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98:(above) demonstrates in a single small work many of the themes of Italian Renaissance painting, both in terms of compositional elements and subject matter. Immediately apparent is Piero's mastery of perspective and light. The architectural elements, including the tiled floor which becomes more complex around the central action, combine to create two spaces. The inner space is lit by an unseen light source to which Jesus looks. Its exact location can be pinpointed mathematically by an analysis of the diffusion and the angle of the shadows on the coffered ceiling. The three figures who are standing outside are lit from a different angle, from both daylight and light reflected from the pavement and buildings.
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1514:'s assistants, probably to his design. The foreground of the painting is organised into two overlapping arched shapes, the larger showing captives being subdued, while to the left and slightly behind, they are forced to kneel before the Pope. While the Pope rises above the second group and dominates it, the first group is dominated by a soldier whose colour and splendid headdress acts like a visual stepping stone to the Pope. At the edges of this group two stooping figures mirror each other, creating a tension in which one pushes away from the edge of the painting and the other pulls upward at its centre.
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1766:, the largest of its kind at 4.5 metres high, the throne is set diagonally and the Child, much more of a baby despite his gesture, sits diagonally opposed to his mother. While the positioning of the kneeling angels is quite simplistic, they have a naturalism in their repeated postures and are varied by the beautiful colour combinations of their robes. On the Madonna's robe the gold border makes a meandering line, defining the form and contours, and enlivening the whole composition with a single decorative detail.
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3467:, painted for a member of the Medici family, the model looks directly at the viewer. The model may very well have been the mistress of the client. Venus of Urbino is not simply a body beautiful in its own right. She is an individual and highly seductive young woman, who is not in the nude state indicative of heavenly perfection, but is simply naked, having taken off her clothes but left on some of her jewellery.
3134:'s portrait is unknown, and its considerable fame rests solely on its beauty and unusual composition in which the face is supported and balanced by the large blue sleeve of quilted satin. The sleeve is almost the same colour as the background; its rich tonality gives it form. The white linen of the shirt enlivens the composition, while the man's eyes pick up the colour of the sleeve with penetrating luminosity.
744:. The painting combines many of the lighting effects of the other works in this gallery. The form is modelled by the light and shade, as if by a setting sun, which gives an element of drama, enhanced by the landscape. The tonal pattern created by the dark garment, the white linen and position of the hand is a compositional feature of the painting.
3064:, on the other hand, has used the profile of this strong-featured girl to create a striking pattern of a highlighted contour against the darker background. The background is a lively shape adding to the compositional structure of the painting. The little black fillet on her forehead responds to the dynamic pattern of the embroidered sleeve.
3612:, though Classical in origin, has a specifically Christian resonance that would have been recognised by those who were familiar with the story. It is about the nature of love. While all around her aspire to earthly love and succumb to the arrows shot by the trio of cupids, Galatea has chosen spiritual love and turns her eyes to Heaven.
2847:'s Doni Tondo is the largest of these works, but was a private commission. The highly unusual composition, the contorted form of the Madonna, the three heads all near the top of the painting and the radical foreshortening were all very challenging features, and Agnolo Doni was not sure that he wished to pay for it.
3151:, set a standard for the painting of future popes. Unlike the contemporary portraits here by Bellini, Titian and del Sarto, Raphael has abandoned the placement of the figure behind a shelf or barrier and has shown the Pope as if seated in his own apartment. Against the green cloth decorated with the keys of
3100:'s portrait of a boy sets him high in the picture frame, reducing his scale in proportion to the area in contrast to the usual way of showing adults. The painting is set against a landscape such as used by Leonardo and Bellini. Pinturicchio's main fame lay in his skillfully characterised portraits like this.
2364:'s paintings for the Gonzaga also show family life but have a preponderance of highly realistic elements and skillfully utilise the real architecture of the room they decorate, the mantelpiece forming a plinth for the figures and the real ceiling pendentives being apparently supported on painted pilasters.
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is an appalling and violent jumble of bodies, but by the skilful placement of the figures so that the lines, rather than intersecting, flow in an undulating course through the picture, the composition is both unified and resolved into a large number of separate actions. The colours of the devils also
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to the soldiers by kissing him. The High Priest signals to a guard to seize him. Peter slices the ear off the high priest's servant as he steps forward to lay hands on Jesus. Five figures dominate the foreground, surrounding Jesus so that only his head is visible. Yet by skillful arrangement of color
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is the modelling of apparent surfaces within a picture by the suggestion of light and shadow. While tone was an important feature of paintings of the
Medieval period, chiaroscuro was not. It became increasingly important to painters of the 15th century, transforming the depiction of three-dimensional
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represents a moment in a narrative. The other two paintings are jolly drinking scenes with a number of narrative elements introduced in a minor way, in order that characters might be identifiable. This painting does not appear to have any higher allegorical sentiment attached to it. It appears to be
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painter, it would be quite unnecessary to ascribe a meaning. But in this
Renaissance work, there is the presence of a mirror, an object that is usually symbolic and which suggests an allegory. The young lady's nakedness is a sign not so much of seduction, as innocence and vulnerability. However, she
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is that it identifies the subject like a facial signature. The proportions of the face, the respective angles of the forehead, nose and brow, the position and shape of the eye and the set of the jaw remain recognisable through life. Moreover, once a profile likeness has been taken, it can be used to
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is superficially very like that of
Verrocchio, but it is much less formal and both the mother and the child appear to be moving rather than posing for the painter. The foreshortened elbow of the Child as he reaches for his mother's breast occurs in Raphael's work and can be seen in a different form
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During the
Renaissance an increasing number of patrons had their likeness committed to posterity in paint. For this reason there exists a great number of Renaissance portraits for whom the name of the sitter is unknown. Wealthy private patrons commissioned artworks as decoration for their homes, of
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demonstrate the variations on a theme that was formalised and constrained by tradition. Although the positions of the
Madonna and Child are very similar, the artists have treated most of the features differently. Cimabue's throne is front-on and uses perspective to suggest its solidity. The angels,
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Primarily through the depiction of architecture, Renaissance artists were able to practice the art of three-dimensional illusion using linear perspective, which gave their works a greater sense of depth. The pictures in the gallery below show the development of linear perspective in buildings and
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as
Cimabue's and Duccio's, where the advances that he made in both drawing from the observation of nature, and in his use of perspective can be easily compared with the earlier masters. While the painting conforms to the model of an altarpiece, the figures within it do not follow the traditional
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While remaining largely dependent upon topographic observation, the knowledge of anatomy was advanced by
Leonardo da Vinci's meticulous dissection of 30 corpses. Leonardo, among others, impressed upon students the necessity of the close observation of life and made the drawing of live models an
1797:'s painting the figures lack the emphasis on mass of Masaccio's. Angelico was renowned for his delicacy in depicting the Madonna. The appeal of such paintings is demonstrated in the way the adoring angels are clustered around. As in Masaccio's painting, the Madonna's halo is decorated with
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During the latter half of the 15th century, there was a proliferation of portraits. Although the subjects of some of them were later remembered for their achievements or their noble lineage, the identities of many have been lost and that of even the most famous portrait of all time,
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practical reality by setting the
Madonna on a Classical plinth as if she were a statue. Every figure is in a state of instability, marked by the forward thrust of the Madonna's knee against which she balances a book. This painting is showing the trends that were to be developed in
3141:'s portrait has many of the same elements as Titian's. But it is handled very differently, being much broader in treatment, and less compelling in subject. The painting has achieved an immediacy, as if the sitter has paused for a moment and is about to return to what he is doing.
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The observation of nature meant that set forms and symbolic gestures which in
Medieval art, and particularly the Byzantine style prevalent in much of Italy, were used to convey meaning, were replaced by the representation of human emotion as displayed by a range of individuals.
3113:, delicately graded chiaroscuro that models the surface contours, while allowing details to disappear in the shadows. The technique gives an air of mystery to this painting which has brought it lasting fame. The beautiful hands become almost a decorative element.
