of this family have survived. The skill of the della Robbias, particularly

2623:(1505). It is a masterful composition which uses tonalism and extends the real architecture of the building into the illusionistic architecture of the painting, making the niche a sort of 2590:, the enthroned figure of the Virgin is accompanied by saints, who stand in defined spaces, separated physically in the form of a polyptych or defined by painted architectural boundaries. 1850:, a meticulous and accurate draughtsman and one of the finest portrait painters of his age, executed two cycles of frescoes for Medici associates in two of Florence's larger churches, the 3455: 77:, and in particular of Renaissance painting, although later in the era Rome and Venice assumed increasing importance in painting. A detailed background is given in the companion articles 959:

who worked on the other three of a series of frescoes on the subject of Salvation. It is unknown exactly when these frescoes were begun but it is generally presumed they post-date 1348.

296:. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting, which manifested itself as early as the 1420s in the paintings of 1044:

and Ambrogio Lorenzetti, which is marked by a formalized sweetness and grace in the figures, and Late Gothic gracefulness in the draperies. The style is fully developed in the works of

3913:, but it is an older, grey-haired man, while Sodoma was in his 30s. Moreover, it strongly resembles several self-portraits of Perugino, who would have been about 60 at the time. 3179: 740:. Their commissions were mostly religious paintings, several of them being very large altarpieces showing the Madonna and Child. These two painters, with their contemporaries, 2910:(1486–1530), a Florentine, drew upon both Michelangelo and Raphael in his work, but went far beyond them in the portrayal of facial expressions and gestures, as evidenced in 486:. Apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the 5629: 524:

Portraiture was uncommon in the 14th and early 15th centuries, mostly limited to civic commemorative pictures such as the equestrian portraits of Guidoriccio da Fogliano by

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promptly painted his own version, with a beautiful Italian Madonna in place of the long-faced Flemish one, and himself, gesturing theatrically, as one of the shepherds.

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windows, has come, in the 21st century, to provide the iconic image of two small cherubs which has been reproduced on everything from paper table napkins to umbrellas.

2046:. Because of the scale of the figures that the artists agreed upon, in each picture, the landscape and sky take up the whole upper half of the scene. Sometimes, as in 2245:(1483–1486) (the earliest complete work fully of his hand), he used light and shade with such subtlety that, for want of a better word, it became known as Leonardo's 990:, also in Padua. Giusto's work relies on formalised gestures, where Altichiero relates the incidents surrounding Christ's death with great human drama and intensity. 8688: 2465:

is uniquely significant. This fresco depicts a meeting of all the most learned ancient Athenians, gathered in a grand classical setting around the central figure of

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Despite the brevity of his career (he died in 1510 at about 35) and the low number of works universally agreed to be totally by his hand (as low as four or five),

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seemingly mutually exclusive artistic positions, such as real versus ideal, movement versus rest, freedom versus law, space versus plane, and line versus colour.

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fresco has a single vanishing point and uses a strong contrast between light and dark to convey a three-dimensional quality to the work. As well, the figures of

5688: 5754: 2853:, in northern Italy. He invented the open heaven filled with floating figures church dome, which became a hallmark of the 17th-century Baroque period, with his 2807:

Titian was also the most sought-after portraitist of his time and brought portraiture to the same level of esteem as narrative painting. Highly notable are the

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there was room for portraits of patrons and of the patrons' patrons. Thanks to Sassetti's patronage, there is a portrait of the man himself, with his employer,

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philosophy meant that man's relationship with humanity, the universe and with God was no longer the exclusive province of the Church. A revived interest in the

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opened up to the landscape and to daylight which streams across the figures of the Virgin and Child, the two female saints, and the little angel who plays a

1882:. In the Tornabuoni Chapel is another portrait of Poliziano, accompanied by the other influential members of the Platonic Academy including Marsilio Ficino. 7313: 1807:

period, everything related to the Classical period was perceived as associated with paganism. In the Renaissance it came increasingly to be associated with

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Throughout the period, civic commissions were also important. Local government buildings were decorated with frescoes and other works both secular, such as

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also features, like all of his paintings, glowing, deep, rich colours due to Titian's applying layer after layer of paint, sometimes of different colours.

2849:(1489–1534), who never visited Rome, but must have seen the works of the Raphael, Michelangelo and Titian, worked in a personal High Renaissance style in 3325: 3078:, were founded, and it was specifically to collect the works of the Italian Renaissance that some of the world's best known art collections, such as the 330:

in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public. The development of

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were a very popular art form in Florence. They took every shape from small mass-produced terracotta plaques to magnificent altarpieces such as those by

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is often credited as being the founder of the Venetian High Renaissance style, although different scholars cite different reasons for asserting this.

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Bellini became the only great 15th-century painter to cross the threshold from the Early Renaissance to the High Renaissance style with works such as

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who both theorised about the subject. Brunelleschi is known to have done a number of careful studies of the piazza and octagonal baptistery outside

5699: 2223:, but only Leonardo's was destined to be reproduced countless times in wood, alabaster, plaster, lithograph, tapestry, crochet, and table-carpets. 1976: 602:, artists turned to Classical themes, particularly to fulfill commissions for the decoration of the homes of wealthy patrons, the best known being 85:. Italian Renaissance painting is most often divided into four periods: the Proto-Renaissance (1300–1425), the Early Renaissance (1425–1495), the 5784: 1059:, many of which, being altarpieces in tempera, show the Gothic love of elaboration, gold leaf and brilliant colour. It is in his frescoes at his 5706: 2993:

and through the latter's engravings, countless artists. Influence through Schongauer could be found in the German, Dutch and English schools of

2564:, wherein paint is applied in superimposed layers creating a soft diffused effect so figures and landscapes become more unified in atmosphere. 2130:

to make four specific painting styles in the High Renaissance; these are now sometimes grouped as the "canonical painting modes" of the period.

5721: 5715: 5702: 2877:(causing objects to look shorter because they are angled to the viewer) to create perspective is described as perhaps the most skillful ever. 1741: 1689: 1367:, a hundred years later, experimented with the dramatic effect of light in some of his almost monochrome frescoes. He did a number of these in 322:

Simultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of

8190: 2219:, became the benchmark for religious narrative painting for the next half millennium. Many other Renaissance artists painted versions of the 58:

is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the

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paintings (completed by 1450s) which use broken weapons on the ground, and fields on the distant hills to give an impression of perspective.

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planning their journey in search of the infant Christ, or it may not. None of Giorgione's paintings has ever had a certain interpretation.

2690:, colour modulation almost entirely replaces line creating an artistic vision in which humankind and nature are combined. Some consider the 1185:

in the chapel of the Brancacci family, at the Carmelite Church in Florence. They both were called by the name of Tommaso and were nicknamed

5615: 5109: 3190: 2106:(contrast between light and dark), in a single unifying style which expressed total compositional order, balance and harmony. According to 1297:

was so obsessed with perspective that he thought of little else and experimented with it in many paintings, the best known being the three

915:, which in northern European churches frequently occupies a sculptural space above the west door, but in Italian churches such as Giotto's 876:, are examples of naturalistic painting of the period, often ascribed to Giotto himself, but more probably the work of artists surrounding 5743: 5742: 7676: 5719: 5700: 5303: 1072:. They are starkly simple, restrained in colour and intense in mood as the artist sought to make spiritual revelations a visual reality. 5720: 1508:, and expressions of great piety and sweetness to the Madonna. They were to set a standard to be emulated by other artists of Florence. 8183: 5747: 2068: 1123:, the oldest remaining church in the city. The competitors were each to design a bronze panel of similar shape and size, representing 5731: 5666: 5656: 2891:

delicate, voluptuous manner that has never been surpassed, and presents a new concept of feminine beauty only rediscovered during the

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herself. We see Venus in both these roles in the two famous tempera paintings that Botticelli did in the 1480s for Cosimo's nephew,

5717: 5692: 5691: 5674: 5670: 5662: 5660: 5657: 2583:, also produced numerous small Madonnas in rich glowing colour, usually of more intense tonality than his Florentine counterpart. 1339: 1312: 5738: 5716: 5379: 5286: 1736:, including Giovanni Bellini, one of the most significant painters of the High Renaissance in Northern Italy, during that visit. 499: 5750: 5749: 5736: 5729: 5718: 5708: 5696: 5687: 5680: 5676: 5671: 8465: 7000: 6434: 5396: 5249: 2708:, illustrates another innovation of Giorgione—adjusting the directions and positions of the figures, such as the lance held by 1777:

family, or those who were closely associated with or related to them, such as the Sassetti, the Ruccellai, and the Tornabuoni.

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During the first half of the 15th century, the achieving of the effect of realistic space in a painting by the employment of

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Leonardo achieved a degree of realism in the expression of human emotion, prefigured by Giotto but unknown since Masaccio's

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The first Early Renaissance frescos or paintings were started in 1425 when two artists commenced painting a fresco cycle of

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was working there. Donatello created the enormous equestrian bronze, the first since the Roman Empire, of the condotiero

1322: 7752: 6112: 5748: 5744: 5649: 4823: 2985:

and schools of Classical painters of the 18th and 19th centuries. Antonello da Messina's work had a direct influence on

7820: 6671: 5751: 5727: 5723: 5713: 5679: 5678: 5672: 4772: 4632: 4618: 3997: 2424:, an excellent painter and a superb technician. His first signed and dated painting, executed at the age of 21, is the 766: 428: 17: 6140: 5658: 7899: 7894: 6739: 6230: 5232: 5139: 5068: 5054: 5040: 5019: 5005: 4991: 4970: 4956: 4942: 4928: 4914: 4893: 4879: 4865: 4840: 4800: 4786: 4723: 4709: 4695: 4681: 4667: 4604: 4590: 3717: 3693: 2796: 2756: 2569: 2365: 1430: 1371:("green earth"), enlivening his compositions with touches of vermilion. The best known is his equestrian portrait of 5735: 5726: 5712: 5705: 2137:

Most art historians state that the High Renaissance started around 1495 or 1500 and ended in 1520 with the death of

6157: 5707: 5478: 5227: 5102: 3006: 2809: 2216: 6905: 1527:. The custom was continued by Botticelli, who produced a series of Madonnas over a period of twenty years for the 1055:

In the early 15th century, bridging the gap between International Gothic and the Renaissance are the paintings of

8325: 7798: 6089: 6005: 5733: 5675: 5665: 5589: 5197: 2430: 1009: 873: 608: 204: 5711: 2442:, outstanding portraits with two popes and a famous writer among them, and, while Michelangelo was painting the 176:. The Mannerist period, dealt with in a separate article, included the latter works of Michelangelo, as well as 8880: 8078: 7627: 7486: 7250: 6270: 6106: 5815: 5770: 5553: 5313: 4758: 4744: 4653: 3669: 3469:

metmuseum Madonna and Child with Saints Girolamo dai Libri (Italian, Verona 1474–1555 Verona), edit: 2000–2012

1661: 1629: 5695: 5693: 5682: 378:, formed an ethos that supported and encouraged many lesser artists to achieve work of extraordinary quality. 7167: 6920: 5737: 5655: 5548: 5538: 5308: 5264: 5222: 3664:(series "Artistic Centers of the Italian Renaissance"), pp. 148–150, 2005, Cambridge University Press, 2005, 2594:

used the Classical niche as a setting for his enthroned Madonnas (with saints grouped around the throne), as

2226:

More than any other artist, he advanced the study and painting of "atmosphere". In his paintings such as the

2142: 1724:. Recent evidence indicates that Antonello was likely in contact with Van Eyck's most accomplished follower, 1457:

The miraculous image in the corn market was destroyed by fire, but replaced with a new image in the 1330s by

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Vasari praised Michelangelo's seemingly infinite powers of invention in creating postures for the figures.

1929: 1203: 1173: 2141:, although some say the High Renaissance ended about 1525 or in 1527 with the Sack of Rome by the army of 1739:

Antonello painted mostly small meticulous portraits in glowing colours. But one of his most famous works,

8210: 7911: 6577: 5543: 5095: 3152: 2575: 1589: 987: 7864: 5725: 5714: 5709: 3468: 267:. The following is a summary of points dealt with more fully in the main articles that are cited above. 8507: 8123: 7946: 7320: 6934: 6910: 6463: 6422: 6135: 5739: 5401: 5161: 2736: 2200: 2151:, started in 1495 and completed in 1498, as being the first work of the High Renaissance. In his book, 2147: 1767: 6858: 1580:, who had the good fortune to be in his teen years at the time in which the great Florentine sculptor 509: 7706: 7585: 7541: 6949: 6592: 6560: 6458: 5944: 5722: 3052: 5703: 8470: 8453: 8108: 7951: 7936: 7747: 7617: 7491: 7283: 7238: 7199: 7140: 7111: 6511: 5852: 5762: 5740: 5638: 5182: 3079: 3074:

Under the influence of the Italian Renaissance painting, many modern academies of art, such as the

2839: 2717:, the naked woman feeding a baby and the clothed man, and a flash of lightning, perhaps represents 1694: 1299: 708: 236: 82: 7647: 7607: 5685: 5650: 8631: 7968: 7808: 7563: 7172: 7118: 6722: 6565: 6480: 6407: 6346: 5596: 5579: 5488: 5406: 2704: 2679: 2653: 2616: 2600: 2525: 1828: 1628:

had become well known, early in the 15th century. Mantegna's last work in Padua was a monumental

1616: 1243: 1218:. The painting of the Brancacci Chapel was left incomplete when Masaccio died at 26 in 1428. The 432:, demonstrates the preoccupation with the development of linear perspective, in a secular subject 7740: 7558: 7050: 5732: 5728: 3095: 2962:, and move steadily towards the great outpouring of imagination and painterly virtuosity of the 1150:, the doors were to have an enormous influence on the development of Florentine pictorial art. 1016:

was commissioned to emphasise the role of the Church in the redemptive process, and that of the

541: 195: 8849: 8742: 8390: 8340: 8300: 8263: 8163: 7803: 7123: 7101: 6961: 5929: 5504: 5359: 5335: 5298: 5207: 3590:

Alexander Raunch "Painting of the High Renaissance and Mannerism in Rome and Central Italy" in

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in the 1480s. Masaccio's work became a source of inspiration to many later painters, including

971: 944: 615: 419: 358:

presence within the region of Florence of certain individuals of artistic genius, most notably

317: 3673: 2833: 1595: 724:

The art of the region of Tuscany in the late 13th century was dominated by two masters of the

354:

set a new standard for patronage of the arts, not associated with the church or monarchy. The

30: 8380: 8355: 8320: 8290: 8256: 8178: 7956: 7931: 7546: 7425: 7330: 5889: 5811: 5574: 5483: 5428: 5352: 5259: 2591: 2307:

The Pope's plan for the Apostles would thematically have formed a pictorial link between the

2034:

between them. These paintings, all by Perugino, were later destroyed to paint Michelangelo's

1932: 1746: 1446: 1382: 1307: 1269: 956: 693: 455: 437: 367: 346:

and the subsequent trade it generated brought unprecedented wealth to a single Italian city,

125: 6808: 8885: 8502: 8083: 7852: 7757: 7551: 7481: 7397: 7271: 7074: 6900: 6700: 6390: 6225: 6130: 6064: 5995: 5914: 5904: 5894: 5584: 5443: 5433: 5423: 5369: 5276: 5126: 4581: 3647:; Harry N. Abrams Incorporated, New York, 1985, pg. 601; Wundrum pg. 147; Marilyn Stokstad 3311: 2951: 2938:

extended well into the second half of the 16th century. Both saw their styles and those of

2709: 2673: 2667:

One is his increasing use of gradations of colour and light (colour modulation), including

2549: 2356: 2277: 2003: 1959: 1944: 1898: 1875: 1847: 1833: 1808: 1781: 1763: 1717: 1649: 1633: 1265: 1135: 1069: 1037: 653: 599: 576: 351: 289: 281: 249: 240: 137: 3787:

Frommel pg.172; Hartt pg. 627; Piper pg. 129; Wurdram pg. 147; Johann Joachim Winklemann,

3730:, 2020, eds. Fiona McGaughey, Jani McCutcheon, Edward Elgar Publishing, ISBN 9781788971478 1040:

was the style that dominated Tuscan painting. It can be seen to an extent in the work of

8: 8725: 8310: 8226: 8195: 8073: 8036: 7837: 7723: 7570: 7243: 6929: 6915: 6521: 6444: 6322: 6242: 6220: 5509: 5451: 5388: 5325: 5166: 3064: 2605: 2439: 2241: 1991:

in which many of the papal services were held. The interior of the new chapel, named the

1859: 1812: 1797: 1701: 1672: 1625: 1501: 1451: 1333: 1287: 1120: 1049: 745: 545: 494: 264: 254: 230: 44: 8804: 8048: 6582: 3068: 2969:

The artists who most extended the trends in Titian's large figurative compositions were

1720:

seems to have had access to the King's collection, which may have included the works of

1676:

paintings: his tradition of ceiling decoration was followed for almost three centuries.