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formula. The
Madonna and Child are solidly three-dimensional. This quality is enhanced by the canopied throne which contributes the main decorative element, while gold borders are minimised. The angels, which mirror each other, each have quite individual drapery.
3070:'s portrait, although turned to three-quarter view with strong tonal modelling, has much to do with Baldovinetti's painting in its striking arrangement of shapes in the red garment, the hat and the dark hair and the pattern that they form against the background.
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has set the dying patriarch so that he is cast into relief against the black garment worn by one of his family. His importance to the story is further emphasised by the arch of figures formed around him and the diagonals of the arms which all lead to his head.
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and the young Leonardo, has in all probability been drafted by Verrocchio. The contours retain the somewhat contorted linearity of Gothic art. Much of the torso, however, is thought to have been painted by Leonardo and reveals a strong knowledge of anatomical
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decks herself out in an extremely rich headdress, stitched with pearls, and having not one, but two mirrors, sees only herself reflected endlessly. The mirror, often a symbol of prophecy, here becomes an object of vanity, with the young woman in the role of
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typifies many paintings of mythological subjects which lent themselves to interpretation that was both Humanist and Christian. In this work good overcomes evil, and courage is glorified. The figure of Hercules has resonances with the Biblical character of
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Renaissance painting differed from the painting of the Late Medieval period in its emphasis upon the close observation of nature, particularly with regards to human anatomy, and the application of scientific principles to the use of perspective and light.
3127:, has an official air and could hardly be more formal. Yet the face is characterised with what one might hope for in the Doge, wisdom, humour and decisiveness. Although a more elaborate painting, it has much in common with Baldovinetti's sense of design.
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the formal gold frame is transformed into a classical niche, drawn in perfect linear perspective and defined by daylight. The assorted saints cluster round in a natural way, while the Madonna sits on a realistic throne on a small podium covered by an
3076:'s portrait, some years earlier than Botticelli's, bears it a passing similarity. But this painting does not rely heavily on the skilful arrangement of clearly contoured shapes. Antonello has used the advantages of oil paint, as against Botticelli's
1790:, still within the constraints of the formal altarpiece, confidently creates a three-dimensional figure draped in heavy robes, her chubby Christ Child sucking on his fingers. The lutes played by the little angels are both steeply foreshortened.
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has conformed to the formula, emphasising this young woman's profile with a fine line which also defines the delicate shape of her nostrils and the corners of her mouth. But he has added a three-dimensional quality by the subtle use of
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for whom the work is named. The clouds around the Virgin are composed of cherubic faces, while the two iconic cherubs so beloved with the late 20th century fashion for angels, prop themselves on the sill. This work became the model for
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their faces, wings and haloes, are arranged to form a rich pattern. The gold leaf detailing of the Madonna's garment picks out the folds in a delicate network. The Child sits regally, with his feet set at the same angle as his mother's.
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Among the preoccupations of artists commissioned to do large works with multiple figures were how to make the subject, usually narrative, easily read by the viewer, natural in appearance and well composed within the picture space.
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but there is nothing in the painting to confirm that it is, indeed, Venus. The painting is remarkable for its lack of symbolism and the emphasis on the body simply as an object of beauty. It is believed to have been completed by
1216:, the tormented Christ as he was presented to the people by the Roman Governor. Such paintings usually show Christ in a tragic but heroic role, minimising the depiction of suffering. Antonello's depictions are starkly realistic.
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was to inspire many artists for centuries. In this panel painting the figure of Christ, though vertical, is slumped and a dead weight at the centre of the picture, while those who try to carry the body lean outwards to support
941:, extensively destroyed by flood in 1966, shows the formal arrangement, with curving body and drooping head that was prevalent in late Medieval art. The anatomy is strongly stylised to conform with traditional iconic formula.
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and Bellini to create this painting in which the red robe and golden hair of Catherine of Alexandria are effectively balanced by the contrasting black and white of Catherine of Siena, and framed by a rustic arch of broken
723:'s formal portrait, the use of chiaroscuro to model the form is slight. However, the painting relies strongly on the tonal contrasts of the pale face, mid-tone background and dark garment with patterned bodice for effect.
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for a church, private palace or commune building. Of these, the largest unified scheme in Italy which remains more-or-less intact is that created by a number of different artists at the end of the Medieval period at the
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created an exceptionally complex and expansive setting on three levels, including a steeply descending ramp and a jutting wall. Elements of the landscape, such as the church on the right, are viewed partly through other
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Light and shade exist in a painting in two forms. Tone is simply the lightness and darkness of areas of a picture, graded from white to black. Tonal arrangement is a very significant feature of some paintings.
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has created a detailed landscape with a pastoral scene between the foreground and background mountains. There are numerous levels in this landscape, making it the equivalent of Ghirlandaio's complex cityscape
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takes up the theme of the night scene illuminated by an angel and applies his scientific knowledge of the diffusion of light. The tonal pattern thus created is a significant element in the composition of the
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1828:'s painting, while on one hand, the figures and the setting give the effect of great realism, Bellini's interest in Byzantine icons is displayed in the hierarchical enthronement and demeanour of the Madonna.
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2827:. The gold cloth in this painting takes the place of the gold leaf background. The arrangement is formal, yet the gestures, and in particular the mother's adoring gaze, give a human warmth to this picture.
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is based on a W with the figures mirroring each other. The lovers, who shortly before were united, are now separated by sleep. The three small fawns who process across the painting hold the composition
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3155:, the red velvet papal garments make a rich contrast, the white beard being offset by the pleated white linen. On the uprights of the chair, the acorn finials are the symbol of the Pope's family, the
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abandoned any sort of formal canopy and surrounded the Madonna and Child with the grandeur of nature into which he set the figures in a carefully balanced yet seemingly informal trapezoid composition.
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The artistic execution of the figures depicted is tied to the painting's immediate historical context. The figure of Pontius Pilate (seated, on the far left) is a portrait of the visiting Emperor of
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3600:, Wisdom, personified by Athena, leads the cowering Centaur by the forelock, so learning and refinement are able to overcome brute instinct, which is the characteristic symbolised by the centaur.
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had a unique status as a commission. An altarpiece was destined to become a focal point, not only visually in the religious building it occupied, but also in the devotions of the worshippers.
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In this detail from a larger painting, Mantegna shows a little child, wearing a tummy-binder and holey slippers, turning away and chewing its fingers while the infant Christ is circumcised.
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80:, both in terms of how it was achieved and the effects to which it was applied, and realism, particularly in the depiction of humanity, either as symbolic, portrait or narrative element.
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against plague. The significance of these images to those who commissioned them, who worshipped in their location, and who created them is lost when they are viewed in an art gallery.
442:'s landscape has a sculptural, three-dimensional quality that is suggestive of a real physical space. The details of the rocks, their strata and fractures, suggest that he studied the
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Paintings of classical mythology were invariably done for the important salons in the houses of private patrons. Botticelli's most famous works are for the Medici, Raphael painted
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used by the archers in the foreground, as the compositional structure. Within this large triangular shape, divided vertically, the figures alternate between front and back views.
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makes no attempt to disguise his models. Each fresco in this religious cycle has two sets of figures: those who tell the story and those who are witness to it. In this scene of
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were those of both subject matter and execution – what was painted and the style in which it was painted. The artist had far more freedom of both subject and style than did a
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separates the Madonna and Christ Child from the viewer by a stone sill, also used in many portraits. The rose and the cherries represent spiritual love and sacrificial love.
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689:'s painting, daylight, which appears to come from the actual window of the friary cell which this fresco adorns, gently illuminates the figures and defines the architecture.
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uses chiaroscuro to model the face of the sitter and define the details of his simple garment. The light and shadow on the edge of the window define the angle of the light.
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in this early work shows a very naturalistic group of children crowding around the Virgin Mary, but looking with innocent curiosity at the viewer. One of the children has
121:, are believed to be portraits of acquaintances of Piero della Francesca who had recently lost their sons, one of them to the plague. The third figure, the young disciple
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fresco cycle which is most famous for Masaccio's lifelike innovations, Masolino's more elegant style is seen in this townscape which skillfully combines two episodes of
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used human anatomy to great expressive effect. He was renowned for his ability in the creation of expressive poses and was imitated by many other painters and sculptors.
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These small intimate pictures, which are now nearly all in museums, were most often done for private ownership, but might occasionally grace a small altar in a chapel.
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125:, may be a portrait of one of the sons, or else represent both of them in a single idealized figure, painted in a similar style to Piero's angels in other paintings.
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is very unusual in showing the Christ Child as a toddler fully dressed in contemporary clothing. The meticulous detail and domesticity are suggestive of
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The depiction of landscape was encouraged by the development of linear perspective and the inclusion of detailed landscapes in the background of many
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757:, elements of the painting, including the corners of the model's eyes and mouth, are disguised by shadow, creating an air of ambiguity and mystery.
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for the Commune of Siena are completely secular and show detailed views of a townscape with citizens, emphasising the importance of civic order.
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uses the formula not of an altarpiece but the formal portrait, with a frame of green curtains through which a vision can be seen, witnessed by
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combines the meticulous depiction of the old man's enlarged nose and parchment-like skin with a tenderness usually reserved for portrayals of
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paints a natural and unglamorised portrait of an old woman, unusual in its depiction of her illkempt hair and open mouth with crooked teeth.
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has painted a life-sized image of the condotierre, Pippo Spano, alert and with his feet over the edge of the painted niche which frames him.
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113:. Outside the hall, in the foreground of the painting, stand three men representing those who buried the body of Christ. The two older men,
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3422:. The fact that the Goddess Venus rose naked from the sea provides justification for the nude study that dominates the centre of the work.
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While in the Brancacci Chapel, historians seek to identify the faces of Masaccio, Masolino and perhaps Donatello among the apostles,
2358:, was also fanciful in its depictions of Classical deities and Zodial signs which are combined with scenes of the life of the family.
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Raphael depicts famous people of his day, including Leonardo, Michelangelo, Bramante and himself, as philosophers of ancient Athens.
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953:'s figure of Christ is foreshortened as if viewed from below, and shows the upper torso strained as if with the effort of breathing.
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simply a very naturalistic portrayal of a number of the ancient gods and their associates, eating, drinking and enjoying the party.
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the artist, while not attempting to suggest the brutal realities of the crucifixion, has attempted to give the impression of death.
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These four famous paintings demonstrate the advent and acceptance of the nude as a subject for the artist in its own right.
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has always been particularly popular on account of the expressive little boy angel supporting the Christ Child. Paintings of
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975:, the robust figure of Jesus is painted with a simplicity and lack of sharply defined muscularity that belies its naturalism.
2421:'s painting of the ceiling of the Sistine Chapel, which he executed alone over a period of five years, with narratives from
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has here depicted the dead body of Jesus with daring foreshortening, as if the viewer were standing at the end of the slab.
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whose achievements are acknowledged not only by the Madonna and Christ Child but by the heroic saints, Michael and George.
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combines three separate narrative elements into this dramatic scene set against the dehumanising helmets of the guards.
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was painted with carefully calculated mathematical proportions, in which he was probably assisted by the architect
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in contrast to the placid countryside which rolls into the far distance, becoming paler and bluer as it recedes.
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2321:. The pictures reveal his studies of light and perspective, and the figures have an almost monolithic solidity.
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was a compositional theme that was to recur in many of his works and be imitated by his pupils and by Raphael.
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kneels at her feet. A concession to tradition is that the Madonna is of a larger scale than the other figures.
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did detailed and measured drawings of the background Classical ruins preparatory to commencing the unfinished
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shows the sleeping soldiers with faces hidden by helmets or foreshortened to emphasise the relaxed posture.
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is the first known large painting of a night scene. The internal light source of the picture is the angel.
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shows buildings around a small square in which the background events are highlighted by the perspective.
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uses the fading sunset on a cloudy evening to create an atmosphere of tension and impending tragedy.
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has skillfully set opposing forces into play, and united the Madonna and Child with a loving gaze.
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were produced in very large numbers, often for private clients. Scenes of the Life of Christ, the
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style, a fanciful and richly ornamental depiction of the Medici with their entourage as the
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and the gestures of the men, Giotto makes the face of Jesus the focal point of the painting.
47:, for which it provides additional pictures with commentary. The works encompassed are from
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Nevola, Fabrizio (September 2014). "Architecture in Italian Renaissance Painting: London".
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shows the results of detailed study of the shoulder girdle, known from a page of drawings.
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Paolo Uccello has created a detailed and surreal setting as a stage for many small scenes.
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3751:
3608:
3309:
3023:
2961:
2923:
2866:
2830:
2811:
2731:
2116:
1864:
1721:
1675:
1289:
1128:
1110:
908:
748:
648:
549:
429:
372:
343:
201:
3700:
3499:
3426:
3368:
3328:
3138:
3120:
3116:
2942:
2817:
2743:
2717:
2712:
2691:
2668:
2530:
2461:
2294:
2222:
2177:
The largest, most time-consuming paid work that an artist could do was a scheme of
2160:
2047:
1941:
1892:
1825:
1762:
1585:
1535:
1316:
1070:
957:
829:
713:
608:
465:
250:
191:
110:
3444:'s painting possibly predates Bellini's by ten years. It has always been known as
3616:
3544:
3459:
2641:
2614:
2568:
2422:
2412:
2372:
2361:
2324:
2275:, and in particular, the role of the Dominicans, who also appear symbolically as
2260:
2191:
2092:
1872:
1848:
1840:
1577:
1449:
1373:
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1226:
1181:
869:
726:
568:
439:
324:
187:
3148:
3124:
2821:
2664:
2400:
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2207:
1881:
1802:
1418:
102:
4230:
3615:
Three large works remain that were painted for a single room for the Este by
3430:
2775:
2434:
2347:
2317:
2031:
1895:, while using figures to a very natural and lifelike effect, abandons in the
1699:
1191:
1187:
530:
491:
391:
265:
155:
151:'s fresco, the building is like a stage set with one side open to the viewer.
3724:
3290:
3157:
3097:
2980:
2844:
2683:
2418:
2203:
2000:
1798:
1794:
1623:
1482:
1201:
1147:
993:
789:
770:
686:
675:
305:
177:
106:
52:
3055:
2747:
2572:
2328:
2195:
667:
4193:
3662:
3591:
3480:
3409:
3233:
3067:
2785:
2779:
2660:
2388:
1836:
1717:
1667:
1646:
1496:
1469:
1106:
987:
979:
732:
The suggested authorship of this early-16th-century portrait includes
418:
and the observation of the way distant things are affected by light.
414:
of the 15th century. Also through this influence came an awareness of
3518:
3441:
3152:
3105:
3028:
2272:
1901:
1463:
1392:
1235:
447:
422:
Giotto uses a few rocks to give the impression of a mountain setting.
114:
2241:. Breaking from medieval tradition, it set a standard of naturalism.
978:
The figure of Jesus in this painting, which is the combined work of
928:
essential part of a student's formal study of the art of painting.
2645:
2576:
2526:
2432:
and a number of his assistants painted the papal chambers known as
2404:
2290:
2286:
1978:
1787:
1573:
1445:
1308:
1197:
1047:
950:
627:
472:
284:
161:
69:
2190:'s Proto-Renaissance scheme at Padua and many others ranging from
1504:
serve to divide the picture into the tormentors and the tormented.
109:
is also called "scourging". The term "scourge" was applied to the
3681:
3603:
3387:
3144:
3077:
2999:
2850:
2706:
2599:
2429:
2279:, shepherding the people of God. The painting includes a view of
2141:
2011:
1917:
1877:
1749:
1691:
1511:
1444:
is a remarkably cohesive whole, considering that it was begun by
1009:
932:
443:
387:
220:
1736:, is one of many images that was used in the petitioning of the
198:, in which the receding figures add to the sense of perspective.
3704:
3620:
3584:
3539:
3454:
3349:
3131:
3058:
and the treatment of the rich Florentine brocade of her sleeve.