1222:

was completed by Masolino while the remainder of the work in the chapel was finished by

978:, follows the theme of humanity's Creation, Downfall, and Salvation, also having a rare 8767: 8375: 8315: 8058: 7980: 7916: 7730: 7691: 7534: 7435: 7362: 7189: 6976: 6751: 6625: 6555: 6417: 6412: 6189: 5954: 5919: 5514: 5461: 5456: 5416: 5281: 5154: 2485:

in the Sistine Chapel. His own portrait is to the right, beside his teacher, Perugino.

1645: 1524: 1376: 1273: 1261: 1147: 1025: 815: 624: 537: 450: 8825: 8006: 7686: 3120: 1998:

In 1480, a group of artists from Florence was commissioned with the work: Botticelli,

1666: 1278: 8495: 8448: 8418: 8278: 8148: 8063: 8053: 7718: 7701: 7575: 7194: 7157: 7128: 7081: 6944: 6890: 6880: 6870: 6761: 6439: 6351: 6341: 6328: 6317: 5980: 5909: 5884: 5840: 5471: 5466: 5411: 5330: 5320: 5293: 5271: 5187: 5064: 5050: 5036: 5015: 5001: 4987: 4966: 4952: 4938: 4924: 4910: 4889: 4875: 4861: 4836: 4813: 4796: 4782: 4768: 4754: 4740: 4719: 4705: 4691: 4677: 4663: 4649: 4628: 4614: 4600: 4586: 3993: 3699: 3689: 3665: 3056: 2990: 2939: 2788: 2721:

in their post-Eden days, or perhaps it does not. Another painting attributed to him,

2533: 2470: 2378: 2171: 1949: 1855: 1816: 1815:

began to take on a new symbolic role in Christian art and in particular, the Goddess

1705: 1536: 1516: 1493: 1473: 1391: 1360: 1227: 1041: 896: 862: 555: 371: 199: 145: 129: 59: 6732: 6152: 2986: 2787:, 1519–1526, he moves the Madonna from the centre, instead placing her at the upper 2054:, there are additional small narratives taking place in the landscape, in this case 651:

Important events were often recorded or commemorated in paintings such as Uccello's

8831: 8777: 8735: 8438: 8231: 7869: 7776: 7654: 7367: 7350: 7308: 7303: 7298: 7216: 7162: 6885: 6830: 6727: 6695: 6666: 6545: 6538: 6533: 6506: 6368: 6363: 6040: 5801: 5569: 5144: 3012: 2963: 2947: 2907: 2896: 2774: 2573:(1501), wherein the Doge shows a calmness Bellini likely learned from Messina, and 2537: 2519: 2457: 2451: 2399: 2351: 2160: 1988: 1879: 1819:

took on a new discretion. Born fully formed, by a sort of miracle, she was the new

1733: 1709: 1653: 1620: 1607:

At only 17 years old, Mantegna accepted his first commission, fresco cycles of the

1407: 1198: 1159: 1131: 975: 952: 916: 877: 806: 789: 755: 633: 514: 323: 169: 157: 141: 86: 8559: 2292:(1475–1564) to agree to continue the decorative scheme of the Sistine Chapel. The 640:. Increasingly, still lifes and decorative scenes from life were painted, such as 583:. Portraiture was to become a major subject for High Renaissance painters such as 8752: 8609: 8584: 8534: 8458: 8283: 8273: 8168: 8153: 8133: 8016: 7926: 7889: 7874: 7622: 7529: 7471: 7293: 7288: 7045: 7014: 6966: 6656: 6587: 6572: 6400: 6378: 6299: 6247: 6237: 6209: 6162: 6145: 6069: 6010: 6000: 5939: 5239: 3723: 3139: 3036: 2943: 2813:, 1548, an equestrian picture in a symphony of purples, and the portrait of Doge 2545: 2541: 2515: 2499: 2316: 2301: 2007: 1999: 1851: 1785: 1725: 1585: 1573: 1223: 1142: 1017: 725: 712: 629: 580: 390: 78: 6636: 2886:, 1531–1532, Correggio painted a strong contrast between the luminous figure of 2825:

by 1530. In many ways, Titian can be considered the founder of modern painting.

2194: 1878:, and Lorenzo's three sons with their tutor, the Humanist poet and philosopher, 8814: 8782: 8730: 8678: 8661: 8651: 8579: 8241: 8118: 8088: 7985: 7973: 7847: 7781: 7713: 7580: 7476: 7179: 6875: 6815: 6756: 6620: 6550: 6257: 6179: 6096: 5949: 3306: 3028: 2974: 2887: 2882: 2874: 2783: 2404: 2285: 2074: 1992: 1984: 1839: 1612: 1541: 1458: 1327: 1045: 997: 912: 820: 741: 525: 504: 475: 386: 8395: 6264: 5607: 2315:

narratives on the walls, and the popes in the gallery of portraits. It is the

440:. These works were often of large scale and were frequently cycles painted in 8864: 8715: 8683: 8544: 8539: 8522: 8350: 8345: 8330: 8305: 8295: 8246: 7906: 7884: 7815: 7681: 7510: 7413: 7389: 7372: 7340: 7325: 7106: 7096: 7091: 6995: 6744: 6705: 6644: 6470: 6427: 6196: 6125: 6057: 5899: 5877: 5793: 4809:

Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1500

3158: 3105: 3075: 2994: 2919: 2814: 2504: 2447: 2408: 2335: 2312: 2308: 2271: 1511:

Among those who painted devotional Madonnas during the Early Renaissance are

1372: 1364: 1294: 673: 663: 645: 533: 529: 423: 301: 121: 8200: 7345: 7007: 3703: 689: 8794: 8747: 8703: 8693: 8656: 8626: 8589: 8564: 8554: 8517: 8360: 8143: 8011: 7735: 7664: 7461: 7384: 7135: 7086: 6990: 6971: 6939: 6836: 6776: 6771: 6516: 6336: 6174: 6032: 6015: 5975: 5970: 5924: 5862: 3060: 3024: 2931: 2718: 2636: 2620: 2478: 2382: 2327: 2289: 1721: 1546: 1512: 1466: 1356: 1231: 1209: 1056: 854: 375: 285: 181: 149: 117: 101: 8789: 6650: 2677:, 1505, the use of line and colour modulation are equally balanced but in 2326:

construction. The figures are of superhuman dimension and, in the case of

1652:, dated about 1470. The walls are frescoed with scenes of the life of the 1028:, complete with the dome which was not built until the following century. 334:

and its introduction to Italy had lasting effects on the art of painting.

8710: 8673: 8614: 8490: 8485: 8480: 8428: 8423: 8365: 8268: 8205: 8158: 8098: 8068: 7990: 7832: 7670: 7659: 7632: 7602: 7466: 7440: 7357: 7278: 7266: 7221: 7211: 7206: 7184: 7145: 6981: 6956: 6841: 6803: 6710: 6678: 6630: 6358: 6286: 6079: 6020: 5934: 5872: 5832: 5212: 5134: 5118: 3683: 3208:

e.g. Antonello da Messina who travelled from Sicily to Venice via Naples.

2647: 2632: 2297: 2220: 2107: 2102: 1824: 1442: 920: 835: 355: 343: 226: 74: 3441:

Diana Davies, Harrap's Illustrated Dictionary of Art and Artists, (1990)

2781:

Another strength of Titian was the composition of his paintings. In the

1890: 1097: 8757: 8569: 8529: 8475: 8443: 8335: 8173: 8128: 8021: 7827: 7637: 7505: 7226: 7028: 6820: 6661: 6449: 6215: 6120: 6084: 6074: 6052: 5867: 5857: 5845: 5797: 3577:

Manfred Wundrum "Early Renaissance" and "Renaissance and Mannerism" in

3185: 3040: 2970: 2870: 2474: 2179: 2077:, and centrally placed an octagonal building that might be a Christian 2047: 2027: 1954: 1551: 1520: 979: 967: 603: 551: 467: 466:

and the role of the Church in attaining it. Churches also commissioned

436:

Much painting of the Renaissance period was commissioned by or for the

402: 189: 133: 109: 96:

The Proto-Renaissance begins with the professional life of the painter

2300:

supporting the vault that formed ideal surfaces on which to paint the

1907: 1465:. The open lower storey of the building was enclosed and dedicated as 1264:

was a major preoccupation of many painters, as well as the architects

1085: 8819: 8809: 8772: 8604: 8594: 8574: 8400: 8370: 8103: 8026: 7445: 7231: 7068: 6825: 6526: 6475: 6373: 6184: 5990: 5961: 5149: 3910: 2978: 2959: 2846: 2822: 2661: 2553: 2228: 2156: 2112: 2082: 2078: 2043: 1936: 1581: 1562: 993: 778: 668: 479: 463: 394: 331: 293: 165: 90: 5792: 3685:

Color and meaning : practice and theory in Renaissance painting

1248: 258:, shows the introduction of patron's families into religious cycles. 8799: 8720: 8668: 8599: 8512: 8433: 8385: 8251: 8236: 8093: 8031: 7963: 7857: 7842: 7516: 7430: 7420: 7408: 7152: 6615: 6312: 6252: 3592:

The Italian Renaissance: Architecture, Sculpture, Painting, Drawing

3032: 3020: 3016: 2595: 2482: 2421: 2346: 2323: 2184: 2175: 2063: 1804: 1789: 1713: 1532: 1504:, was to give great naturalism to the babies that they modelled as 1485: 1343:

demonstrates the artist's control over both perspective and light.

1317: 1190: 1186: 1168: 939:, now in a fragmentary state at the Museum of Santa Croce, and the 592: 591:

and continue into the Mannerist period in works of artists such as

563: 459: 363: 347: 327: 297: 277: 185: 177: 161: 113: 66: 4751:

The Social History of Art, Vol. 2: Renaissance, Mannerism, Baroque

2018:

on the other with the frescoes complementing each other in theme.

1823:, symbol of innocent love, or even, by extension, a symbol of the 1276:

and it is thought he aided Masaccio in the creation of his famous

8138: 7941: 7879: 7696: 7595: 7335: 7062: 6895: 6501: 6101: 5985: 3651:, Third Edition, Pearson Education Inc., New Jersey, 2008. pg 659 3423:

Peter Murray and Pier Luigi Vecchi, Piero della Francesca, (1967)

3048: 2982: 2955: 2580: 2386: 2342: 2188: 2138: 2096: 2039: 1958:

expressions ranging from adoration to wonder to incomprehension.

1556: 1477: 1462: 1060: 936: 900: 750: 729: 584: 471: 153: 105: 70: 34: 7057: 2560:

but was later influenced by Giorgione, most notably in adopting

2163:

being other significant painters of the High Renaissance style.

1461:, set in an elaborately designed and lavishly wrought canopy by 8762: 8621: 8113: 8043: 7612: 7524: 7379: 6610: 3180:

Lives of the Most Excellent Painters, Sculptors, and Architects

3101: 3044: 2977:, although Tintoretto is considered by many to be a Mannerist. 2935: 2892: 2763: 2624: 2557: 2494: 2417: 2331: 2215:, painted from 1495 to 1498 in the refectory of the Convent of 2118: 1935:

and possibly earlier, artists were introduced to the medium of

1774: 1729: 1637: 1528: 1481: 1352: 1130:

Two of the panels from the competition have survived, those by

794: 785: 770: 733: 637: 588: 572: 483: 441: 398: 382: 359: 213: 209: 173: 97: 5648: 5087: 4625:

The Italian Renaissance Altarpiece: Between Icon and Narrative

3827:

Stokstad pg. 662; Frommel pg.172; Hartt pg. 627; Piper pg. 129

3766:

Stokstad pg. 662; Frommel pg.172; Hartt pg. 627; David Piper,

2902: 1644:

Mantegna's most famous work is the interior decoration of the

1535:, whose Madonnas and saints are known for their sweetness and 1164: 911:

A common theme in the decoration of Medieval churches was the

6846: 4193:

Raunch pg. 392; Stokstad pg. 684; Hartt pg. 647; Zuffi pg.128

3770:, Crescent Books, New York, 1991, pg. 129; Jacob Burchhardt, 2958:

adapted by later painters to form a disparate style known as

2850: 2750: 2628: 2481:, and is a reference to the latter's painting of the Prophet 2466: 2296:

was constructed in such a way that there were twelve sloping

1793: 1657: 1577: 1539:, for whom a number of small attributed Madonnas such as the 1505: 1065: 963: 810: 737: 719: 658: 518: 48: 4085:

Zuffi pg. 102; Wundram pg. 165; Raunch pg.646; Hartt pg. 646

2925: 2817:, ruler of Venice, perhaps Titian's most powerful portrait. 8698: 7500: 4737:

Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian

4400:

Hartt pg. 638; Zuffi pg. 132; Raunch pg.383; Janson pg. 516

2728: 2191:

from a hospital in order to understand muscles and sinews.

1752: 1572:

One of the most influential painters of northern Italy was

1549:, who was primarily a sculptor, was persuaded to paint the 948: 925: 2859:, 1520–1524, in Parma's San Giovanni Evangelista, and the 2734:

Until recent years, it had appeared certain that with the

8689:

Art in the Protestant Reformation and Counter-Reformation

3605:

History of Italian Art: Painting, Sculpture, Architecture

3456:

Restoration Of Mantegna’S San Zeno Altarpiece In Florence

1820: 857:

achieved the first large painting of a night scene in an

3088:

The continuing influence of Italian Renaissance painting

1588:, still visible on its plinth in the square outside the 4833:

Classic Art: An Introduction to the Italian Renaissance

381:

A similar heritage of artistic achievement occurred in

4921:

Paolo Uccello, Domenico Veneziano, Andrea del Castagno

3412:

Paolo Uccello, Domenico Veneziano, Andrea del Castagno

2428:, which immediately reveals its origins in Perugino's 2174:(1452–1519) spent his formative years training in the 2153:

A History of Art: Painting, Sculpture and Architecture

1660:, who hold up plaques and garlands and clamber on the 1567: 1559:, they are among his most popular and numerous works. 1363:

demonstrated how light could be used to create drama.