2622:
2553:
2457:
2218:
2199:
2187:
2178:
2126:
2077:
1986:
1957:
1936:
1779:
1769:
1527:
1414:
1251:
1174:
1028:
947:
abandoned the traditional formula and painted from observation.
944:
511:
480:
436:, the desolate rocky landscape echoes the tragedy of the scene.
242:
195:
181:
148:
48:
2488:
2465:
2311:, closely follows the Legend of the True Cross as written by
2226:
2102:
2073:
1832:
1733:
1422:
2806:
The figures placed at opposing diagonals seen in this early
2824:
2415:
all worked on the carefully designed and harmonious scheme.
1448:, left unfinished, vandalised, and eventually completed by
1055:
495:
3429:'s picture is unclear. Had the subject been painted by an
4173:. Chicago, IL: University of Chicago Press. p. 71.
3587:
who also was renowned for his strength and slew a lion.
3979:
Paolo Uccello, Domenico Veneziano, Andrea del Castagno
1200:
depicts the grief resulting from loss of innocence as
158:'s fresco, the townscape gives an impression of depth.
76:
evolved a great deal during the period. These include
2399:, was commissioned in the 1480s as decoration to the
1462:, in this highly systemised painting, have taken the
3750:, (1568), 1965 edition, trans George Bull, Penguin,
2772:
The Madonna adoring the Christ Child with two Angels
2271:, which shows the role of the church in the work of
128:
3853:Harrap's Illustrated Dictionary of Art and Artists
3811:Painting and Experience in Fifteenth Century Italy
3568:was, with several works by Titian, in the home of
3425:Painted thirty years later, the exact meaning of
1485:mastery of complex figure composition, as in his
4228:
2750:was commonly depicted in religious refectories.
490:in his view of the precipitous mountains around
486:Leonardo da Vinci, displays a theatrical use of
2966:The Madonna and Child with St. John the Baptist
2778:'s such as this were to particularly influence
184:accurately drafted to create an intimate space.
4168:
3825:The Fifteenth Century, the Prospect of Europe
3839:The Renaissance, an Illustrated Encyclopedia
3036:The advantage of a profile portrait such as
72:painter. Certain characteristic elements of
64:The themes that preoccupied painters of the
3047:cast a medal or sculpt an image in relief.
3032:, is open to speculation and controversy.
1716:Through the Renaissance period, the large
3043:Portrait of Sigismondo Pandolfo Malatesta
1582:The Resurrection of the Son of Theophilus
1442:The Resurrection of the Son of Theophilus
3730:Oriental carpets in Renaissance painting
3238:Portrait of Lorenzo di Ser Piero Lorenzi
479:against the familiar hilly landscape of
21:
4171:Piero della Francesca: The Flagellation
3276:Portrait of an old man and his grandson
2757:
1452:. Masaccio painted the central section.
4229:
4183:
3876:, (1971) Scala, Florence. ISBN unknown
3785:, (1992) Hugh Lauter Levin/Macmillan,
3553:
1778:is now housed in the same room of the
1204:are expelled from the presence of God.
1052:Crucifixion of Santa Maria del Carmine
41:themes in Italian Renaissance painting
39:This article about the development of
4037:, (1980) Specimen/Scala, ISBN unknown
2871:The Madonna and Child with Two Angels
2754:increasingly secular subject matter.
2246:Allegories of Good and Bad Government
1404:
835:The Agony in the Garden of Gethsemane
450:prevalent in areas of Northern Italy.
137:
4194:http://www.jstor.org/stable/24241887
4005:Peter Murray and Pier Luigi Vecchi,
3799:, (1970) Harcourt, Brace and World,
3762:A History of Italian Renaissance Art
3011:
1839:has drawn on aspects of the work of
3960:, (1988) G. Deganello, ISBN unknown
3109:Leonardo employed the technique of
2384:The Punishment of the Sons of Korah
2329:fresco cycle for the private chapel
1033:The Crucifix of Santa Maria Novella
13:
4089:Gabriel Bartz and Eberhard König,
3813:, (1974) Oxford University Press,
3147:, in this much-copied portrait of
14:
4268:
3965:Masaccio and the Brancacci Chapel
3562:for Agostino Chigi and Bellini's
3334:Portrait of Doge Leonardo Loredan
2307:'s fresco cycle in the church of
2221:painted the large, free-standing
2184:Basilica of St. Francis of Assisi
1983:The Madonna of the Pisa polyptych
180:uses the simple motif of a small
4169:Aronberg Lavin, Marilyn (1972).
3693:
3674:
3655:
3636:
3532:
3511:
3492:
3473:
3380:
3361:
3342:
3321:
3302:
3283:
3264:
3245:
3226:
3205:
3186:
3167:
2992:
2973:
2954:
2935:
2916:
2897:
2878:
2859:
2699:
2676:
2653:
2630:
2607:
2584:
2561:
2538:
2519:
2496:
2473:
2450:
2354:at Ferrara, executed in part by
2172:
2153:
2134:
2109:
2085:
2059:
2040:
2019:
1993:
1971:
1950:
1929:
1910:
1801:script, probably to suggest her
1683:
1660:
1639:
1616:
1593:
1566:
1543:
1520:
1385:
1366:
1345:
1324:
1301:
1282:
1263:
1244:
1222:Lamentation over the Dead christ
1140:
1121:
1099:
1081:
1063:
1040:
1021:
1002:
901:
881:
862:
843:
822:
801:
782:
763:
653:The Virgin and Child and St Anne
641:
620:
601:
580:
561:
542:
523:
504:
434:Deposition of the Body of Christ
380:
357:
336:
317:
298:
277:
258:
235:
129:Elements of Renaissance painting
3958:Frescoes by Giusto de' Menabuoi
2485:The Allegory of Good Government
43:is an extension to the article
4177:
4162:
4153:
4086:, (1962) Phaidon, ISBN unknown
3867:Florence: the city and its art
2762:
2206:'s supreme accomplishment for
1732:but previously in a chapel in
1711:
1706:
1609:The Martyrdom of St. Sebastian
270:The Presentation of the Virgin
190:has painted a vast space, the
1:
4146:
4142:, (1969) Hamlyn, ISBN unknown
3778:, (1968) Abrams, ISBN unknown
3776:Renaissance and Mannerist Art
3667:Pallas Athena and the Centaur
3179:Sigismondo Pandolfo Malatesta
2395:series, which, together with
2267:, completed a huge fresco of
680:Annunciation to the Shepherds
412:Early Netherlandish paintings
51:in the early 14th century to
4135:, (1990) Scala. ISBN unknown
4105:Raphael, the Life and Legacy
4040:Angela Ottino della Chiesa,
3918:, (1979) Thames and Hudson,
3881:The National Gallery, London
3869:, (1971) Scala, ISBN unknown
3827:, (1979) Thames and Hudson,
3764:, (1970) Thames and Hudson,
3354:The Man with the blue sleeve
3218:Portrait of a Lady in Yellow
3088:an old man with his grandson
3016:
2839:Early Netherlandish painting
2377:the Birth of the Virgin Mary
2346:The elaborate cycle for the
2070:The Madonna of St. Catherine
1559:The legend of the True Cross
1472:'s long, narrow painting of
1397:Portrait of an elderly woman
1210:painted several versions of
405:
329:Procession of the True Cross
45:Italian Renaissance painting
18:Italian Renaissance painting
7:
4119:Raphael, his Life and Works
3908:
3718:
3399:
2725:
1014:The Crucifix of Santa Croce
456:sets the grim scene of the
10:
4273:
3995:, (1985) Scala/Riverside,
3981:, (1991) Scala/Riverside,
3967:, (1990) Scala/Riverside,
3932:, (1991) Scala/Riverside,
3740:
3735:
3703:, background repainted by
2244:The two large frescoes of
2165:The Madonna of the Harpies
1378:the Circumcision of Christ
1159:
922:
32:The Flagellation of Christ
15:
3897:, (1974) Michael Joseph,
3774:R.E. Wolf and R. Millen,
2730:Devotional images of the
2619:The Court of the Gonzagas
2269:the Triumph of the Church
349:The Adoration of the Magi
312:, San Marco's, Florence.
83:
4072:, (1986) Harmony Books,
4035:Il Palazzo di Schifanoia
2550:Legend of the True Cross
2122:The Madonna of the Rocks
1889:and many other painters.
1730:National Gallery, London
660:
494:at the foothills of the
247:Annunciation to St. Anne
4186:The Burlington Magazine
3956:Mgr. Giovanni Foffani,
3895:Lorenzo the Magnificent
3855:, (1990) Harrap Books,
3086:'s tempera portrait of
3004:The Bridgewater Madonna
2391:is one of episodes the
1819:Federico da Montefeltro
1786:A hundred years later,
874:Portrait of a Young Man
734:Ridolfo del Ghirlandaio
488:atmospheric perspective
416:atmospheric perspective
293:, Santa Maria Novella.
123:St. John the Evangelist
3893:Hugh Ross Williamson,
3686:The Triumph of Galatea
3648:Hercules and the Hydra
3644:Antonio del Pollaiuolo
3597:Pallas and the Centaur
3580:Hercules and the Hydra
3194:Antonio del Pollaiuolo
2688:Sistine Chapel ceiling
2335:is a late work in the
2098:Madonna della Vittoria
1897:Madonna of the Harpies
1854:Madonna della Vittoria
1672:The Fall of the Damned
986:Leonardo's picture of
613:St. Francis in Ecstasy
446:formations of the red
91:Flagellation of Christ
36:
4252:Renaissance paintings
4192:: 614–15 – via
4159:John VIII Palaeologus
4082:Ludwig Goldschieder,
4007:Piero della Francesca
3993:Piero della Francesca
3991:Alessandro Angelini,
3930:Duccio di Buoninsegna
3710:The Feast of the Gods
3623:. Of these, Titian's
3175:Piero della Francesca
3092:The Madonna and Child
3038:Piero della Francesca
2886:Andrea del Verrocchio
2546:Piero della Francesca
2309:San Francesco, Arezzo
2305:Piero della Francesca
2299:the Life of St. Peter
2263:at the new church of
2186:. It was followed by
2052:San Giobbe Altarpiece
2027:Piero della Francesca
1810:Piero della Francesca
1754:Duccio di Buoninsegna
1551:Piero della Francesca
1435:Piero della Francesca
1294:the Madonna Trivulzio
1093:The Baptism of Christ
1089:Piero della Francesca
969:Piero della Francesca
809:Piero della Francesca
738:Mariotto Albertinelli
700:Piero della Francesca
633:Adoration of the Magi
477:Adoration of the Magi
207:Adoration of the Magi
96:Piero della Francesca
27:Piero della Francesca
25:
4237:Paintings by subject
4121:, (1985) Chartwell,
4068:Massimo Giacometti,
3946:, (1967) Time/Life,
3797:Art through the Ages
3748:Lives of the Artists
3272:Domenico Ghirlandaio
3253:Antonello da Messina
3074:Antonello da Messina
2905:Antonello da Messina
2792:Antonello da Messina
2758:Devotional paintings
2638:Domenico Ghirlandaio
2441:The School of Athens
2409:Domenico Ghirlandaio
2369:Domenico Ghirlandaio
2337:International Gothic
2293:collaborated on the
2277:the Hounds of Heaven
1859:Francesco II Gonzaga
1726:Madonna of the Rocks
1605:Piero del Pollaiuolo
1460:Piero del Pollaiuolo
1332:Antonello da Messina
1208:Antonello da Messina
1115:The Bapism of Christ
588:Antonello da Messina
454:Antonello da Messina
365:Domenico Ghirlandaio
214:Domenico Ghirlandaio
119:Joseph of Arimathaea
74:Renaissance painting
4242:Italian Renaissance
4131:Mariolina Olivari,
4117:Jean-Pierre Cuzin,
4093:, (1998) Könemann,
3977:Annarita Paolieri,
3944:The World of Giotto
3809:Michael Baxandall,
3781:Keith Chistiansen,
3626:Bacchus and Ariadne
3554:Classical mythology
3420:Classical mythology
3213:Alesso Baldovinetti
3198:Portrait of a woman
3062:Alesso Baldovinetti
2947:The Carrara Madonna
2592:Francesco del Cossa
2512:Santa Maria Novella
2481:Ambrogio Lorenzetti
2356:Francesco del Cossa
2313:Jacobus de Voragine
2265:Santa Maria Novella
2259:, painting for the
2250:Ambrogio Lorenzetti
2146:The Sistine Madonna
2067:Ambrogio Bergognone
1922:The Trinita Madonna
1738:Blessed Virgin Mary
1696:The Battle of Ostia
1508:The Battle of Ostia
890:Giuliano Bugiardini
814:The Emperor's Dream
742:Giuliano Bugiardini
709:Agony in the Garden
573:Agony in the Garden
66:Italian Renaissance
4070:The Sistine Chapel
4044:, (1967) Penguin,
4009:, (1967) Penguin,
3928:Cecilia Jannella,
3841:, (1979) Octopus,
3619:and his successor
3485:The Birth of Venus
3447:The Sleeping Venus
2928:The Benois Madonna
2909:The Benson Madonna
2890:Madonna with Child
2820:was influenced by
2799:in Michelangelo's
2736:Life of the Virgin
2596:Palazzo Schifanoia
2508:The Spanish Chapel
2504:Andrea di Bonaiuto
2397:The Life of Christ
2352:Palazzo Schifanoia
2281:Florence Cathedral
2257:Andrea di Bonaiuto
2232:Life of the Virgin
1963:Ognissanti Madonna
1902:Mannerist painting
1817:, while the donor
1775:Ognissanti Madonna
1746:Enthroned Madonnas
1501:Fall of the Damned
1405:Figure composition
894:Portrait of a Lady
855:Portrait of a Lady
851:Domenico Veneziano
721:Domenico Veneziano
498:in Northern Italy.