2586:

Traditionally, in the painting of altarpieces of the

2477:

who sits by a large block of stone, is a portrait of

2493:("The Madonna of the Beautiful Garden"), now in the 2026:

were adjacent on the wall behind the altar, with an

1237: 4585:(1568), 1965 edition, trans. George Bull, Penguin, 3645:

A History of Art: Painting, Sculpture, Architecture

3594:, Konemann, Cologne, 1995. Pg. 308; Wundrum Pg. 147 3326:

Italian Renaissance painting, development of themes

1091:

Ghiberti: competition entry for the Baptistry doors

4716:Harrap's Illustrated Dictionary of Art and Artists 4674:Painting and Experience in Fifteenth Century Italy 3789:Lives of Modern Painters, Sculptors and Architects 3256:Painting and Experience in Fifteenth Century Italy 2540:(1430–1516) was born within a year of his brother 2330:, of such beauty that according to the biographer 1928:From about 1450, with the arrival in Italy of the 1563:Early Renaissance painting in other parts of Italy 2873:at the start of the next century. His mastery of 1256:shows his experiments with perspective and light. 1004:, 1333, Uffizi, is International Gothic in style. 528:, 1327, in Siena and, of the early 15th century, 326:and Islamic scholars. The advent of movable type 8862: 4121:Zuffi pg. 103; Stokstad pg. 682; Raunch pg. 388) 3957:Stokstad pg. 655; Wundram pg. 120; Hartt pg. 563 2895:period. Correggio prefigured many components of 2145:, or about 1530. Many cite Leonardo da Vinci's 2042:and the devil himself. Each painting required a 1792:philosopher, and facilitated his translation of 284:brought about the first archaeological study of 5637: 4382:Hartt pg. 639; Raunch pg. 383; Stokstad pg. 681 4130:Raunch pg. 388; Hartt pg. 647; Stokstad pg. 682 4076:Hartt pg. 645; Raunch pg. 388; Stokstad pg. 682 3988:Olivari, Mariolina (2007). "Giovanni Bellini". 3459:, Arcadja, (2008-06-23), (accessed: 2012-07-13) 2997:makers, extending into the early 20th century. 2100:(softening the transition between colours) and 1141:Ghiberti won the competition. His first set of 813:set a new standard for narrative pictures. His 2702:, when compared to Giovanni Bellini's similar 974:. Giusto's masterpiece, the decoration of the 5778: 5623: 5103: 4688:The Fifteenth Century: The Prospect of Europe 3269:The Fifteenth Century, the Prospect of Europe 2288:succeeded in getting the Florentine sculptor 1953:the Portinari donors. In the foreground is a 1075: 962:Two important fresco painters were active in 907:(detail), c. 1350, Museum of Santa Croce 684: 265:Italian society during the Renaissance period 112:. The Early Renaissance style was started by 4702:The Renaissance: An Illustrated Encyclopedia 3983: 3981: 3481:The Renaissance, an Illustrated Encyclopedia 2088: 1394:was to carry forward Piero's work on light. 1022:Allegory of the Active and Triumphant Church 4025:Wundrum Pag. 147 and Pg.121; Hartt, Pg. 645 2903:Other significant High Renaissance painters 1385:carried his study of light further. In the 891: 5785: 5771: 5630: 5616: 5110: 5096: 3562: 3377: 3375: 3373: 3371: 3144:Baron Heathfield, Lord Warden of Gibraltar 2742:Giorgione painted the entire female body. 2469:, whom Raphael has famously modelled upon 2354:, his portrait of Michelangelo himself in 1216:Adam and Eve receiving the forbidden fruit 919:it is painted on the inner west wall. The 847: 823:, Florence, in the same room as Cimabue's 720:Traditions of 13th-century Tuscan painting 144:. The High Renaissance period was that of 3978: 3722:. Retrieved June 18, 2015.; described in 3688:. Cambridge: Cambridge University Press. 3453:Elena Lanzanova, trans. Giorgina Arcuri, 3339:Sarel Eimerl, The World of Giotto, (1967) 3324:All three are reproduced and compared at 2926:Influence of Italian Renaissance painting 1757: 1347: 307: 4835:. Ithaca, NY: Cornell University Press. 4830: 3678:The Modes of Coloring in the Cinquecento 3558: 3556: 3554: 3335: 3333: 3234: 2832: 2749: 2646: 2514: 2391: 2270: 2193: 1987:replaced the derelict old chapel at the 1969: 1753:Progression towards the High Renaissance 1683: 1594: 1332: 1247: 1163: 992: 895: 865:of the Church of Santa Croce, Florence. 834: 765: 688: 550: 418: 244: 194: 29: 4805: 4613:(1999) University of California Press, 4043: 3987: 3368: 3232: 3230: 3228: 3226: 3224: 3222: 3220: 3218: 3216: 3214: 3196: 1679: 1031: 500:The Allegory of Good and Bad Government 14: 8863: 8466:Contemporary Indigenous Australian art 3866: 3864: 3718:"Four Canonical Painting Modes by APA" 3603:Frederick Hartt and David G. Wilkins, 3527: 3525: 2615:, in several of his later altarpieces 2611:Bellini used this same form, known as 1008:In Florence, at the Spanish Chapel of 415:Themes in Italian Renaissance painting 6486:Art of the late 16th century in Milan 5766: 5611: 5091: 4979:, (1980) Specimen/Scala, ISBN unknown 4767:(1971) Scala Publications, Florence, 3909:Some sources identify this figure as 3551: 3449: 3447: 3437: 3435: 3433: 3431: 3429: 3393: 3391: 3330: 3300: 3063:painters of the 19th century such as 2407:to decorate a suite now known as the 1609:Lives of Saints James and Christopher 454:or the life of a saint, particularly 314:History of science in the Renaissance 73:is renowned as the birthplace of the 4947:Peter Murray and Pier Luigi Vecchi, 4648:(1992) Hugh Lauter Levin/Macmillan, 4597:A History of Italian Renaissance Art 3800:Kugler; Honour and Flemming, pg. 466 3681: 3250: 3248: 3240:A History of Italian Renaissance Art 3211: 2253:The Virgin and Child with Saint Anne 2166: 1923: 1708:, bringing with him a collection of 1664:pierced balustrade that surrounds a 880:. A late painting by Cimabue in the 4902:, (1988) G. Deganello, ISBN unknown 3861: 3522: 3191:Timeline of Italian artists to 1800 2598:had used it as the setting for his 2510: 2446:, a series of wall frescoes in the 2431:Christ giving the Keys to St. Peter 2069:Christ Giving the Keys to St. Peter 1965: 1568:Andrea Mantegna in Padua and Mantua 1323:Christ Giving the Keys to St. Peter 1153: 1068:, many of them being scenes of the 1024:is remarkable for its depiction of 24: 7821:Vienna School of Fantastic Realism 6672:Neoclassical architecture in Milan 5031:Gabriel Bartz and Eberhard König, 4662:(1970) Harcourt, Brace and World, 3883:Gabriel Bartz and Eberhard König, 3634:Wundrum pg. 147; Hartt and Wilkins 3625:Wundrum pg. 148; Hartt and Wilkins 3444: 3426: 3388: 2773:–1576) trained in the workshop of 2010:. This fresco cycle was to depict 1413:Andrea and Giovanni della Robbia: 677:were important sources of themes. 25: 8897: 7895:American Figurative Expressionism 6231:International Gothic art in Italy 5140:Greek scholars in the Renaissance 4907:Masaccio and the Brancacci Chapel 4641:(1968) Abrams Press, ISBN unknown 3399:Masaccio and the Brancacci Chapel 3245: 2856:Vision of St. John the Evangelist 2570:Portrait of Doge Leonardo Loredan 2503:, used as a design for countless 1238:Development of linear perspective 8845: 8844: 7404:Neue Künstlervereinigung München 4676:(1974) Oxford University Press, 4556: 4547: 4538: 4529: 4520: 4511: 4502: 4493: 4484: 4475: 4466: 4457: 4448: 4439: 4430: 4421: 4412: 4403: 4394: 4385: 4211:Stokstad pg. 684; Raunch pg. 392 3728:Research Handbook on Art and Law 3151: 3132: 3113: 3094: 2810:Equestrian Portrait of Charles V 2322:Superficially, the ceiling is a 2217:Santa Maria delle Grazie (Milan) 1906: 1889: 1421: 1406: 1096: 1084: 389:family, their influential inlaw 8326:Tunisian collaborative painting 7799:International Typographic Style 5117: 4900:Frescoes by Giusto de' Menabuoi 4568: 4454:Wundram pg. 174; Janson pg. 516 4376: 4367: 4358: 4349: 4340: 4331: 4328:Hartt pg. 649; Stokstad pg. 685 4322: 4319:Wundram pg. 176; Raunch pg. 393 4313: 4304: 4295: 4286: 4277: 4268: 4259: 4250: 4241: 4232: 4223: 4214: 4205: 4196: 4187: 4178: 4169: 4160: 4151: 4142: 4133: 4124: 4115: 4106: 4097: 4088: 4079: 4070: 4061: 4058:Stokstad pg. 682; Hartt pg. 646 4052: 4037: 4028: 4019: 4006: 3969: 3960: 3951: 3948:Wundram pg. 120; Ruanch pg. 366 3942: 3929: 3916: 3903: 3890: 3877: 3852: 3839: 3830: 3821: 3812: 3803: 3794: 3781: 3760: 3751: 3742: 3733: 3710: 3654: 3637: 3628: 3619: 3610: 3597: 3584: 3571: 3538: 3513: 3504: 3495: 3486: 3473: 3462: 3417: 3404: 3355: 3350:Frescoes by Giusto de' Menabuoi 3342: 2266: 2014:on one side of the chapel, and 1977:Christ Giving the Keys to Peter 1942:In 1483 the huge altarpiece of 1632:, created for the abbot of the 1193:, Slovenly Tom and Little Tom. 1036:During the later 14th century, 951:by an unknown painter, perhaps 874:Basilica of St. Francis, Assisi 8079:The Caribbean Artists Movement 5028:, (1962) Phaidon, ISBN unknown 4739:(2004) Yale University Press, 4730:Florence: The City and its Art 4627:(2021) Yale University Press, 4481:Raunch pg. 383; Janson pg. 518 4229:Hartt pg. 647; Wundram pg. 176 4166:Zuffi pg. 102; Raunch pg. 388) 4094:Zuffi pg. 102; Wundram pg. 148 4014:One Thousand Years of Painting 3768:The Illustrated History of Art 3318: 3287: 3274: 3261: 3202: 1945:the Adoration of the Shepherds 1397: 1359:in his nocturnal scene in the 1355:used tonality to create form. 1254:The Presentation of the Virgin 781:, foreshadows the Renaissance. 116:and then further developed by 13: 1: 6435:Dutch and Flemish Renaissance 5084:, (1969) Hamlyn, ISBN unknown 4639:Renaissance and Mannerist Art 4562:Zuffi pg. 127; Raunch pg. 399 4472:Raunch pg. 383; Zuffi pg. 133 4418:Raunch pg. 383; Hartt pg. 638 4373:Hartt pg. 638; Raunch pg. 383 4247:Raunch pg. 393; Zuffi pg. 128 4148:Hartt pg. 647; Raunch pg. 388 3519:Hartt pg. 563; Raunch pg. 361 3510:Raunch pg. 361; Hartt pg. 563 3383:Renaissance and Mannerist Art 2767: 2684: 2345:, who was given a preview by 2257: 2233: 2143:Charles V, Holy Roman Emperor 2052:The Purification of the Leper 2016:Stories of the Life of Christ 1146:also the burgeoning skill of 859:Annunciation to the Shepherds 841:Annunciation to the Shepherds 701: 616:Ceiling of the Sistine Chapel 540:and its companion portraying 270: 220: 8871:Italian Renaissance painters 8550:Modern European ink painting 7922:Bay Area Figurative Movement 5341:Platonism in the Renaissance 5245:Early Netherlandish painting 5077:, (1990) Scala. ISBN unknown 5047:Raphael, the Life and Legacy 4982:Angela Ottino della Chiesa, 4860:, (1979) Thames and Hudson, 4779:The National Gallery, London 4283:Raunch pg. 393; Stokstad 684 4202:Hartt pg. 647; Zuffi pg. 128 4139:Hartt pg. 648; Luffi pg. 103 3924:Raphael, the Life and Legacy 3563:Giacometti, Massimo (1986). 2828: 2642: 2631:, making them brighter than 2012:Stories of the Life of Moses 255:The Birth of the Virgin Mary 56:Italian Renaissance painting 7: 8211:Artificial intelligence art 5639:Timeline of Italian artists 5061:Raphael, his Life and Works 4850: 4831:Wolfflin, Heinrich (1980). 4806:Sciacca, Christine (2012). 4103:Wundram pg. 145 and pg. 165 4044:Olivari, Mariolina (1990). 3937:Raphael, his Life and Works 3874:, Sydney University, (1982) 3579:Masterpieces of Western Art 3172: 2619:for the Venetian church of 2579:(1500–1502). Bellini, like 2363:Michelangelo's later work, 1113: 40:The Betrothal of the Virgin 10: 8902: 8124:Post-painterly abstraction 7947:Situationist International 7321:Pennsylvania Impressionism 5250:Dutch and Flemish painting 5193:Central and Eastern Europe 5162:Outline of the Renaissance 4937:, (1985) Scala/Riverside, 4923:, (1991) Scala/Riverside, 4909:, (1990) Scala/Riverside, 4874:, (1991) Scala/Riverside, 4732:(1971) Scala, ISBN unknown 4690:(1979) Thames and Hudson, 4599:(1970) Thames and Hudson, 4573: 3872:The Vision of Michelangelo 2372: 1768:Art patronage of Julius II 1761: 1454:were named in her honour. 1313:The Flagellation of Christ 1241: 1157: 1076:Early Renaissance painting 1020:in particular. His fresco 966:in the late 14th century, 924:images of the torments of 685:Proto-Renaissance painting 462:paintings on the theme of 412: 337: 311: 234: 224: 8840: 8644: 8409: 8219: 7999: 7791: 7775: 7707:California Scene Painting 7586:California Scene Painting 7542:Figurative Constructivism 7454: 7259: 7038: 7027: 6857: 6794: 6687: 6603: 6593:Poussinists and Rubenists 6494: 6298: 6031: 5831: 5822: 5809: 5645: 5562: 5529: 5497: 5442: 5387: 5378: 5175: 5125: 4637:R.E. Wolf and R. Millen, 4553:Raunch 398; Zuffi pg. 127 4544:Zuffi pg. 126; Raunch 398 3739:Stokstad, pg. 659 and 662 3381:R.E. Wolf and R. Millen, 2745: 2473:. The brooding figure of 2089:High Renaissance painting 2057:The Temptations of Christ 1862:. In these cycles of the 1854:at Santa Trinita and the 1177:for the Brancacci Chapel. 761: 503:, and religious, such as 408: 342:The establishment of the 288:remains by the architect 8805:Prehistoric European art 8454:Contemporary African art 7937:Gendai Bijutsu Kondankai 7865:Generación de la Ruptura 7492:Universal Constructivism 7284:California Impressionism 7239:American Barbizon school 5014:, (1986) Harmony Books, 4977:Il Palazzo di Schifanoia 3990:Pittori del Rinascimento 3809:Stokstad pg. 662; Lanzi. 3682:Hall, Marcia B. (1992). 3581:, Tashen, 2007. Page 147 3108:, Venetian, 16th century 3080:National Gallery, London 2862:Assumption of the Virgin 2840:Assumption of the Virgin 2802:Assumption of the Virgin 2797:Assumption of the Virgin 2757:Assumption of the Virgin 2032:Assumption of the Virgin 1899:The Portinari Altarpiece 1872:Life of John the Baptist 1829:Pierfrancesco de' Medici 1695:National Gallery, London 1590:Basilica of Sant'Antonio 1390:mathematical certainty. 1300:The Battle of San Romano 1212:being expelled from Eden 988:Basilica of Sant'Antonio 892:Mortality and redemption 709:National Gallery, London 470:, which were painted in 429:The Battle of San Romano 237:Renaissance architecture 83:Renaissance architecture 8632:Walking Artists Network 7969:Letterist International 7809:Washington Color School 6723:Arts in the Philippines 4898:Mgr. Giovanni Foffani, 4795:(1974) Michael Joseph, 4793:Lorenzo the Magnificent 3847:Encyclopædia Britannica 3845:"Leonardo da Vinci" in 3776:Handbook of Art History 3533:Lorenzo the Magnificent 3348:Mgr. Giovanni Foffani, 3163:Chef de l'Hôtel Chatham 2705:San Zaccaria Altarpiece 2526:San Zaccaria Altarpiece 2497:. His larger work, the 2426:Betrothal of the Virgin 1915:The Sassetti Altarpiece 1868:Life of the Virgin Mary 1742:St. Jerome in His Study 1690:St. Jerome in His Study 1617:church of the Eremitani 1615:in the transept of the 1337:Piero della Francesca: 1310:, in paintings such as 1244:Perspective (graphical) 886:Madonna and St. Francis 848:Giotto's contemporaries 805:that he painted in the 458:. There were also many 8743:Illuminated manuscript 8391:The Designers Republic 8341:Neue Slowenische Kunst 8264:Pattern and Decoration 8164:Institutional critique 7804:Abstract expressionism 6784:Latin American Baroque 6740:Colonial Asian Baroque 4812:. Getty Publications. 4791:Hugh Ross Williamson, 4609:Graham-Dixon, Andrew, 4016:, Electa, Milan, 2001. 3531:Hugh Ross Williamson, 3002:Sistine Chapel ceiling 2913:Madonna of the Harpies 2843: 2760: 2724:The Three Philosophers 2657: 2529: 2463:Stanza della Segnatura 2444:Sistine Chapel ceiling 2412: 2294:Sistine Chapel ceiling 2281: 2204: 1980: 1758:Patronage and Humanism 1697: 1604: 1348:Understanding of light 1344: 1257: 1178: 1125:the Sacrifice of Isaac 1005: 945:Camposanto Monumentale 908: 844: 803:the Life of the Virgin 782: 716: 567: 562:, showing a Classical 433: 318:Renaissance technology 308:Science and technology 259: 217: 168:, the latter works of 52: 8881:Renaissance paintings 8381:Artist-run initiative 8356:Young British Artists 8321:New European Painting 8257:Moscow Conceptualists 8179:Feminist art movement 7957:Ukrainian underground 7932:Gutai Art Association 7331:Ten American Painters 6835:Western influence in 5812:List of art movements 5575:Medieval renaissances 5353:Scientific Revolution 5024:Ludwig Goldschieder, 4949:Piero della Francesca 4935:Piero della Francesca 4933:Alessandro Angelini, 4872:Duccio di Buoninsegna 4718:(1990) Harrap Books, 3896:Ludwig Goldschieder, 2836: 2753: 2650: 2592:Piero della Francesca 2544:, his brother-in-law 2518: 2395: 2274: 2197: 2020:The Nativity of Jesus 1973: 1933:Rogier van der Weyden 1762:Further information: 1747:Piero della Francesca 1687: 1598: 1383:Piero della Francesca 1336: 1308:Piero della Francesca 1293:According to Vasari, 1251: 1183:the Life of St. Peter 1167: 1105:The Gates of Paradise 996: 957:Buonamico Buffalmacco 899: 868:The paintings in the 843:(detail), Santa Croce 838: 825:Santa Trinita Madonna 769: 694:Duccio di Buoninsegna 692: 554: 456:St. Francis of Assisi 422: 385:through the talented 368:Piero della Francesca 248: 235:Further information: 198: 126:Piero della Francesca 33: 8191:Saqqakhaneh movement 8084:Chicano art movement 7952:Soviet Nonconformist 7758:Boston Expressionism 7741:Abstraction-Création 7559:Arbeitsrat für Kunst 7552:Cologne Progressives 7272:Art Nouveau in Milan 7075:Anglo-Japanese style 7051:National romanticism 6481:Fontainebleau School 6391:Northern Renaissance 6226:International Gothic 5444:Northern Renaissance 5063:, (1985) Chartwell, 5010:Massimo Giacometti, 4888:, (1967) Time/Life, 4660:Art Through the Ages 4644:Keith Christiansen, 4582:Lives of the Artists 3363:Art through the Ages 3312:Lives of the Artists 3280:Keith Christiansen, 3197:Notes and references 2952:Antonello da Messina 2727:, may represent the 2700:Castelfranco Madonna 2674:Castelfranco Madonna 2613:Sacred Conversations 2550:Antonello da Messina 2357:The School of Athens 2278:The Creation of Adam 2004:Domenico Ghirlandaio 1960:Domenico Ghirlandaio 1876:Lorenzo il Magnifico 1848:Domenico Ghirlandaio 1796:and his teaching of 1764:Renaissance humanism 1718:Antonello da Messina 1680:Antonello da Messina 1650:Ducal palace, Mantua 1634:Basilica of San Zeno 1545:have survived. Even 1038:International Gothic 1032:International Gothic 905:The Triumph of Death 654:Battle of San Romano 577:Domenico Ghirlandaio 566:for a private patron 542:Niccolò da Tolentino 250:Domenico Ghirlandaio 241:Renaissance humanism 138:Domenico Ghirlandaio 8876:Italian Renaissance 8726:Hierarchy of genres 8291:Saint Soleil School 8227:Post-conceptual art 8196:The Stars Art Group 8074:Black Arts Movement 8037:Neo-Dada Organizers 7838:Lyrical abstraction 7571:Australian tonalism 7244:California Tonalism 6916:Hudson River School 6719:Colonial Asian art 6459:English Renaissance 6408:Ghent–Bruges school 6396:Early Netherlandish 6308:Italian Renaissance 6221:Gothic art in Milan 5397:Bergamo and Brescia 5389:Italian Renaissance 5167:Renaissance studies 5073:Mariolina Olivari, 5059:Jean-Pierre Cuzin, 5035:, (1998) Könemann, 4919:Annarita Paolieri, 4886:The World of Giotto 4672:Michael Baxandall, 4623:Ekserdjian, David, 3992:. Florence: Scala. 3935:Jean-Pierre Cuzin, 3774:1841; Franz Kugler 3676:; also the chapter 3410:Annarita Paolieri, 3254:Michael Baxandall, 3104:: Portrait of Doge 3065:Jacques-Louis David 2639:in the foreground. 2606:Santa Maria Novella 2491:La Belle Jardinière 2461:(1509–1511) in the 2242:Virgin of the Rocks 2198:Leonardo da Vinci: 2116:and what she calls 1896:Hugo van der Goes: 1860:Santa Maria Novella 1813:Classical mythology 1798:Platonic philosophy 1702:Alfonso V of Aragon 1673:sacra conversazione 1630:San Zeno altarpiece 1626:University of Padua 1502:Andrea della Robbia 1452:Santa Maria Novella 1288:Santa Maria Novella 1121:Florence Baptistery 1050:Gentile da Fabriano 1010:Santa Maria Novella 972:Giusto de' Menabuoi 746:Coppo di Marcovaldo 598:With the growth of 546:Andrea del Castagno 495:Ambrogio Lorenzetti 231:Italian Renaissance 45:Pinacoteca di Brera 8768:Landscape painting 8376:New Leipzig School 8316:Neo-conceptual art 8064:Art & Language 8059:Capitalist realism 7981:Florida Highwaymen 7917:Hard-edge painting 7731:Streamline Moderne 7692:Harlem Renaissance 7535:Novecento Italiano 7363:Deutscher Werkbund 7190:Post-Impressionism 6752:Latin American art 6556:Guild of Romanists 6418:German Renaissance 6413:Northern Mannerism 5515:Spanish Golden Age 5155:Northern Mannerism 5012:The Sistine Chapel 4986:, (1967) Penguin, 4951:, (1967) Penguin, 4870:Cecilia Jannella, 4753:(1999) Routledge, 3565:The Sistine Chapel 3125:Philip IV of Spain 2930:The lives of both 2844: 2761: 2658: 2530: 2413: 2403:, commissioned by 2366:The Last Judgement 2282: 2205: 1981: 1864:Life of St Francis 1698: 1646:Camera degli Sposi 1605: 1601:The Gonzaga family 1525:Davide Ghirlandaio 1472:Depictions of the 1377:Florence Cathedral 1345: 1274:Florence Cathedral 1262:linear perspective 1258: 1179: 1148:linear perspective 1026:Florence Cathedral 1014:Andrea di Bonaiuto 1006: 935:by Giotto's pupil 931:These include the 909: 884:at Assisi, of the 845: 816:Ognissanti Madonna 799:the Life of Christ 783: 717: 625:Camera degli Sposi 568: 538:Florence Cathedral 451:Life of the Virgin 446:the Life of Christ 434: 260: 218: 205:The Birth of Venus 53: 18:Italian primitives 8858: 8857: 8640: 8639: 8496:Corporate Memphis 8449:Classical Realism 8419:Amazonian pop art 8311:Appropriation art 8279:Neo-expressionism 8149:Environmental art 8054:Nouvelle tendance 7771: 7770: 7719:Socialist realism 7576:Dresden Secession 7195:Neo-Impressionism 7158:Decadent movement 7129:Heidelberg School 7023: 7022: 6921:American luminism 6906:Düsseldorf School 6901:Shoreham Ancients 6891:Nazarene movement 6881:Danish Golden Age 6762:Indochristian art 6440:Antwerp Mannerism 6329:Pittura infamante 6323:Florentine School 6318:Proto-Renaissance 5760: 5759: 5605: 5604: 5525: 5524: 5498:Iberian peninsula 5265:Italian sculpture 5000:, (1975) Abrams, 4998:Leonardo da Vinci 4984:Leonardo da Vinci 4965:, (1984) Abrams, 4961:Umberto Baldini, 4905:Ornella Casazza, 4819:978-1-60606-126-8 4595:Frederick Hartt, 3672:, 9780521624459, 3660:Hall, Marcia B., 3643:Frederick Hartt, 3544:Umberto Baldini, 3397:Ornella Casazza, 3238:Frederick Hartt, 3007:The Last Judgment 2991:Martin Schongauer 2588:Madonna and Child 2576:Baptism of Christ 2534:Venetian painting 2471:Leonardo da Vinci 2454:nearby, of which 2379:Leonardo da Vinci 2167:Leonardo da Vinci 1950:Hugo van der Goes 1924:Flemish influence 1856:Tornabuoni Chapel 1811:. The figures of 1782:Cosimo de' Medici 1734:Venetian painters 1712:and setting up a 1710:Flemish paintings 1537:Leonardo da Vinci 1517:Fra Filippo Lippi 1496:, famous for his 1494:Luca della Robbia 1474:Madonna and Child 1445:, revered by the 1431:Madonna and Child 1415:Madonna and Child 1392:Leonardo da Vinci 1361:Baroncelli Chapel 1326:(1481–82) in the 1282:niche around the 1228:Leonardo da Vinci 1174:The Tribute Money 863:Baroncelli Chapel 829:Ruccellai Madonna 698:Madonna and Child 556:Sandro Botticelli 507:'s fresco of the 488:Madonna and Child 372:Leonardo da Vinci 352:Cosimo de' Medici 200:Sandro Botticelli 146:Leonardo da Vinci 130:Sandro Botticelli 89:(1495–1520), and 60:Italian Peninsula 16:(Redirected from 8893: 8848: 8847: 8832:Western painting 8778:Modern sculpture 8736:History painting 8439:Art intervention 8232:Installation art 8049:Nouveau réalisme 7789: 7788: 7763:Leningrad School 7655:Mexican muralism 7628:Grosvenor School 7368:American Realism 7351:Der Blaue Reiter 7309:Berlin Secession 7304:Vienna Secession 7299:Munich Secession 7217:Pont-Aven School 7036: 7035: 6886:Troubadour style 6864:(c. 1770 – 1862) 6831:Qing handicrafts 6797:Western elements 6728:Letras y figuras 6701:African-American 6696:African diaspora 6667:Directoire style 6578:Heptanese school 6561:Dutch Golden Age 6546:Stroganov School 6539:Lutheran Baroque 6534:Louis XIII style 6507:Baroque in Milan 6369:Bolognese School 6364:High