138:Linear perspective
37:
4209:External link in
4058:, (1975) Abrams,
4056:Leonardo da Vinci
4042:Leonardo da Vinci
4023:, (1984) Abrams,
4019:Umberto Baldini,
3963:Ornella Casazza,
3760:Frederick Hartt,
3565:Feast of the Gods
3373:Portrait of a man
3310:Leonardo da Vinci
3295:Portrait of a boy
3257:Portrait of a man
3024:Leonardo da Vinci
3012:Secular paintings
2962:Vittore Carpaccio
2924:Leonardo da Vinci
2867:Fra Filippo Lippi
2835:Madonna and Child
2831:Vittore Carpaccio
2812:Leonardo da Vinci
2808:Madonna and Child
2796:Madonna and Child
2732:Madonna and Child
2117:Leonardo da Vinci
1865:Leonardo da Vinci
1722:Leonardo da Vinci
1676:Orvieto Cathedral
1555:The Death of Adam
1532:The Kiss of Judas
1495:At first glance,
1431:The Death of Adam
1290:Fra Filippo Lippi
909:Leonardo da Vinci
749:Leonardo da Vinci
649:Leonardo da Vinci
397:Fire in the Borgo
373:Tornabuoni Chapel
344:Leonardo da Vinci
226:Fire in the Borgo
202:Leonardo da Vinci
4264:
4221:
4220:
4214:
4213:
4207:
4205:
4197:
4181:
4175:
4174:
4166:
4160:
4157:
4133:Giovanni Bellini
4103:David Thompson,
4054:Jack Wasserman,
4033:Ranieri Varese,
3883:, (1977) Scala,
3879:Michael Wilson,
3823:Margaret Aston,
3783:Italian Painting
3746:Giorgio Vasari,
3697:
3678:
3659:
3640:
3570:Alfonso I d'Este
3536:
3515:
3500:Giovanni Bellini
3496:
3477:
3427:Giovanni Bellini
3384:
3369:Andrea del Sarto
3365:
3346:
3329:Giovanni Bellini
3325:
3306:
3287:
3268:
3249:
3230:
3209:
3190:
3171:
3139:Andrea del Sarto
3121:Leonardo Loredan
3117:Giovanni Bellini
2996:
2977:
2958:
2943:Giovanni Bellini
2939:
2920:
2901:
2882:
2863:
2818:Giovanni Bellini
2744:Passion of Jesus
2713:School of Athens
2703:
2680:
2657:
2634:
2611:
2588:
2565:
2542:
2531:Brancacci Chapel
2523:
2500:
2477:
2462:Scrovegni Chapel
2454:
2428:Simultaneously,
2295:Brancacci Chapel
2223:Scrovegni Chapel
2161:Andrea del Sarto
2157:
2138:
2113:
2089:
2063:
2048:Giovanni Bellini
2044:
2023:
1997:
1975:
1954:
1942:Rucellai Madonna
1933:
1914:
1893:Andrea del Sarto
1808:In the hands of
1763:Rucellai Madonna
1700:Raphael's Stanze
1687:
1664:
1643:
1620:
1597:
1586:Brancacci Chapel
1570:
1547:
1536:Scrovegni Chapel
1524:
1510:was executed by
1389:
1370:
1349:
1328:
1317:Brancacci Chapel
1305:
1286:
1267:
1256:The Resurrection
1248:
1144:
1125:
1103:
1085:
1071:Giovanni Bellini
1067:
1044:
1025:
1006:
958:Giovanni Bellini
914:John the Baptist
905:
885:
866:
847:
830:Giovanni Bellini
826:
805:
794:The Annunciation
786:
775:The Annunciation
767:
754:John the Baptist
714:Giovanni Bellini
645:
624:
609:Giovanni Bellini
605:
584:
565:
546:
527:
508:
466:Giovanni Bellini
384:
361:
340:
321:
310:The Annunciation
302:
281:
262:
251:Scrovegni Chapel
239:
192:Piazza San Marco
4272:
4271:
4267:
4266:
4265:
4263:
4262:
4261:
4227:
4226:
4225:
4224:
4211:
4210:
4208:
4199:
4198:
4182:
4178:
4167:
4163:
4158:
4154:
4149:
3911:
3872:Luciano Berti,
3865:Luciano Berti,
3795:Helen Gardner,
3743:
3738:
3721:
3714:
3698:
3689:
3679:
3670:
3660:
3651:
3641:
3556:
3549:
3545:Venus of Urbino
3537:
3528:
3516:
3507:
3497:
3488:
3478:
3460:Venus of Urbino
3402:
3395:
3385:
3376:
3366:
3357:
3347:
3338:
3326:
3317:
3307:
3298:
3288:
3279:
3269:
3260:
3250:
3241:
3231:
3222:
3210:
3201:
3191:
3182:
3172:
3137:Superficially,
3130:The subject of
3119:'s portrait of
3019:
3014:
3007:
2997:
2988:
2978:
2969:
2959:
2950:
2940:
2931:
2921:
2912:
2911:, 1465-1470.
2902:
2893:
2883:
2874:
2864:
2765:
2760:
2728:
2721:
2716:in the Stanze,
2704:
2695:
2681:
2672:
2658:
2649:
2642:Sassetti Chapel
2635:
2626:
2615:Andrea Mantegna
2612:
2603:
2589:
2580:
2569:Benozzo Gozzoli
2566:
2557:
2543:
2534:
2524:
2515:
2501:
2492:
2478:
2469:
2455:
2413:Cosimo Rosselli
2373:Sassetti Chapel
2325:Benozzo Gozzoli
2192:Benozzo Gozzoli
2175:
2168:
2158:
2149:
2139:
2130:
2114:
2105:
2093:Andrea Mantegna
2090:
2081:
2064:
2055:
2045:
2036:
2024:
2015:
2005:The Madonna of
1998:
1989:
1976:
1967:
1955:
1946:
1934:
1925:
1915:
1873:Sistine Madonna
1849:Andrea Mantegna
1815:oriental carpet
1714:
1709:
1702:
1688:
1679:
1665:
1656:
1644:
1633:
1621:
1612:
1598:
1589:
1578:Filippino Lippi
1571:
1562:
1548:
1539:
1525:
1450:Filippino Lippi
1407:
1400:
1390:
1381:
1371:
1362:
1358:The Dead Christ
1350:
1341:
1329:
1320:
1306:
1297:
1287:
1278:
1271:Andrea Castagno
1268:
1259:
1249:
1182:Andrea Castagno
1162:
1155:
1145:
1136:
1126:
1117:
1104:
1095:
1086:
1077:
1068:
1059:
1045:
1036:
1026:
1017:
1007:
925:
918:
906:
897:
886:
877:
870:Filippino Lippi
867:
858:
848:
839:
827:
818:
806:
797:
787:
778:
768:
727:Filippino Lippi
695:Emperor's Dream
663:
656:
646:
637:
625:
616:
606:
597:
593:The Crucifixion
585:
576:
566:
557:
547:
538:
535:Franciscan Life
528:
519:
516:Joachim's Dream
509:
408:
401:
390:, completed by
385:
376:
362:
353:
341:
332:
325:Gentile Bellini
322:
313:
303:
294:
282:
273:
263:
254:
240:
188:Gentile Bellini
140:
131:
86:
20:
12:
11:
5:
4270:
4260:
4259:
4254:
4249:
4244:
4239:
4223:
4222:
4176:
4161:
4151:
4150:
4148:
4145:
4144:
4143:
4136:
4129:
4115:
4107:, (1983) BBC,
4101:
4087:
4080:
4066:
4052:
4038:
4031:
4017:
4003:
3989:
3975:
3961:
3954:
3942:Sarel Eimerl,
3940:
3926:
3910:
3907:
3906:
3905:
3891:
3877:
3870:
3863:
3851:Diana Davies,
3849:
3835:
3821:
3807:
3793:
3779:
3772:
3758:
3742:
3739:
3737:
3734:
3733:
3732:
3727:
3720:
3717:
3716:
3715:
3699:
3692:
3690:
3680:
3673:
3671:
3661:
3654:
3652:
3642:
3635:
3632:
3631:
3613:
3601:
3588:
3555:
3552:
3551:
3550:
3538:
3531:
3529:
3524:Sleeping Venus
3517:
3510:
3508:
3498:
3491:
3489:
3479:
3472:
3469:
3468:
3465:Birth of Venus
3452:
3439:
3423:
3415:Birth of Venus
3401:
3398:
3397:
3396:
3392:Pope Julius II
3386:
3379:
3377:
3367:
3360:
3358:
3348:
3341:
3339:
3327:
3320:
3318:
3308:
3301:
3299:
3289:
3282:
3280:
3270:
3263:
3261:
3251:
3244:
3242:
3232:
3225:
3223:
3211:
3204:
3202:
3192:
3185:
3183:
3177:, portrait of
3173:
3166:
3163:
3162:
3149:Pope Julius II
3142:
3135:
3128:
3125:Doge of Venice
3123:, the elected
3114:
3101:
3095:
3081:
3071:
3065:
3059:
3048:
3018:
3015:
3013:
3010:
3009:
3008:
2998:
2991:
2989:
2985:The Doni Tondo
2979:
2972:
2970:
2960:
2953:
2951:
2941:
2934:
2932:
2922:
2915:
2913:
2903:
2896:
2894:
2884:
2877:
2875:
2865:
2858:
2855:
2854:
2848:
2842:
2828:
2822:Greek Orthodox
2815:
2804:
2789:
2783:
2764:
2761:
2759:
2756:
2727:
2724:
2723:
2722:
2705:
2698:
2696:
2682:
2675:
2673:
2665:Sistine Chapel
2659:
2652:
2650:
2648:, 1483-1486.