Renaissance 6347:Forlivese School 6342:Ferrarese School 6065:Migration Period 5829: 5828: 5787: 5780: 5773: 5764: 5763: 5632: 5625: 5618: 5609: 5608: 5570:Cloak and dagger 5385: 5384: 5255:Italian painting 5145:High Renaissance 5112: 5105: 5098: 5089: 5088: 5075:Giovanni Bellini 5045:David Thompson, 4996:Jack Wasserman, 4975:Ranieri Varese, 4846: 4827: 4822:. Archived from 4777:Michael Wilson, 4704:(1979) Octopus, 4686:Margaret Aston, 4646:Italian Painting 4579:Giorgio Vasari, 4563: 4560: 4554: 4551: 4545: 4542: 4536: 4533: 4527: 4524: 4518: 4515: 4509: 4506: 4500: 4497: 4491: 4488: 4482: 4479: 4473: 4470: 4464: 4461: 4455: 4452: 4446: 4443: 4437: 4434: 4428: 4425: 4419: 4416: 4410: 4407: 4401: 4398: 4392: 4391:Stokstad pg. 681 4389: 4383: 4380: 4374: 4371: 4365: 4362: 4356: 4353: 4347: 4344: 4338: 4335: 4329: 4326: 4320: 4317: 4311: 4308: 4302: 4299: 4293: 4290: 4284: 4281: 4275: 4274:(Wundram pg. 176 4272: 4266: 4265:Stokstad pg. 684 4263: 4257: 4254: 4248: 4245: 4239: 4236: 4230: 4227: 4221: 4218: 4212: 4209: 4203: 4200: 4194: 4191: 4185: 4182: 4176: 4173: 4167: 4164: 4158: 4155: 4149: 4146: 4140: 4137: 4131: 4128: 4122: 4119: 4113: 4110: 4104: 4101: 4095: 4092: 4086: 4083: 4077: 4074: 4068: 4067:Stokstad pg. 682 4065: 4059: 4056: 4050: 4049: 4046:Giovanni Bellini 4041: 4035: 4032: 4026: 4023: 4017: 4010: 4004: 4003: 3985: 3976: 3973: 3967: 3964: 3958: 3955: 3949: 3946: 3940: 3933: 3927: 3922:David Thompson, 3920: 3914: 3907: 3901: 3894: 3888: 3881: 3875: 3868: 3859: 3856: 3850: 3843: 3837: 3834: 3828: 3825: 3819: 3816: 3810: 3807: 3801: 3798: 3792: 3785: 3779: 3764: 3758: 3755: 3749: 3748:Wundrum pg. 145 3746: 3740: 3737: 3731: 3721: 3714: 3708: 3707: 3658: 3652: 3641: 3635: 3632: 3626: 3623: 3617: 3614: 3608: 3601: 3595: 3588: 3582: 3575: 3569: 3568: 3560: 3549: 3542: 3536: 3529: 3520: 3517: 3511: 3508: 3502: 3499: 3493: 3490: 3484: 3477: 3471: 3466: 3460: 3451: 3442: 3439: 3424: 3421: 3415: 3408: 3402: 3395: 3386: 3379: 3366: 3359: 3353: 3346: 3340: 3337: 3328: 3322: 3316: 3304: 3298: 3291: 3285: 3282:Italian Painting 3278: 3272: 3267:Margaret Aston, 3265: 3259: 3252: 3243: 3236: 3209: 3206: 3155: 3136: 3117: 3098: 3013:Andrea del Sarto 2948:Giovanni Bellini 2908:Andrea del Sarto 2897:Baroque painting 2775:Giovanni Bellini 2772: 2769: 2689: 2686: 2538:Giovanni Bellini 2520:Giovanni Bellini 2511:Giovanni Bellini 2458:School of Athens 2452:Apostolic Palace 2400:School of Athens 2262: 2259: 2238: 2235: 2161:Andrea del Sarto 2122:can be added to 2075:triumphal arches 2024:Finding of Moses 1966:Papal commission 1910: 1893: 1880:Agnolo Poliziano 1788:as his resident 1784:had established 1714:Humanist Academy 1621:Scrovegni Chapel 1498:cantoria gallery 1425: 1410: 1340:The Flagellation 1199:Brancacci Chapel 1160:Brancacci Chapel 1154:Brancacci Chapel 1132:Lorenzo Ghiberti 1100: 1088: 1002:The Annunciation 976:Padua Baptistery 953:Francesco Traini 941:Triumph of Death 933:Triumph of Death 917:Scrovegni Chapel 878:Pietro Cavallini 807:Scrovegni Chapel 790:Pietro Cavallini 756:Pietro Cavallini 732:of Florence and 706: 703: 632:painted for the 579:'s cycle in the 515:Palazzo Pubblico 366:, Brunelleschi, 170:Giovanni Bellini 158:Andrea del Sarto 142:Giovanni Bellini 87:High Renaissance 21: 8901: 8900: 8896: 8895: 8894: 8892: 8891: 8890: 8861: 8860: 8859: 8854: 8836: 8753:Interactive art 8636: 8610:SoFlo Superflat 8535:Kitsch movement 8459:Africanfuturism 8411: 8405: 8284:Transavantgarde 8215: 8169:Light and Space 8154:Performance art 8134:Psychedelic art 8017:Nueva Presencia 8007:Otra Figuración 7995: 7927:Les Plasticiens 7912:New York School 7890:Action painting 7875:Metcalf Chateau 7784: 7779: 7767: 7687:Cercle et Carré 7623:New Objectivity 7530:Return to order 7472:School of Paris 7450: 7294:School of Paris 7255: 7141:Arts and Crafts 7046:Neo-romanticism 7031: 7019: 7015:Etching revival 6967:Barbizon school 6911:Pre-Raphaelites 6863: 6860: 6853: 6796: 6790: 6683: 6657:Louis XVI style 6599: 6588:Louis XIV style 6551:Animal painting 6512:Flemish Baroque 6490: 6401:World landscape 6352:Venetian School 6294: 6281:Majorcan school 6248:Novgorod School 6238:Lucchese School 6210:Opus Anglicanum 6202:Norman-Sicilian 6146:Italo-Byzantine 6046:Early Christian 6027: 6011:Pompeian Styles 5824: 5818: 5805: 5791: 5761: 5756: 5755: 5753: 5641: 5636: 5606: 5601: 5558: 5521: 5493: 5438: 5374: 5287:Northern Europe 5171: 5121: 5116: 4853: 4843: 4820: 4763:Luciano Berti, 4749:Arnold Hauser, 4728:Luciano Berti, 4658:Helen Gardner, 4576: 4571: 4566: 4561: 4557: 4552: 4548: 4543: 4539: 4535:Wundrum pg. 724 4534: 4530: 4525: 4521: 4516: 4512: 4508:Wundram pg. 166 4507: 4503: 4498: 4494: 4489: 4485: 4480: 4476: 4471: 4467: 4462: 4458: 4453: 4449: 4444: 4440: 4435: 4431: 4427:Wundram pg. 174 4426: 4422: 4417: 4413: 4408: 4404: 4399: 4395: 4390: 4386: 4381: 4377: 4372: 4368: 4363: 4359: 4354: 4350: 4345: 4341: 4336: 4332: 4327: 4323: 4318: 4314: 4310:Wundram pg. 152 4309: 4305: 4300: 4296: 4292:Wundram pg. 154 4291: 4287: 4282: 4278: 4273: 4269: 4264: 4260: 4255: 4251: 4246: 4242: 4237: 4233: 4228: 4224: 4219: 4215: 4210: 4206: 4201: 4197: 4192: 4188: 4183: 4179: 4174: 4170: 4165: 4161: 4156: 4152: 4147: 4143: 4138: 4134: 4129: 4125: 4120: 4116: 4111: 4107: 4102: 4098: 4093: 4089: 4084: 4080: 4075: 4071: 4066: 4062: 4057: 4053: 4042: 4038: 4033: 4029: 4024: 4020: 4011: 4007: 4000: 3986: 3979: 3974: 3970: 3965: 3961: 3956: 3952: 3947: 3943: 3934: 3930: 3921: 3917: 3908: 3904: 3895: 3891: 3882: 3878: 3869: 3862: 3857: 3853: 3844: 3840: 3836:Wundram pg. 148 3835: 3831: 3826: 3822: 3817: 3813: 3808: 3804: 3799: 3795: 3786: 3782: 3765: 3761: 3757:Wundrum pg. 147 3756: 3752: 3747: 3743: 3738: 3734: 3716: 3715: 3711: 3696: 3659: 3655: 3642: 3638: 3633: 3629: 3624: 3620: 3615: 3611: 3602: 3598: 3589: 3585: 3576: 3572: 3561: 3552: 3543: 3539: 3530: 3523: 3518: 3514: 3509: 3505: 3501:Raunch pg. 361) 3500: 3496: 3491: 3487: 3478: 3474: 3467: 3463: 3452: 3445: 3440: 3427: 3422: 3418: 3409: 3405: 3396: 3389: 3380: 3369: 3361:Helen Gardner, 3360: 3356: 3347: 3343: 3338: 3331: 3323: 3319: 3305: 3301: 3292: 3288: 3279: 3275: 3266: 3262: 3253: 3246: 3237: 3212: 3207: 3203: 3199: 3175: 3170: 3169: 3168: 3167: 3166: 3156: 3148: 3147: 3140:Joshua Reynolds 3137: 3129: 3128: 3121:Diego Velázquez 3118: 3110: 3109: 3099: 3090: 3089: 3082:, were formed. 3000:Michelangelo's 2928: 2905: 2831: 2770: 2748: 2695:the painting. 2687: 2645: 2513: 2500:Sistine Madonna 2375: 2317:twelve apostles 2302:Twelve Apostles 2269: 2260: 2236: 2201:The Last Supper 2185:Renaissance man 2169: 2148:The Last Supper 2091: 2008:Cosimo Rosselli 2000:Pietro Perugino 1968: 1930:Flemish painter 1926: 1921: 1920: 1919: 1918: 1917: 1911: 1903: 1902: 1894: 1852:Sassetti Chapel 1786:Marsilio Ficino 1770: 1760: 1755: 1726:Petrus Christus 1706:ruler of Naples 1682: 1574:Andrea Mantegna 1570: 1565: 1447:Catholic Church 1439: 1438: 1437: 1436: 1435: 1428:Filippo Lippi: 1426: 1418: 1417: 1411: 1400: 1375:on the wall of 1350: 1252:Paolo Uccello: 1246: 1240: 1224:Filippino Lippi 1162: 1156: 1143:Baptistry doors 1116: 1111: 1110: 1109: 1108: 1107: 1101: 1093: 1092: 1089: 1078: 1034: 1018:Dominican Order 894: 850: 775:The Lamentation 764: 726:Italo-Byzantine 722: 713:Italo-Byzantine 704: 687: 648:of about 1490. 581:Sassetti Chapel 438:Catholic Church 417: 411: 340: 320: 312:Main articles: 310: 273: 243: 233: 225:Main articles: 223: 79:Renaissance art 28: 23: 22: 15: 12: 11: 5: 8899: 8889: 8888: 8883: 8878: 8873: 8856: 8855: 8853: 8852: 8841: 8838: 8837: 8835: 8834: 8829: 8822: 8817: 8812: 8807: 8802: 8797: 8792: 8787: 8786: 8785: 8783:Late modernism 8780: 8770: 8765: 8760: 8755: 8750: 8745: 8740: 8739: 8738: 8733: 8731:Genre painting 8723: 8718: 8713: 8708: 8707: 8706: 8701: 8696: 8691: 8681: 8679:Ballets Russes 8676: 8671: 8666: 8665: 8664: 8662:Asemic writing 8654: 8652:History of art 8648: 8646: 8645:Related topics 8642: 8641: 8638: 8637: 8635: 8634: 8629: 8624: 8619: 8618: 8617: 8612: 8602: 8597: 8592: 8587: 8582: 8580:Relational art 8577: 8572: 8567: 8562: 8557: 8552: 8547: 8542: 8537: 8532: 8527: 8526: 8525: 8515: 8510: 8505: 8503:Hypermodernism 8500: 8499: 8498: 8488: 8483: 8478: 8473: 8468: 8463: 8462: 8461: 8451: 8446: 8441: 8436: 8431: 8426: 8421: 8415: 8413: 8407: 8406: 8404: 8403: 8398: 8393: 8388: 8383: 8378: 8373: 8368: 8363: 8358: 8353: 8348: 8343: 8338: 8333: 8328: 8323: 8318: 8313: 8308: 8303: 8298: 8293: 8288: 8287: 8286: 8276: 8271: 8266: 8261: 8260: 8259: 8249: 8244: 8242:Postminimalism 8239: 8234: 8229: 8223: 8221: 8217: 8216: 8214: 8213: 8208: 8203: 8198: 8193: 8188: 8187: 8186: 8176: 8171: 8166: 8161: 8156: 8151: 8146: 8141: 8136: 8131: 8126: 8121: 8119:Generative art 8116: 8111: 8106: 8101: 8096: 8091: 8089:Conceptual art 8086: 8081: 8076: 8071: 8066: 8061: 8056: 8051: 8046: 8041: 8040: 8039: 8029: 8024: 8019: 8014: 8009: 8003: 8001: 7997: 7996: 7994: 7993: 7988: 7986:Cybernetic art 7983: 7978: 7977: 7976: 7974:Ultra-Lettrist 7971: 7961: 7960: 7959: 7949: 7944: 7939: 7934: 7929: 7924: 7919: 7914: 7909: 7904: 7903: 7902: 7892: 7887: 7882: 7877: 7872: 7867: 7862: 7861: 7860: 7855: 7850: 7848:Arte Informale 7845: 7835: 7830: 7825: 7824: 7823: 7813: 7812: 7811: 7801: 7795: 7793: 7786: 7785:(1945–present) 7773: 7772: 7769: 7768: 7766: 7765: 7760: 7755: 7750: 7745: 7744: 7743: 7733: 7728: 7727: 7726: 7721: 7714:Heroic realism 7711: 7710: 7709: 7699: 7694: 7689: 7684: 7679: 7674: 7667: 7662: 7657: 7652: 7651: 7650: 7648:Latin American 7645: 7635: 7630: 7625: 7620: 7618:Group of Seven 7615: 7610: 7605: 7600: 7599: 7598: 7588: 7583: 7581:Social realism 7578: 7573: 7568: 7567: 7566: 7564:November Group 7556: 7555: 7554: 7549: 7539: 7538: 7537: 7527: 7522: 7521: 7520: 7508: 7503: 7498: 7497: 7496: 7495: 7494: 7487:Latin American 7482:Constructivism 7479: 7477:Crystal Cubism 7474: 7469: 7464: 7458: 7456: 7452: 7451: 7449: 7448: 7443: 7438: 7433: 7428: 7423: 7418: 7417: 7416: 7406: 7401: 7394: 7393: 7392: 7387: 7377: 7376: 7375: 7365: 7360: 7355: 7354: 7353: 7348: 7338: 7333: 7328: 7323: 7318: 7317: 7316: 7311: 7306: 7301: 7291: 7286: 7281: 7276: 7275: 7274: 7263: 7261: 7257: 7256: 7254: 7253: 7248: 7247: 7246: 7236: 7235: 7234: 7229: 7224: 7219: 7214: 7209: 7204: 7203: 7202: 7187: 7182: 7180:Volcano School 7177: 7176: 7175: 7170: 7160: 7155: 7150: 7149: 7148: 7138: 7133: 7132: 7131: 7126: 7121: 7116: 7115: 7114: 7109: 7094: 7089: 7084: 7079: 7078: 7077: 7065: 7060: 7055: 7054: 7053: 7042: 7040: 7033: 7025: 7024: 7021: 7020: 7018: 7017: 7012: 7011: 7010: 7005: 7004: 7003: 6988: 6987: 6986: 6985: 6984: 6974: 6969: 6959: 6954: 6953: 6952: 6942: 6937: 6935:Norwich School 6932: 6927: 6926: 6925: 6924: 6923: 6913: 6908: 6903: 6898: 6893: 6888: 6883: 6878: 6876:Fairy painting 6867: 6865: 6855: 6854: 6852: 6851: 6850: 6849: 6844: 6833: 6828: 6823: 6818: 6813: 6812: 6811: 6800: 6798: 6792: 6791: 6789: 6788: 6787: 6786: 6781: 6780: 6779: 6774: 6769: 6767:Chilote School 6759: 6757:Casta painting 6749: 6748: 6747: 6742: 6737: 6736: 6735: 6733:Tipos del País 6730: 6717: 6716: 6715: 6714: 6713: 6703: 6691: 6689: 6685: 6684: 6682: 6681: 6676: 6675: 6674: 6669: 6664: 6659: 6654: 6642: 6641: 6640: 6633: 6628: 6623: 6621:Louis XV style 6618: 6607: 6605: 6601: 6600: 6598: 6597: 6596: 6595: 6590: 6580: 6575: 6570: 6569: 6568: 6558: 6553: 6548: 6543: 6542: 6541: 6536: 6531: 6530: 6529: 6524: 6514: 6509: 6498: 6496: 6492: 6491: 6489: 6488: 6483: 6478: 6473: 6468: 6467: 6466: 6456: 6455: 6454: 6453: 6452: 6447: 6442: 6432: 6431: 6430: 6425: 6423:Cologne School 6415: 6410: 6405: 6404: 6403: 6388: 6387: 6386: 6385: 6384: 6376: 6371: 6366: 6356: 6355: 6354: 6349: 6344: 6334: 6333: 6332: 6325: 6320: 6304: 6302: 6296: 6295: 6293: 6292: 6291: 6290: 6283: 6278: 6276:Italian school 6267: 6262: 6261: 6260: 6258:Sienese School 6250: 6245: 6240: 6235: 6234: 6233: 6228: 6223: 6213: 6206: 6205: 6204: 6194: 6193: 6192: 6187: 6177: 6172: 6171: 6170: 6168:Pre-Romanesque 6165: 6160: 6150: 6149: 6148: 6143: 6138: 6133: 6123: 6118: 6117: 6116: 6104: 6099: 6097:Donor portrait 6094: 6093: 6092: 6087: 6082: 6077: 6072: 6062: 6061: 6060: 6050: 6049: 6048: 6037: 6035: 6029: 6028: 6026: 6025: 6024: 6023: 6018: 6013: 6008: 6006:Julio-Claudian 6003: 5998: 5988: 5983: 5978: 5973: 5968: 5967: 5966: 5965: 5964: 5959: 5958: 5957: 5955:Greco-Buddhist 5947: 5937: 5932: 5927: 5922: 5917: 5912: 5907: 5902: 5897: 5895:Protogeometric 5892: 5882: 5881: 5880: 5875: 5870: 5865: 5855: 5850: 5849: 5848: 5837: 5835: 5826: 5820: 5819: 5810: 5807: 5806: 5790: 5789: 5782: 5775: 5767: 5758: 5757: 5647: 5646: 5643: 5642: 5635: 5634: 5627: 5620: 5612: 5603: 5602: 5600: 5599: 5594: 5593: 5592: 5587: 5582: 5572: 5566: 5564: 5560: 5559: 5557: 5556: 5551: 5546: 5541: 5535: 5533: 5527: 5526: 5523: 5522: 5520: 5519: 5518: 5517: 5507: 5501: 5499: 5495: 5494: 5492: 5491: 5486: 5481: 5476: 5475: 5474: 5469: 5459: 5454: 5448: 5446: 5440: 5439: 5437: 5436: 5431: 5426: 5421: 5420: 5419: 5409: 5404: 5399: 5393: 5391: 5382: 5376: 5375: 5373: 5372: 5367: 5362: 5357: 5356: 5355: 5345: 5344: 5343: 5333: 5328: 5323: 5318: 5317: 5316: 5311: 5306: 5296: 5291: 5290: 5289: 5284: 5274: 5269: 5268: 5267: 5262: 5257: 5252: 5247: 5237: 5236: 5235: 5230: 5225: 5220: 5215: 5210: 5205: 5200: 5195: 5190: 5179: 5177: 5173: 5172: 5170: 5169: 5164: 5159: 5158: 5157: 5147: 5142: 5137: 5131: 5129: 5123: 5122: 5115: 5114: 5107: 5100: 5092: 5086: 5085: 5078: 5071: 5057: 5049:, (1983) BBC, 5043: 5029: 5022: 5008: 4994: 4980: 4973: 4959: 4945: 4931: 4917: 4903: 4896: 4884:Sarel Eimerl, 4882: 4868: 4852: 4849: 4848: 4847: 4841: 4828: 4826:on 2012-09-20. 4818: 4803: 4789: 4781:(1977) Scala, 4775: 4773:978-1870248815 4761: 4747: 4733: 4726: 4714:Diana Davies, 4712: 4698: 4684: 4670: 4656: 4642: 4635: 4633:978-0300253641 4621: 4619:978-0520223752 4607: 4593: 4575: 4572: 4570: 4567: 4565: 4564: 4555: 4546: 4537: 4528: 4519: 4510: 4501: 4499:Raunch pg. 341 4492: 4490:Raunch pg. 341 4483: 4474: 4465: 4456: 4447: 4438: 4429: 4420: 4411: 4409:Raunch pg. 383 4402: 4393: 4384: 4375: 4366: 4357: 4348: 4339: 4337:Raunch pg. 400 4330: 4321: 4312: 4303: 4294: 4285: 4276: 4267: 4258: 4256:Raunch pg. 396 4249: 4240: 4238:Raunch pg. 392 4231: 4222: 4213: 4204: 4195: 4186: 4177: 4175:Raunch pg. 388 4168: 4159: 4150: 4141: 4132: 4123: 4114: 4112:Raunch pg. 392 4105: 4096: 4087: 4078: 4069: 4060: 4051: 4036: 4034:Raunch pg. 361 4027: 4018: 4012:Stefano Zuffi 4005: 3999:978-8881170999 3998: 3977: 3975:Raunch pg. 392 3968: 3966:Raunch pg. 388 3959: 3950: 3941: 3928: 3915: 3902: 3889: 3876: 3860: 3851: 3838: 3829: 3820: 3818:Raunch pg. 310 3811: 3802: 3793: 3780: 3759: 3750: 3741: 3732: 3709: 3694: 3653: 3636: 3627: 3618: 3616:Raunch pg. 309 3609: 3596: 3583: 3570: 3550: 3537: 3521: 3512: 3503: 3494: 3492:Raunch pg. 361 3485: 3472: 3461: 3443: 3425: 3416: 3403: 3387: 3367: 3354: 3341: 3329: 3317: 3307:Giorgio Vasari 3299: 3286: 3273: 3260: 3244: 3210: 3200: 3198: 3195: 3194: 3193: 3188: 3183: 3174: 3171: 3165:, 20th century 3157: 3150: 3149: 3146:, 18th century 3138: 3131: 3130: 3127:, 17th century 3119: 3112: 3111: 3100: 3093: 3092: 3091: 3087: 3086: 3085: 3084: 2987:Albrecht Dürer 2927: 2924: 2904: 2901: 2883:Jupiter and Io 2875:foreshortening 2830: 2827: 2784:Pesaro Madonna 2747: 2744: 2737:Sleeping Venus 2644: 2641: 2512: 2509: 2411:in the Vatican 2405:Pope Julius II 2374: 2371: 2286:Pope Julius II 2275:Michelangelo: 2268: 2265: 2168: 2165: 2090: 2087: 2036:Last Judgement 1993:Sistine Chapel 1985:Pope Sixtus IV 1967: 1964: 1925: 1922: 1912: 1905: 1904: 1895: 1888: 1887: 1886: 1885: 1884: 1840:Birth of Venus 1780:In the 1460s, 1759: 1756: 1754: 1751: 1681: 1678: 1654:Gonzaga family 1613:Ovetari Chapel 1569: 1566: 1564: 1561: 1542:Benois Madonna 1459:Bernardo Daddi 1427: 1420: 1419: 1412: 1405: 1404: 1403: 1402: 1401: 1399: 1396: 1349: 1346: 1328:Sistine Chapel 1286:he painted at 1242:Main article: 1239: 1236: 1158:Main article: 1155: 1152: 1115: 1112: 1102: 1095: 1094: 1090: 1083: 1082: 1081: 1080: 1079: 1077: 1074: 1046:Simone Martini 1033: 1030: 998:Simone Martini 913:Last Judgement 893: 890: 849: 846: 839:Taddeo Gaddi: 821:Uffizi Gallery 763: 760: 742:Guido of Siena 721: 718: 686: 683: 609:Birth of Venus 526:Simone Martini 505:Simone Martini 413:Main article: 410: 407: 339: 336: 309: 306: 272: 269: 222: 219: 26: 9: 6: 4: 3: 2: 8898: 8887: 8884: 8882: 8879: 8877: 8874: 8872: 8869: 8868: 8866: 8851: 8843: 8842: 8839: 8833: 8830: 8828: 8827: 8823: 8821: 8818: 8816: 8813: 8811: 8808: 8806: 8803: 8801: 8798: 8796: 8793: 8791: 8788: 8784: 8781: 8779: 8776: 8775: 8774: 8771: 8769: 8766: 8764: 8761: 8759: 8756: 8754: 8751: 8749: 8746: 8744: 8741: 8737: 8734: 8732: 8729: 8728: 8727: 8724: 8722: 8719: 8717: 8716:Fantastic art 8714: 8712: 8709: 8705: 8702: 8700: 8697: 8695: 8692: 8690: 8687: 8686: 8685: 8684:Christian art 8682: 8680: 8677: 8675: 8672: 8670: 8667: 8663: 8660: 8659: 8658: 8655: 8653: 8650: 8649: 8647: 8643: 8633: 8630: 8628: 8625: 8623: 8620: 8616: 8613: 8611: 8608: 8607: 8606: 8603: 8601: 8598: 8596: 8593: 8591: 8588: 8586: 8585:Skeuomorphism 8583: 8581: 8578: 8576: 8573: 8571: 8568: 8566: 8563: 8561: 8558: 8556: 8553: 8551: 8548: 8546: 8545:Massurrealism 8543: 8541: 8540:Lightpainting 8538: 8536: 8533: 8531: 8528: 8524: 8523:Post-Internet 8521: 8520: 8519: 8516: 8514: 8511: 8509: 8506: 8504: 8501: 8497: 8494: 8493: 8492: 8489: 8487: 8484: 8482: 8479: 8477: 8474: 8472: 8469: 8467: 8464: 8460: 8457: 8456: 8455: 8452: 8450: 8447: 8445: 8442: 8440: 8437: 8435: 8432: 8430: 8427: 8425: 8422: 8420: 8417: 8416: 8414: 8408: 8402: 8399: 8397: 8396:Grunge design 8394: 8392: 8389: 8387: 8384: 8382: 8379: 8377: 8374: 8372: 8369: 8367: 8364: 8362: 8359: 8357: 8354: 8352: 8351:Retrofuturism 8349: 8347: 8346:Scratch video 8344: 8342: 8339: 8337: 8334: 8332: 8331:Memphis Group 8329: 8327: 8324: 8322: 8319: 8317: 8314: 8312: 8309: 8307: 8306:Telematic art 8304: 8302: 8299: 8297: 8296:Guerrilla art 8294: 8292: 8289: 8285: 8282: 8281: 8280: 8277: 8275: 8272: 8270: 8267: 8265: 8262: 8258: 8255: 8254: 8253: 8250: 8248: 8247:Endurance art 8245: 8243: 8240: 8238: 8235: 8233: 8230: 8228: 8225: 8224: 8222: 8218: 8212: 8209: 8207: 8204: 8202: 8199: 8197: 8194: 8192: 8189: 8185: 8182: 8181: 8180: 8177: 8175: 8172: 8170: 8167: 8165: 8162: 8160: 8157: 8155: 8152: 8150: 8147: 8145: 8142: 8140: 8137: 8135: 8132: 8130: 8127: 8125: 8122: 8120: 8117: 8115: 8112: 8110: 8107: 8105: 8102: 8100: 8097: 8095: 8092: 8090: 8087: 8085: 8082: 8080: 8077: 8075: 8072: 8070: 8067: 8065: 8062: 8060: 8057: 8055: 8052: 8050: 8047: 8045: 8042: 8038: 8035: 8034: 8033: 8030: 8028: 8025: 8023: 8020: 8018: 8015: 8013: 8010: 8008: 8005: 8004: 8002: 7998: 7992: 7989: 7987: 7984: 7982: 7979: 7975: 7972: 7970: 7967: 7966: 7965: 7962: 7958: 7955: 7954: 7953: 7950: 7948: 7945: 7943: 7940: 7938: 7935: 7933: 7930: 7928: 7925: 7923: 7920: 7918: 7915: 7913: 7910: 7908: 7907:New media art 7905: 7901: 7898: 7897: 7896: 7893: 7891: 7888: 7886: 7885:Nanyang Style 7883: 7881: 7878: 7876: 7873: 7871: 7868: 7866: 7863: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7840: 7839: 7836: 7834: 7831: 7829: 7826: 7822: 7819: 7818: 7817: 7816:Visionary art 7814: 7810: 7807: 7806: 7805: 7802: 7800: 7797: 7796: 7794: 7790: 7787: 7783: 7778: 7774: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7746: 7742: 7739: 7738: 7737: 7734: 7732: 7729: 7725: 7722: 7720: 7717: 7716: 7715: 7712: 7708: 7705: 7704: 7703: 7700: 7698: 7695: 7693: 7690: 7688: 7685: 7683: 7682:Scuola Romana 7680: 7678: 7675: 7673: 7672: 7668: 7666: 7663: 7661: 7658: 7656: 7653: 7649: 7646: 7644: 7641: 7640: 7639: 7636: 7634: 7631: 7629: 7626: 7624: 7621: 7619: 7616: 7614: 7611: 7609: 7608:Anthropophagy 7606: 7604: 7601: 7597: 7594: 7593: 7592: 7591:Functionalism 7589: 7587: 7584: 7582: 7579: 7577: 7574: 7572: 7569: 7565: 7562: 7561: 7560: 7557: 7553: 7550: 7548: 7545: 7544: 7543: 7540: 7536: 7533: 7532: 7531: 7528: 7526: 7523: 7519: 7518: 7514: 7513: 7512: 7511:Neoplasticism 7509: 7507: 7504: 7502: 7499: 7493: 7490: 7489: 7488: 7485: 7484: 7483: 7480: 7478: 7475: 7473: 7470: 7468: 7465: 7463: 7460: 7459: 7457: 7453: 7447: 7444: 7442: 7439: 7437: 7434: 7432: 7429: 7427: 7424: 7422: 7419: 7415: 7414:Cubo-Futurism 7412: 7411: 7410: 7407: 7405: 7402: 7400: 7399: 7395: 7391: 7388: 7386: 7383: 7382: 7381: 7378: 7374: 7373:Ashcan School 7371: 7370: 7369: 7366: 7364: 7361: 7359: 7356: 7352: 7349: 7347: 7344: 7343: 7342: 7341:Expressionism 7339: 7337: 7334: 7332: 7329: 7327: 7326:Mir iskusstva 7324: 7322: 7319: 7315: 7312: 7310: 7307: 7305: 7302: 7300: 7297: 7296: 7295: 7292: 7290: 7287: 7285: 7282: 7280: 7277: 7273: 7270: 7269: 7268: 7265: 7264: 7262: 7258: 7252: 7249: 7245: 7242: 7241: 7240: 7237: 7233: 7230: 7228: 7225: 7223: 7220: 7218: 7215: 7213: 7210: 7208: 7205: 7201: 7198: 7197: 7196: 7193: 7192: 7191: 7188: 7186: 7183: 7181: 7178: 7174: 7171: 7169: 7166: 7165: 7164: 7161: 7159: 7156: 7154: 7151: 7147: 7144: 7143: 7142: 7139: 7137: 7134: 7130: 7127: 7125: 7122: 7120: 7117: 7113: 7112:Boston School 7110: 7108: 7107:Hoosier Group 7105: 7104: 7103: 7100: 7099: 7098: 7097:Impressionism 7095: 7093: 7092:Peredvizhniki 7090: 7088: 7085: 7083: 7082:Beuron School 7080: 7076: 7073: 7072: 7071: 7070: 7066: 7064: 7061: 7059: 7056: 7052: 7049: 7048: 7047: 7044: 7043: 7041: 7037: 7034: 7030: 7026: 7016: 7013: 7009: 7006: 7002: 6999: 6998: 6997: 6996:Munich School 6994: 6993: 6992: 6989: 6983: 6980: 6979: 6978: 6975: 6973: 6970: 6968: 6965: 6964: 6963: 6960: 6958: 6955: 6951: 6948: 6947: 6946: 6943: 6941: 6938: 6936: 6933: 6931: 6928: 6922: 6919: 6918: 6917: 6914: 6912: 6909: 6907: 6904: 6902: 6899: 6897: 6894: 6892: 6889: 6887: 6884: 6882: 6879: 6877: 6874: 6873: 6872: 6869: 6868: 6866: 6862: 6856: 6848: 6845: 6843: 6840: 6839: 6838: 6834: 6832: 6829: 6827: 6824: 6822: 6819: 6817: 6814: 6810: 6807: 6806: 6805: 6802: 6801: 6799: 6795:Art borrowing 6793: 6785: 6782: 6778: 6775: 6773: 6770: 6768: 6765: 6764: 6763: 6760: 6758: 6755: 6754: 6753: 6750: 6746: 6745:Company style 6743: 6741: 6738: 6734: 6731: 6729: 6726: 6725: 6724: 6721: 6720: 6718: 6712: 6709: 6708: 6707: 6704: 6702: 6699: 6698: 6697: 6693: 6692: 6690: 6686: 6680: 6677: 6673: 6670: 6668: 6665: 6663: 6660: 6658: 6655: 6653: 6652: 6648: 6647: 6646: 6645:Neoclassicism 6643: 6639: 6638: 6634: 6632: 6629: 6627: 6624: 6622: 6619: 6617: 6614: 6613: 6612: 6609: 6608: 6606: 6602: 6594: 6591: 6589: 6586: 6585: 6584: 6581: 6579: 6576: 6574: 6571: 6567: 6564: 6563: 6562: 6559: 6557: 6554: 6552: 6549: 6547: 6544: 6540: 6537: 6535: 6532: 6528: 6525: 6523: 6520: 6519: 6518: 6515: 6513: 6510: 6508: 6505: 6504: 6503: 6500: 6499: 6497: 6493: 6487: 6484: 6482: 6479: 6477: 6474: 6472: 6471:Cretan School 6469: 6465: 6462: 6461: 6460: 6457: 6451: 6448: 6446: 6443: 6441: 6438: 6437: 6436: 6433: 6429: 6428:Danube school 6426: 6424: 6421: 6420: 6419: 6416: 6414: 6411: 6409: 6406: 6402: 6399: 6398: 6397: 6394: 6393: 6392: 6389: 6383: 6382: 6377: 6375: 6372: 6370: 6367: 6365: 6362: 6361: 6360: 6357: 6353: 6350: 6348: 6345: 6343: 6340: 6339: 6338: 6335: 6331: 6330: 6326: 6324: 6321: 6319: 6316: 6315: 6314: 6311: 6310: 6309: 6306: 6305: 6303: 6301: 6297: 6289: 6288: 6284: 6282: 6279: 6277: 6274: 6273: 6272: 6268: 6266: 6263: 6259: 6256: 6255: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6232: 6229: 6227: 6224: 6222: 6219: 6218: 6217: 6214: 6212: 6211: 6207: 6203: 6200: 6199: 6198: 6195: 6191: 6188: 6186: 6183: 6182: 6181: 6178: 6176: 6173: 6169: 6166: 6164: 6161: 6159: 6156: 6155: 6154: 6151: 6147: 6144: 6142: 6139: 6137: 6134: 6132: 6129: 6128: 6127: 6124: 6122: 6119: 6115: 6114: 6110: 6109: 6108: 6105: 6103: 6100: 6098: 6095: 6091: 6088: 6086: 6083: 6081: 6078: 6076: 