2636:
2629:
2627:
2613:
2606:
2604:
2590:
2583:
2581:
2567:
2560:
2558:
2544:
2537:
2535:
2525:
2518:
2516:
2502:
2495:
2493:
2479:
2472:
2470:
2456:
2449:
2446:
2445:
2426:
2416:
2403:. The artists
2401:Sistine Chapel
2380:
2365:
2359:
2344:
2341:Three Wise Men
2322:
2302:
2284:
2253:
2242:
2238:Life of Christ
2212:Sistine Chapel
2208:Pope Julius II
2174:
2171:
2170:
2169:
2159:
2152:
2150:
2140:
2133:
2131:
2115:
2108:
2106:
2091:
2084:
2082:
2065:
2058:
2056:
2046:
2039:
2037:
2025:
2018:
2016:
1999:
1992:
1990:
1977:
1970:
1968:
1956:
1949:
1947:
1935:
1928:
1926:
1916:
1909:
1906:
1905:
1890:
1882:Pope Sixtus II
1868:
1862:
1845:
1829:
1822:
1806:
1803:Middle Eastern
1791:
1784:
1767:
1758:
1713:
1710:
1708:
1705:
1704:
1703:
1690:Assistants of
1689:
1682:
1680:
1666:
1659:
1657:
1652:Venus and Mars
1645:
1638:
1635:
1634:
1629:The Entombment
1622:
1615:
1613:
1599:
1592:
1590:
1572:
1565:
1563:
1549:
1542:
1540:
1526:
1519:
1516:
1515:
1505:
1493:
1488:The Entombment
1480:
1475:Mars and Venus
1467:
1453:
1439:
1427:
1406:
1403:
1402:
1401:
1391:
1384:
1382:
1376:, detail from
1372:
1365:
1363:
1351:
1344:
1342:
1330:
1323:
1321:
1307:
1300:
1298:
1288:
1281:
1279:
1269:
1262:
1260:
1250:
1243:
1240:
1239:
1233:
1230:
1217:
1205:
1195:
1185:
1178:
1161:
1158:
1157:
1156:
1146:
1139:
1137:
1127:
1120:
1118:
1105:
1098:
1096:
1087:
1080:
1078:
1069:
1062:
1060:
1046:
1039:
1037:
1027:
1020:
1018:
1008:
1001:
998:
997:
991:
984:
976:
965:
954:
948:
942:
924:
921:
920:
919:
907:
900:
898:
887:
880:
878:
868:
861:
859:
849:
842:
840:
828:
821:
819:
807:
800:
798:
788:
781:
779:
769:
762:
759:
758:
745:
730:
724:
717:
704:
690:
683:
662:
659:
658:
657:
647:
640:
638:
626:
619:
617:
607:
600:
598:
586:
579:
577:
567:
560:
558:
554:The Deposition
548:
541:
539:
529:
522:
520:
510:
503:
500:
499:
484:
470:
463:
451:
437:
426:
423:
407:
404:
403:
402:
386:
379:
377:
369:The Visitation
363:
356:
354:
342:
335:
333:
323:
316:
314:
304:
297:
295:
283:
276:
274:
264:
257:
255:
241:
234:
231:
230:
223:'s design for
218:
211:
199:
185:
175:
159:
152:
139:
136:
130:
127:
85:
82:
61:of the 1530s.
58:Last Judgement
35:, c. 1468-1470
16:Main article:
9:
6:
4:
3:
2:
4269:
4258:
4255:
4253:
4250:
4248:
4245:
4243:
4240:
4238:
4235:
4234:
4232:
4218:
4203:
4195:
4191:
4187:
4180:
4172:
4165:
4156:
4152:
4141:
4138:Cecil Gould,
4137:
4134:
4130:
4128:
4127:0-89009-841-7
4124:
4120:
4116:
4114:
4113:0-563-20149-5
4110:
4106:
4102:
4100:
4099:3-8290-0253-X
4096:
4092:
4088:
4085:
4081:
4079:
4078:0-517-56274-X
4075:
4071:
4067:
4065:
4064:0-8109-0262-1
4061:
4057:
4053:
4051:
4050:0-14-008649-8
4047:
4043:
4039:
4036:
4032:
4030:
4029:0-8109-2314-9
4026:
4022:
4018:
4016:
4015:0-14-008647-1
4012:
4008:
4004:
4002:
4001:1-878351-04-4
3998:
3994:
3990:
3988:
3987:1-878351-20-6
3984:
3980:
3976:
3974:
3973:1-878351-11-7
3970:
3966:
3962:
3959:
3955:
3953:
3952:0-900658-15-0
3949:
3945:
3941:
3939:
3938:1-878351-18-4
3935:
3931:
3927:
3925:
3924:0-500-09135-8
3921:
3917:
3913:
3912:
3904:
3903:0-7181-1204-0
3900:
3896:
3892:
3890:
3889:0-85097-257-4
3886:
3882:
3878:
3875:
3871:
3868:
3864:
3862:
3861:0-245-54692-8
3858:
3854:
3850:
3848:
3847:0-7064-0857-8
3844:
3840:
3837:Ilan Rachum,
3836:
3834:
3833:0-500-33009-3
3830:
3826:
3822:
3820:
3819:0-19-881329-5
3816:
3812:
3808:
3806:
3805:0-15-503752-8
3802:
3798:
3794:
3792:
3788:
3784:
3780:
3777:
3773:
3771:
3770:0-500-23136-2
3767:
3763:
3759:
3757:
3756:0-14-044164-6
3753:
3749:
3745:
3744:
3731:
3728:
3726:
3723:
3722:
3712:
3711:
3706:
3702:
3696:
3691:
3687:
3683:
3677:
3672:
3668:
3664:
3658:
3653:
3649:
3645:
3639:
3634:
3633:
3628:
3627:
3622:
3618:
3614:
3611:
3610:
3605:
3602:
3599:
3598:
3593:
3589:
3586:
3581:
3577:
3574:
3573:
3572:
3571:
3567:
3566:
3561:
3547:
3546:
3541:
3535:
3530:
3526:
3525:
3520:
3514:
3509:
3505:
3501:
3495:
3490:
3487:, 1482-1486.
3486:
3482:
3476:
3471:
3470:
3466:
3462:
3461:
3456:
3453:
3449:
3448:
3443:
3440:
3437:
3432:
3431:Impressionist
3428:
3424:
3421:
3417:
3416:
3411:
3407:
3406:
3405:
3393:
3389:
3383:
3378:
3374:
3370:
3364:
3359:
3355:
3351:
3345:
3340:
3336:
3335:
3330:
3324:
3319:
3315:
3314:The Mona Lisa
3311:
3305:
3300:
3296:
3292:
3286:
3281:
3277:
3273:
3267:
3262:
3258:
3254:
3248:
3243:
3239:
3235:
3229:
3224:
3220:
3219:
3214:
3208:
3203:
3199:
3195:
3189:
3184:
3180:
3176:
3170:
3165:
3164:
3160:
3159:
3154:
3150:
3146:
3143:
3140:
3136:
3133:
3129:
3126:
3122:
3118:
3115:
3112:
3108:
3107:
3102:
3099:
3096:
3093:
3089:
3085:
3082:
3079:
3075:
3072:
3069:
3066:
3063:
3060:
3057:
3052:
3049:
3045:
3044:
3039:
3035:
3034:
3033:
3031:
3030:
3025:
3005:
3001:
2995:
2990:
2986:
2982:
2976:
2971:
2967:
2963:
2957:
2952:
2948:
2944:
2938:
2933:
2929:
2925:
2919:
2914:
2910:
2906:
2900:
2895:
2891:
2887:
2881:
2876:
2872:
2868:
2862:
2857:
2856:
2852:
2849:
2846:
2843:
2840:
2836:
2832:
2829:
2826:
2823:
2819:
2816:
2813:
2809:
2805:
2802:
2797:
2793:
2790:
2787:
2784:
2781:
2777:
2776:Filippo Lippi
2773:
2770:
2769:
2768:
2755:
2751:
2749:
2745:
2741:
2737:
2733:
2719:
2715:
2714:
2708:
2702:
2697:
2694:, 1508-1511.