6073: 6071: 6068: 6067: 6066: 6063: 6059: 6056: 6055: 6054: 6051: 6047: 6044: 6043: 6042: 6039: 6038: 6036: 6034: 6030: 6022: 6019: 6017: 6014: 6012: 6009: 6007: 6004: 6002: 5999: 5997: 5994: 5993: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5972: 5969: 5963: 5960: 5956: 5953: 5952: 5951: 5948: 5946: 5943: 5942: 5941: 5938: 5936: 5933: 5931: 5928: 5926: 5923: 5921: 5918: 5916: 5913: 5911: 5908: 5906: 5905:Orientalizing 5903: 5901: 5898: 5896: 5893: 5891: 5890:Sub-Mycenaean 5888: 5887: 5886: 5883: 5879: 5876: 5874: 5871: 5869: 5866: 5864: 5861: 5860: 5859: 5856: 5854: 5851: 5847: 5844: 5843: 5842: 5839: 5838: 5836: 5834: 5830: 5827: 5821: 5817: 5813: 5808: 5804:art movements 5803: 5799: 5795: 5788: 5783: 5781: 5776: 5774: 5769: 5768: 5765: 5644: 5640: 5633: 5628: 5626: 5621: 5619: 5614: 5613: 5610: 5598: 5595: 5591: 5588: 5586: 5583: 5581: 5578: 5577: 5576: 5573: 5571: 5568: 5567: 5565: 5561: 5555: 5552: 5550: 5547: 5545: 5542: 5540: 5537: 5536: 5534: 5532: 5528: 5516: 5513: 5512: 5511: 5508: 5506: 5503: 5502: 5500: 5496: 5490: 5487: 5485: 5482: 5480: 5479:Low Countries 5477: 5473: 5470: 5468: 5465: 5464: 5463: 5460: 5458: 5455: 5453: 5450: 5449: 5447: 5445: 5441: 5435: 5432: 5430: 5427: 5425: 5422: 5418: 5415: 5414: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5394: 5392: 5390: 5386: 5383: 5381: 5377: 5371: 5368: 5366: 5363: 5361: 5358: 5354: 5351: 5350: 5349: 5346: 5342: 5339: 5338: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5315: 5312: 5310: 5307: 5305: 5302: 5301: 5300: 5297: 5295: 5292: 5288: 5285: 5283: 5280: 5279: 5278: 5275: 5273: 5270: 5266: 5263: 5261: 5258: 5256: 5253: 5251: 5248: 5246: 5243: 5242: 5241: 5238: 5234: 5231: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5204: 5203:Italian domes 5201: 5199: 5196: 5194: 5191: 5189: 5186: 5185: 5184: 5181: 5180: 5178: 5174: 5168: 5165: 5163: 5160: 5156: 5153: 5152: 5151: 5148: 5146: 5143: 5141: 5138: 5136: 5133: 5132: 5130: 5128: 5124: 5120: 5113: 5108: 5106: 5101: 5099: 5094: 5093: 5090: 5083: 5080:Cecil Gould, 5079: 5076: 5072: 5070: 5069:0-89009-841-7 5066: 5062: 5058: 5056: 5055:0-563-20149-5 5052: 5048: 5044: 5042: 5041:3-8290-0253-X 5038: 5034: 5030: 5027: 5023: 5021: 5020:0-517-56274-X 5017: 5013: 5009: 5007: 5006:0-8109-0262-1 5003: 4999: 4995: 4993: 4992:0-14-008649-8 4989: 4985: 4981: 4978: 4974: 4972: 4971:0-8109-2314-9 4968: 4964: 4960: 4958: 4957:0-14-008647-1 4954: 4950: 4946: 4944: 4943:1-878351-04-4 4940: 4936: 4932: 4930: 4929:1-878351-20-6 4926: 4922: 4918: 4916: 4915:1-878351-11-7 4912: 4908: 4904: 4901: 4897: 4895: 4894:0-900658-15-0 4891: 4887: 4883: 4881: 4880:1-878351-18-4 4877: 4873: 4869: 4867: 4866:0-500-09135-8 4863: 4859: 4855: 4854: 4844: 4842:9780801491931 4838: 4834: 4829: 4825: 4821: 4815: 4811: 4810: 4804: 4802: 4801:0-7181-1204-0 4798: 4794: 4790: 4788: 4787:0-85097-257-4 4784: 4780: 4776: 4774: 4770: 4766: 4762: 4760: 4756: 4752: 4748: 4746: 4742: 4738: 4735:Rona Goffen, 4734: 4731: 4727: 4725: 4724:0-245-54692-8 4721: 4717: 4713: 4711: 4710:0-7064-0857-8 4707: 4703: 4700:Ilan Rachum, 4699: 4697: 4696:0-500-33009-3 4693: 4689: 4685: 4683: 4682:0-19-881329-5 4679: 4675: 4671: 4669: 4668:0-15-503752-8 4665: 4661: 4657: 4655: 4651: 4647: 4643: 4640: 4636: 4634: 4630: 4626: 4622: 4620: 4616: 4612: 4608: 4606: 4605:0-500-23136-2 4602: 4598: 4594: 4592: 4591:0-14-044164-6 4588: 4584: 4583: 4578: 4577: 4559: 4550: 4541: 4532: 4526:Zuffi pg. 116 4523: 4517:Hartt pg. 635 4514: 4505: 4496: 4487: 4478: 4469: 4463:Hartt pg. 639 4460: 4451: 4445:Hartt pg. 383 4442: 4436:Zuffi pg. 132 4433: 4424: 4415: 4406: 4397: 4388: 4379: 4370: 4364:Zuffi pg. 128 4361: 4355:Zuffi pg. 128 4352: 4346:Hartt pg. 650 4343: 4334: 4325: 4316: 4307: 4298: 4289: 4280: 4271: 4262: 4253: 4244: 4235: 4226: 4220:Hartt pg. 647 4217: 4208: 4199: 4190: 4184:Zuffi pg. 102 4181: 4172: 4163: 4157:Zuffi pg. 103 4154: 4145: 4136: 4127: 4118: 4109: 4100: 4091: 4082: 4073: 4064: 4055: 4047: 4040: 4031: 4022: 4015: 4009: 4001: 3995: 3991: 3984: 3982: 3972: 3963: 3954: 3945: 3938: 3932: 3925: 3919: 3912: 3906: 3899: 3893: 3886: 3880: 3873: 3867: 3865: 3855: 3848: 3842: 3833: 3824: 3815: 3806: 3797: 3790: 3784: 3777: 3773: 3769: 3763: 3754: 3745: 3736: 3729: 3725: 3719: 3713: 3705: 3701: 3697: 3695:0-521-39222-5 3691: 3687: 3686: 3679: 3675: 3671: 3667: 3663: 3657: 3650: 3646: 3640: 3631: 3622: 3613: 3606: 3600: 3593: 3587: 3580: 3574: 3566: 3559: 3557: 3555: 3547: 3541: 3534: 3528: 3526: 3516: 3507: 3498: 3489: 3482: 3479:Ilan Rachum, 3476: 3470: 3465: 3458: 3457: 3450: 3448: 3438: 3436: 3434: 3432: 3430: 3420: 3413: 3407: 3400: 3394: 3392: 3384: 3378: 3376: 3374: 3372: 3364: 3358: 3351: 3345: 3336: 3334: 3327: 3321: 3314: 3313: 3308: 3303: 3296: 3290: 3283: 3277: 3270: 3264: 3257: 3251: 3249: 3241: 3235: 3233: 3231: 3229: 3227: 3225: 3223: 3221: 3219: 3217: 3215: 3205: 3201: 3192: 3189: 3187: 3184: 3182: 3181: 3177: 3176: 3164: 3160: 3159:William Orpen 3154: 3145: 3141: 3135: 3126: 3122: 3116: 3107: 3106:Andrea Gritti 3103: 3097: 3083: 3081: 3077: 3076:Royal Academy 3072: 3070: 3066: 3062: 3058: 3054: 3050: 3046: 3042: 3038: 3034: 3030: 3026: 3022: 3018: 3014: 3009: 3008: 3003: 2998: 2996: 2995:stained glass 2992: 2988: 2984: 2980: 2976: 2972: 2967: 2965: 2961: 2957: 2953: 2949: 2945: 2941: 2937: 2933: 2923: 2921: 2920:Lorenzo Lotto 2917: 2915: 2914: 2909: 2900: 2898: 2894: 2889: 2885: 2884: 2878: 2876: 2872: 2866: 2864: 2863: 2858: 2857: 2852: 2848: 2842: 2841: 2835: 2826: 2824: 2818: 2816: 2815:Andrea Gritti 2812: 2811: 2805: 2803: 2799: 2798: 2793: 2790: 2786: 2785: 2779: 2776: 2765: 2759: 2758: 2752: 2743: 2740: 2738: 2732: 2730: 2726: 2725: 2720: 2716: 2711: 2707: 2706: 2701: 2696: 2693: 2682: 2681: 2676: 2675: 2670: 2665: 2663: 2656: 2655: 2649: 2640: 2638: 2634: 2630: 2626: 2622: 2618: 2614: 2609: 2607: 2603: 2602: 2597: 2593: 2589: 2584: 2582: 2578: 2577: 2572: 2571: 2565: 2563: 2559: 2555: 2551: 2547: 2543: 2539: 2535: 2528: 2527: 2521: 2517: 2508: 2506: 2505:stained glass 2502: 2501: 2496: 2492: 2486: 2484: 2480: 2476: 2472: 2468: 2464: 2460: 2459: 2453: 2449: 2448:Raphael Rooms 2445: 2441: 2435: 2433: 2432: 2427: 2423: 2419: 2410: 2409:Raphael Rooms 2406: 2402: 2401: 2394: 2390: 2388: 2384: 2380: 2370: 2368: 2367: 2361: 2359: 2358: 2353: 2348: 2344: 2339: 2337: 2336:platonic love 2333: 2329: 2325: 2320: 2318: 2314: 2313:New Testament 2310: 2309:Old Testament 2305: 2303: 2299: 2295: 2291: 2287: 2280: 2279: 2273: 2264: 2255: 2254: 2248: 2244: 2243: 2231: 2230: 2224: 2222: 2218: 2214: 2211:. Leonardo's 2210: 2203: 2202: 2196: 2192: 2190: 2186: 2181: 2177: 2173: 2164: 2162: 2158: 2154: 2150: 2149: 2144: 2140: 2135: 2131: 2129: 2125: 2121: 2120: 2115: 2114: 2109: 2105: 2104: 2099: 2098: 2086: 2084: 2080: 2076: 2071: 2070: 2065: 2061: 2059: 2058: 2053: 2049: 2045: 2041: 2037: 2033: 2029: 2025: 2021: 2017: 2013: 2009: 2005: 2001: 1996: 1994: 1990: 1986: 1979: 1978: 1972: 1963: 1961: 1956: 1951: 1947: 1946: 1940: 1938: 1934: 1931: 1916: 1913:Ghirlandaio: 1909: 1901: 1900: 1892: 1883: 1881: 1877: 1873: 1869: 1865: 1861: 1857: 1853: 1849: 1844: 1842: 1841: 1836: 1835: 1830: 1826: 1822: 1818: 1814: 1810: 1809:enlightenment 1806: 1801: 1799: 1795: 1791: 1787: 1783: 1778: 1776: 1769: 1765: 1750: 1748: 1744: 1743: 1737: 1735: 1731: 1727: 1723: 1719: 1715: 1711: 1707: 1703: 1696: 1692: 1691: 1686: 1677: 1675: 1674: 1669: 1668: 1663: 1662:illusionistic 1659: 1655: 1651: 1647: 1642: 1639: 1635: 1631: 1627: 1622: 1618: 1614: 1610: 1602: 1597: 1593: 1591: 1587: 1583: 1579: 1575: 1560: 1558: 1554: 1553: 1548: 1544: 1543: 1538: 1534: 1530: 1526: 1522: 1518: 1514: 1509: 1507: 1503: 1499: 1495: 1489: 1487: 1483: 1479: 1475: 1470: 1468: 1464: 1460: 1455: 1453: 1448: 1444: 1433: 1432: 1424: 1416: 1409: 1395: 1393: 1388: 1384: 1380: 1378: 1374: 1373:John Hawkwood 1370: 1366: 1365:Paolo Uccello 1362: 1358: 1354: 1342: 1341: 1335: 1331: 1329: 1325: 1324: 1319: 1315: 1314: 1309: 1306:In the 1450s 1304: 1302: 1301: 1296: 1295:Paolo Uccello 1291: 1289: 1285: 1281: 1280: 1275: 1271: 1267: 1263: 1255: 1250: 1245: 1235: 1233: 1229: 1225: 1221: 1220:Tribute Money 1217: 1213: 1211: 1206: 1205: 1204:Tribute Money 1200: 1194: 1192: 1188: 1184: 1176: 1175: 1170: 1166: 1161: 1151: 1149: 1144: 1139: 1137: 1133: 1128: 1126: 1122: 1106: 1099: 1087: 1073: 1071: 1067: 1062: 1058: 1053: 1051: 1047: 1043: 1039: 1029: 1027: 1023: 1019: 1015: 1011: 1003: 999: 995: 991: 989: 985: 981: 977: 973: 969: 965: 960: 958: 954: 950: 946: 942: 938: 934: 929: 927: 922: 918: 914: 906: 902: 898: 889: 887: 883: 879: 875: 871: 866: 864: 860: 856: 842: 837: 833: 830: 827:and Duccio's 826: 822: 819:hangs in the 818: 817: 812: 808: 804: 800: 796: 791: 787: 780: 776: 772: 768: 759: 757: 752: 747: 743: 739: 735: 731: 727: 714: 710: 699: 695: 691: 682: 678: 676: 675: 674:The Decameron 670: 666: 665: 664:Golden Legend 661:, Voragine's 660: 656: 655: 649: 647: 646:Lorenzo Costa 643: 639: 635: 631: 627: 626: 620: 618: 617: 611: 610: 605: 601: 596: 594: 590: 586: 582: 578: 574: 571:Sassetti and 565: 561: 557: 553: 549: 547: 543: 539: 535: 531: 530:John Hawkwood 527: 522: 520: 516: 512: 511: 506: 502: 501: 496: 491: 489: 485: 481: 478:and later in 477: 473: 469: 465: 461: 457: 453: 452: 447: 443: 439: 431: 430: 425: 424:Paolo Uccello 421: 416: 406: 404: 400: 396: 392: 388: 384: 379: 377: 373: 369: 365: 361: 357: 356:serendipitous 353: 349: 345: 335: 333: 329: 325: 319: 315: 305: 303: 302:Paolo Uccello 299: 295: 292:and sculptor 291: 287: 283: 279: 268: 266: 257: 256: 251: 247: 242: 238: 232: 228: 215: 212:(1484–1485), 211: 207: 206: 201: 197: 193: 191: 187: 183: 179: 175: 171: 167: 163: 159: 155: 151: 147: 143: 139: 135: 131: 127: 123: 122:Paolo Uccello 119: 115: 111: 107: 103: 100:and includes 99: 94: 92: 88: 84: 80: 76: 72: 68: 63: 61: 57: 50: 46: 42: 41: 36: 32: 19: 8826:Trompe-l'œil 8824: 8795:Outsider art 8748:Illustration 8704:Lutheran art 8694:Catholic art 8657:Abstract art 8627:Unilalianism 8590:Software art 8565:Neosymbolism 8555:Neo-futurism 8518:Internet art 8508:Hyperrealism 8361:Superfiction 8144:Photorealism 8012:Afrofuturism 7777:Contemporary 7753:Dimensionism 7736:Concrete art 7669: 7665:Precisionism 7515: 7462:Sosaku-hanga 7436:Productivism 7426:Metaphysical 7396: 7385:Proto-Cubism 7289:Secessionism 7251:Costumbrismo 7136:Aestheticism 7087:Hague School 7067: 6991:Academic art 6972:Costumbrismo 6940:Empire style 6777:Quito School 6772:Cusco School 6688:Colonial art 6649: 6637:Fête galante 6635: 6604:18th century 6566:Delft School 6517:Caravaggisti 6495:17th century 6380: 6337:Quattrocento 6327: 6307: 6285: 6208: 6111: 6041:Late antique 5925:Severe style 5915:Black-figure 5802:Contemporary 5590:12th century 5254: 5183:Architecture 5081: 5074: 5060: 5046: 5033:Michelangelo 5032: 5026:Michelangelo 5025: 5011: 4997: 4983: 4976: 4962: 4948: 4934: 4920: 4906: 4899: 4885: 4871: 4857: 4856:John White, 4832: 4824:the original 4808: 4792: 4778: 4764: 4750: 4736: 4729: 4715: 4701: 4687: 4673: 4659: 4645: 4638: 4624: 4610: 4596: 4580: 4569:Bibliography 4558: 4549: 4540: 4531: 4522: 4513: 4504: 4495: 4486: 4477: 4468: 4459: 4450: 4441: 4432: 4423: 4414: 4405: 4396: 4387: 4378: 4369: 4360: 4351: 4342: 4333: 4324: 4315: 4306: 4301:Hartt pg.649 4297: 4288: 4279: 4270: 4261: 4252: 4243: 4234: 4225: 4216: 4207: 4198: 4189: 4180: 4171: 4162: 4153: 4144: 4135: 4126: 4117: 4108: 4099: 4090: 4081: 4072: 4063: 4054: 4045: 4039: 4030: 4021: 4013: 4008: 3989: 3971: 3962: 3953: 3944: 3936: 3931: 3923: 3918: 3905: 3898:Michelangelo 3897: 3892: 3885:Michelangelo 3884: 3879: 3871: 3870:T.L.Taylor, 3858:name=Vasari/ 3854: 3846: 3841: 3832: 3823: 3814: 3805: 3796: 3788: 3783: 3775: 3771: 3767: 3762: 3753: 3744: 3735: 3727: 3712: 3684: 3677: 3674:google books 3661: 3656: 3648: 3644: 3639: 3630: 3621: 3612: 3604: 3599: 3591: 3586: 3578: 3573: 3564: 3545: 3540: 3532: 3515: 3506: 3497: 3488: 3480: 3475: 3464: 3454: 3419: 3411: 3406: 3398: 3382: 3362: 3357: 3349: 3344: 3320: 3310: 3302: 3294: 3293:John White, 3289: 3281: 3276: 3268: 3263: 3255: 3239: 3204: 3178: 3162: 3143: 3124: 3073: 3055:to both the 3025:Parmigianino 3005: 2999: 2968: 2932:Michelangelo 2929: 2918: 2911: 2906: 2881: 2879: 2867: 2860: 2854: 2845: 2838: 2837:Correggio: 2819: 2808: 2806: 2801: 2795: 2794: 2782: 2780: 2762: 2755: 2735: 2733: 2722: 2719:Adam and Eve 2714: 2710:St. Liberale 2703: 2699: 2697: 2691: 2678: 2672: 2668: 2666: 2659: 2652: 2637:Saint Jerome 2621:San Zaccaria 2617:such as that 2612: 2610: 2601:Holy Trinity 2599: 2587: 2585: 2574: 2568: 2566: 2532:A leader of 2531: 2523: 2498: 2490: 2487: 2479:Michelangelo 2455: 2436: 2429: 2425: 2420:workshop of 2414: 2397: 2383:Michelangelo 2376: 2364: 2362: 2355: 2340: 2321: 2306: 2290:Michelangelo 2283: 2276: 2267:Michelangelo 2251: 2246: 2240: 2227: 2225: 2212: 2209:Adam and Eve 2208: 2206: 2199: 2178:workshop of 2170: 2152: 2146: 2136: 2132: 2127: 2123: 2117: 2111: 2101: 2095: 2092: 2067: 2066:'s scene of 2062: 2055: 2051: 2050:'s scene of 2035: 2031: 2023: 2019: 2015: 2011: 1997: 1982: 1975: 1943: 1941: 1927: 1914: 1897: 1871: 1867: 1863: 1845: 1838: 1832: 1802: 1779: 1771: 1740: 1738: 1722:Jan van Eyck 1699: 1688: 1671: 1667:trompe-l'œil 1665: 1643: 1608: 1606: 1600: 1571: 1555:, while for 1550: 1547:Michelangelo 1540: 1513:Fra Angelico 1510: 1497: 1490: 1471: 1467:Orsanmichele 1456: 1440: 1429: 1414: 1387:Flagellation 1386: 1381: 1368: 1357:Taddeo Gaddi 1351: 1338: 1321: 1311: 1305: 1298: 1292: 1284:Holy Trinity 1283: 1279:trompe-l'œil 1277: 1266:Brunelleschi 1259: 1253: 1232:Michelangelo 1219: 1215: 1210:Adam and Eve 1208: 1202: 1195: 1182: 1180: 1172: 1140: 1136:Brunelleschi 1129: 1124: 1117: 1104: 1057:Fra Angelico 1054: 1035: 1021: 1007: 1001: 983: 961: 940: 932: 930: 910: 904: 885: 882:Lower Church 881: 870:Upper Church 869: 867: 858: 855:Taddeo Gaddi 851: 840: 828: 824: 814: 802: 798: 784: 774: 723: 711:, is mainly 697: 679: 672: 662: 652: 650: 641: 623: 621: 614: 607: 597: 575:families in 569: 559: 523: 508: 498: 492: 487: 449: 445: 435: 427: 380: 376:Michelangelo 341: 321: 290:Brunelleschi 274: 261: 253: 203: 182:Parmigianino 150:Michelangelo 118:Fra Angelico 102:Taddeo Gaddi 95: 65:The city of 64: 55: 54: 38: 27:Art movement 8886:Art history 8711:Digital art 8674:Avant-garde 8615:Superstroke 8491:Flat design 8486:Fictive art 8481:Excessivism 8429:Art for art 8424:Altermodern 8366:Taring Padi 8301:Lowbrow art 8269:Pliontanism 8206:Yoru no Kai 8159:Process art 8099:Systems art 8069:Arte Povera 7991:Antipodeans 7900:in New York 7870:Jikken Kōbō 7833:Color field 7702:Regionalism 7671:Aeropittura 7660:Neo-Fauvism 7633:Neues Sehen 7603:Kinetic art 7467:Suprematism 7441:Synchromism 7358:Noucentisme 7279:Primitivism 7267:Art Nouveau 7222:Cloisonnism 7212:Pointillism 7207:Divisionism 7185:Incoherents 7146:Art pottery 7032:(1863–1944) 6982:Macchiaioli 6957:Biedermeier 6945:Historicism 6930:Orientalism 6871:Romanticism 6842:Akita ranga 6694:Art of the 6679:Picturesque 6631:Chinoiserie 6626:Frederician 6464:Tudor court 6359:Cinquecento 6300:Renaissance 6287:Mappa mundi 6271:cartography 6163:Carolingian 6158:Merovingian 6141:Palaeologan 6113:Repoblación 6070:Anglo-Saxon 6001:Gallo-Roman 5940:Hellenistic 5935:Kerch style 5873:Minyan ware 5597:Reenactment 5580:Carolingian 5213:Plateresque 5135:Renaissance 5119:Renaissance 4611:Renaissance 3724:pp. 124-125 3649:Art History 2771: 1490 2715:The Tempest 2688: 1510 2680:The Tempest 2654:The Tempest 2651:Giorgione: 2633:Saint Peter 2298:pendentives 2261: 1503 2239:–1517) and 2237: 1503 2221:Last Supper 2213:Last Supper 2124:chiaroscuro 2108:Marcia Hall 2103:chiaroscuro 2081:or a Roman 1948:painted by 1846:Meanwhile, 1825:Virgin Mary 1693:, c. 1475. 1619:, near the 1586:Gattemelata 1443:Virgin Mary 1398:The Madonna 1369:terra verde 1070:Crucifixion 984:Crucifixion 921:Black Death 777:, c. 1305, 705: 1280 642:the Concert 468:altarpieces 460:allegorical 344:Medici Bank 227:Italian art 75:Renaissance 8865:Categories 8758:Jewish art 8570:Passionism 8530:iPhone art 8476:Cyborg art 8471:Crypto art 8444:Brandalism 8336:Cyberdelic 8201:Tropicália 8174:Street art 8129:Intermedia 8109:Minimalism 7828:Spatialism 7782:Postmodern 7638:Surrealism 7506:Shin-hanga 7346:Die Brücke 7314:Sonderbund 7227:Synthetism 6950:Revivalism 6859:Transition 6816:Manichaean 6662:Adam style 6583:Classicism 6522:in Utrecht 6450:Still life 6180:Romanesque 6136:Macedonian 6131:Iconoclast 6090:Visigothic 5996:Republican 5950:Indo-Greek 5920:Red-figure 5554:Structures 5360:Technology 5336:Philosophy 5299:Literature 5218:Portuguese 4765:The Uffizi 4759:0415199468 4745:0300105894 4654:0883639718 3670:0521624452 3186:Old Master 3041:Caravaggio 3004:and later 2971:Tintoretto 2871:Caravaggio 2475:Heraclitus 2180:Verrocchio 2048:Botticelli 2028:altarpiece 1974:Perugino: 1955:still life 1599:Mantegna: 1552:Doni Tondo 1521:Verrocchio 1103:Ghiberti: 980:Apocalypse 968:Altichiero 779:Scrovegni 636:family at 604:Botticelli 403:Tintoretto 271:Philosophy 221:Influences 216:, Florence 190:Tintoretto 134:Verrocchio 110:Altichiero 8820:Shock art 8810:Queer art 8790:Naïve art 8773:Modernism 8605:Superflat 8595:Sound art 8575:Post-YBAs 8560:Neomodern 8401:Verdadism 8371:Superflat 8220:1970–1999 8184:in the US 8104:Video art 8027:Happening 8000:1960–1969 7792:1945–1959 7455:1915–1944 7446:Vorticism 7398:A Nyolcak 7260:1900–1914 7232:Les Nabis 7163:Symbolism 7119:Amsterdam 7069:Japonisme 7039:1863–1899 7001:in Greece 6861:to modern 6706:Caribbean 6651:Goût grec 6573:Capriccio 6527:Tenebrism 6476:Turquerie 6374:Mannerism 6269:Medieval 6126:Byzantine 6107:Mozarabic 6058:Ethiopian 5962:Neo-Attic 5945:"Baroque" 5930:Classical 5900:Geometric 5878:Mycenaean 5825:(Western) 5823:Premodern 5794:Premodern 5549:Humanists 5539:Composers 5380:By region 5260:Sculpture 5208:Palladian 5150:Mannerism 4963:Primavera 3911:Il Sodoma 3546:Primavera 3069:Delacroix 3057:Classical 2979:Rembrandt 2960:Mannerism 2847:Correggio 2829:Correggio 2823:Mannerism 2662:Giorgione 2643:Giorgione 2554:Giorgione 2396:Raphael: 2229:Mona Lisa 2157:Correggio 2113:cangiante 2083:Mausoleum 2079:baptistry 2044:landscape 1937:oil paint 1834:Primavera 1582:Donatello 758:of Rome. 715:in style. 707:) at the 669:Boccaccio 560:Primavera 513:, in the 464:Salvation 395:Giorgione 332:oil paint 324:Byzantine 294:Donatello 166:Giorgione 91:Mannerism 8850:Category 8800:Portrait 8721:Folk art 8669:Anti-art 8600:Stuckism 8513:Idea art 8434:Art game 8386:Artivism 8274:Punk art 8252:Sots Art 8237:Artscene 8094:Land art 8032:Neo-Dada 7964:Lettrism 7858:Nuagisme 7843:Tachisme 7724:Nazi art 7517:De Stijl 7431:Rayonism 7421:Art Deco 7409:Futurism 7200:Luminism 7168:Romanian 7153:Tonalism 7124:Canadian 7102:American 7008:Neo-Grec 6616:Rocaille 6445:Romanism 6379:Counter- 6313:Trecento 6253:Duecento 6243:Crusades 6175:Ottonian 6153:Frankish 6033:Medieval 6016:Trajanic 5976:Scythian 5971:Etruscan 5863:Cycladic 5841:Thracian 5585:Ottonian 5505:Portugal 5489:Scotland 5407:Lombardy 5402:Florence 5326:Medicine 5277:Humanism 5233:Venetian 5176:By field 4851:Painters 3939:, (1985) 3926:, (1983) 3900:, (1962) 3887:, (1998) 3772:Cinerone 3704:23766002 3548:, (1984) 3535:, (1974) 3483:, (1979) 3414:, (1991) 3401:, (1990) 3385:, (1968) 3365:, (1970) 3352:, (1988) 3315:, (1568) 3297:, (1979) 3284:, (1992) 3271:, (1979) 3258:, (1974) 3242:, (1970) 3173:See also 3061:Romantic 3059:and the 3037:Carracci 3033:el Greco 3029:Veronese 3021:Bronzino 3017:Pontormo 2975:Veronese 2966:period. 2944:Mantegna 2940:Leonardo 2754:Titian: 2596:Masaccio 2562:tonalism 2546:Mantegna 2483:Jeremiah 2422:Perugino 2347:Bramante 2324:Humanist 2284:In 1508 2189:cadavers 2176:Florence 2172:Leonardo 2064:Perugino 2040:Pharaohs 2022:and the 1983:In 1477 1866:and the 1837:and the 1805:Medieval 1790:Humanist 1700:In 1442 1611:for the 1603:(detail) 1533:Perugino 1486:Masaccio 1318:Perugino 1191:Masolino 1187:Masaccio 1169:Masaccio 1114:Florence 795:frescoes 630:Mantegna 600:Humanism 593:Bronzino 564:allegory 391:Mantegna 364:Masaccio 348:Florence 328:printing 298:Masaccio 282:Classics 278:Humanist 208:for the 186:Bronzino 178:Pontormo 162:Coreggio 114:Masaccio 67:Florence 43:(1504), 8815:Realism 8412:present 8139:Nut Art 7942:Pop art 7880:Mono-ha 7748:The Ten 7697:Kapists 7643:Iranian 7596:Bauhaus 7390:Orphism 7336:Fauvism 7173:Russian 7063:Nihonga 6977:Verismo 6962:Realism 6896:Purismo 6809:Moorish 6804:Islamic 6711:Haitian 6502:Baroque 6381:Maniera 6265:Mudéjar 6190:Spanish 6102:Pictish 6085:Lombard 6080:Insular 6021:Severan 5986:Gaulish 5981:Iberian 5910:Archaic 5853:Nuragic 5833:Ancient 5816:periods 5563:Related 5544:Figures 5462:Germany 5452:England 5370:Warfare 5365:Theatre 5348:Science 5314:Spanish 5228:Spanish 5127:General 4574:General 3607:, 2003. 3053:Tiepolo 3049:Poussin 2983:Poussin 2964:Baroque 2956:Raphael 2692:Tempest 2669:sfumato 2581:Raphael 2542:Gentile 2450:of the 2440:Galatea 2418:Umbrian 2387:Raphael 2373:Raphael 2352:Vatican 2343:Raphael 2247:sfumato 2139:Raphael 2128:sfumato 2097:sfumato 2030:of the 1989:Vatican 1803:In the 1704:became 1648:in the 1557:Raphael 1478:Cimabue 1463:Orcagna 1320:in his 1270:Alberti 1061:convent 986:at the 943:in the 937:Orcagna 901:Orcagna 872:of the 861:in the 751:tempera 730:Cimabue 728:style, 634:Gonzaga 585:Raphael 534:Uccello 472:tempera 387:Bellini 338:Society 154:Raphael 106:Orcagna 71:Tuscany 35:Raphael 8763:Kitsch 8622:Toyism 8114:Fluxus 8044:Op art 7613:Mingei 7547:Stupid 7525:Purism 7380:Cubism 7029:Modern 6821:Mughal 6611:Rococo 6216:Gothic 6197:Norman 6121:Viking 6075:Hunnic 6053:Coptic 5868:Minoan 5858:Aegean 5846:Dacian 5798:Modern 5484:Poland 5467:Saxony 5457:France 5434:Venice 5429:Urbino 5424:Sicily 5417:Papacy 5309:French 5282:France 5223:Purism 5198:French 5082:Titian 5067: 5053: 5039: 5018: 5004: 4990: 4969: 4955: 4941: 4927: 4913: 4892: 4878: 4864: 4858:Duccio 4839: 4816: 4799: 4785: 4771: 4757: 4743: 4722: 4708: 4694: 4680: 4666: 4652: 4631: 4617: 4603: 4589: 3996: 3702: 3692: 3668: 3295:Duccio 3102:Titian 3045:Rubens 2936:Titian 2893:Rococo 2789:vertex 2764:Titian 2746:Titian 2625:loggia 2558:Titian 2495:Louvre 2332:Vasari 2119:unione 1831:, the 1775:Medici 1730:Venice 1638:Verona 1529:Medici 1482:Giotto 1434:, 1459 1353:Giotto 1201:, his 1042:Pietro 786:Giotto 771:Giotto 762:Giotto 734:Duccio 638:Mantua 589:Titian 573:Medici 510:Maestà 484:canvas 448:, the 442:fresco 409:Themes 399:Titian 383:Venice 360:Giotto 214:Uffizi 210:Medici 188:, and 174:Titian 172:, and 140:, and 108:, and 98:Giotto 8410:2000– 7853:COBRA 6847:Uki-e 6837:Japan 6826:Qajar 6185:Mosan 5991:Roman 5885:Greek 5531:Lists 5510:Spain 5472:Weser 5331:Music 5321:Magic 5304:Dutch 5294:Latin 5272:Dance 5188:Brick 3791:1672. 3778:1841. 3031:, to 2851:Parma 2629:viola 2467:Plato 2377:With 1817:Venus 1794:Plato 1658:putti 1578:Padua 1506:Jesus 1066:Jesus 964:Padua 811:Padua 738:Siena 659:Dante 628:that 519:Siena 476:panel 286:Roman 49:Milan 8699:Icon 8022:ZERO 7780:and 7677:Asso 7501:Dada 7058:Yōga 5800:and 5412:Rome 5065:ISBN 5051:ISBN 5037:ISBN 5016:ISBN 5002:ISBN 4988:ISBN 4967:ISBN 4953:ISBN 4939:ISBN 4925:ISBN 4911:ISBN 4890:ISBN 4876:ISBN 4862:ISBN 4837:ISBN 4814:ISBN 4797:ISBN 4783:ISBN 4769:ISBN 4755:ISBN 4741:ISBN 4720:ISBN 4706:ISBN 4692:ISBN 4678:ISBN 4664:ISBN 4650:ISBN 4629:ISBN 4615:ISBN 4601:ISBN 4587:ISBN 3994:ISBN 3700:OCLC 3690:ISBN 3666:ISBN 3662:Rome 3067:and 3051:and 2989:and 2973:and 2954:and 2934:and 2729:Magi 2698:The 2635:and 2556:and 2548:and 2524:The 2456:the 2398:The 2381:and 2328:Adam 2311:and 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Italian Renaissance painting

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