2693:
2689:
2685:
2679:
2674:
2670:
2666:
2662:
2656:
2651:
2647:
2643:
2639:
2633:
2628:
2625:, 1471-1474.
2624:
2620:
2616:
2610:
2605:
2601:
2597:
2593:
2587:
2582:
2578:
2574:
2570:
2564:
2559:
2555:
2551:
2547:
2541:
2536:
2533:. 1424-1427.
2532:
2528:
2522:
2517:
2513:
2509:
2505:
2499:
2494:
2490:
2486:
2482:
2476:
2471:
2467:
2463:
2459:
2453:
2448:
2447:
2443:
2442:
2437:
2436:
2435:Raphael Rooms
2431:
2427:
2424:
2420:
2417:
2414:
2410:
2406:
2402:
2398:
2394:
2393:Life of Moses
2390:
2386:
2385:
2381:
2378:
2374:
2370:
2366:
2363:
2360:
2357:
2353:
2349:
2348:House of Este
2345:
2342:
2338:
2334:
2333:Medici Palace
2330:
2326:
2323:
2320:
2319:
2318:Golden Legend
2314:
2310:
2306:
2303:
2300:
2296:
2292:
2288:
2285:
2282:
2278:
2274:
2270:
2266:
2262:
2258:
2255:By contrast,
2254:
2251:
2247:
2243:
2240:
2239:
2234:
2233:
2228:
2224:
2220:
2217:
2216:
2215:
2213:
2209:
2205:
2201:
2197:
2193:
2189:
2185:
2180:
2173:Fresco cycles
2166:
2162:
2156:
2151:
2147:
2143:
2137:
2132:
2128:
2124:
2123:
2118:
2112:
2107:
2104:
2100:
2099:
2094:
2088:
2083:
2079:
2075:
2071:
2068:
2062:
2057:
2053:
2049:
2043:
2038:
2034:
2033:
2032:Brera Madonna
2028:
2022:
2017:
2014:, 1428-1430.
2013:
2009:
2008:
2002:
1996:
1991:
1988:
1984:
1980:
1974:
1969:
1965:
1964:
1959:
1953:
1948:
1944:
1943:
1938:
1932:
1927:
1923:
1919:
1913:
1908:
1907:
1903:
1898:
1894:
1891:
1888:
1883:
1879:
1875:
1874:
1869:
1866:
1863:
1860:
1856:
1855:
1850:
1846:
1842:
1838:
1834:
1830:
1827:
1823:
1820:
1816:
1811:
1807:
1804:
1800:
1796:
1792:
1789:
1785:
1781:
1777:
1776:
1771:
1768:
1765:
1764:
1759:
1755:
1751:
1747:
1743:
1742:
1741:
1739:
1735:
1731:
1728:, now in the
1727:
1723:
1719:
1701:
1697:
1693:
1686:
1681:
1677:
1673:
1669:
1663:
1658:
1654:
1653:
1648:
1642:
1637:
1636:
1631:
1630:
1625:
1619:
1614:
1610:
1606:
1602:
1596:
1591:
1587:
1583:
1579:
1575:
1569:
1564:
1560:
1556:
1552:
1546:
1541:
1537:
1533:
1529:
1523:
1518:
1517:
1513:
1509:
1506:
1502:
1498:
1494:
1490:
1489:
1484:
1483:Michelangelos
1481:
1477:
1476:
1471:
1468:
1465:
1461:
1457:
1454:
1451:
1447:
1443:
1440:
1436:
1432:
1428:
1424:
1420:
1416:
1413:
1412:
1411:
1398:
1394:
1388:
1383:
1379:
1375:
1369:
1364:
1360:
1359:
1354:
1348:
1343:
1339:
1338:
1333:
1327:
1322:
1318:
1314:
1310:
1304:
1299:
1295:
1291:
1285:
1280:
1276:
1272:
1266:
1261:
1257:
1253:
1247:
1242:
1241:
1237:
1234:
1231:
1228:
1224:
1223:
1218:
1215:
1214:
1209:
1206:
1203:
1199:
1196:
1193:
1192:Down syndrome
1189:
1188:Filippo Lippi
1186:
1183:
1180:In contrast,
1179:
1176:
1172:
1168:
1167:
1166:
1153:
1149:
1143:
1138:
1134:
1130:
1124:
1119:
1116:
1112:
1108:
1102:
1097:
1094:
1090:
1084:
1079:
1076:
1072:
1066:
1061:
1057:
1053:
1049:
1043:
1038:
1034:
1030:
1024:
1019:
1015:
1011:
1005:
1000:
999:
995:
992:
989:
985:
981:
977:
974:
970:
966:
963:
959:
955:
952:
949:
946:
943:
940:
939:
934:
931:
930:
929:
916:
915:
910:
904:
899:
895:
891:
884:
879:
875:
871:
865:
860:
856:
852:
846:
841:
837:
836:
831:
825:
820:
816:
815:
810:
804:
799:
795:
791:
785:
780:
776:
772:
766:
761:
760:
756:
755:
750:
746:
743:
739:
735:
731:
728:
725:
722:
718:
715:
711:
710:
705:
701:
697:
696:
691:
688:
684:
681:
677:
674:
673:
672:
669:
654:
650:
644:
639:
635:
634:
629:
623:
618:
614:
610:
604:
599:
595:
594:
589:
583:
578:
574:
570:
564:
559:
555:
551:
545:
540:
536:
532:
531:Paolo Uccello
526:
521:
517:
513:
507:
502:
501:
497:
493:
492:Lago di Garda
489:
485:
482:
478:
474:
471:
467:
464:
461:
460:
455:
452:
449:
445:
441:
438:
435:
431:
427:
424:
421:
420:
419:
417:
413:
399:
398:
393:
392:Giulio Romano
389:
383:
378:
374:
370:
366:
360:
355:
351:
350:
345:
339:
334:
330:
326:
320:
315:
311:
307:
301:
296:
292:
291:
286:
280:
275:
271:
267:
266:Paolo Uccello
261:
256:
252:
248:
244:
238:
233:
232:
228:
227:
222:
219:
215:
212:
209:
208:
203:
200:
197:
193:
189:
186:
183:
179:
176:
173:
169:
168:
163:
160:
157:
156:Paolo Uccello
153:
150:
146:
145:
144:
143:cityscapes.
135:
126:
124:
120:
116:
112:
108:
104:
99:
97:
93:
92:
81:
79:
75:
71:
67:
62:
60:
59:
54:
50:
46:
42:
34:
33:
28:
24:
19:
4202:cite journal
4189:
4185:
4179:
4170:
4164:
4155:
4139:
4132:
4118:
4104:
4091:Michelangelo
4090:
4084:Michelangelo
4083:
4069:
4055:
4041:
4034:
4020:
4006:
3992:
3978:
3964:
3957:
3943:
3929:
3915:
3914:John White,
3894:
3880:
3873:
3866:
3852:
3838:
3824:
3810:
3796:
3782:
3775:
3761:
3747:
3725:Pseudo-Kufic
3708:
3685:
3666:
3647:
3624:
3607:
3595:
3579:
3563:
3559:
3557:
3543:
3523:
3503:
3484:
3464:
3458:
3445:
3413:
3403:
3391:
3372:
3353:
3337:, 1501-1505.
3332:
3316:, 1503-1507.
3313:
3294:
3291:Pintoricchio
3275:
3256:
3240:, 1490-1495.
3237:
3216:
3197:
3158:della Rovere
3156:
3110:
3104:
3098:Pintoricchio
3091:
3041:
3027:
3020:
3003:
2984:
2981:Michelangelo
2965:
2946:
2927:
2908:
2889:
2870:
2845:Michelangelo
2834:
2807:
2800:
2795:
2771:
2766:
2752:
2729:
2710:
2684:Michelangelo
2618:
2507:
2484:
2468:, 1305-1310
2439:
2433:
2419:Michelangelo
2396:
2392:
2382:
2376:
2316:
2298:
2276:
2268:
2245:
2236:
2230:
2204:Michelangelo
2176:
2164:
2145:
2120:
2096:
2080:1490-1505?.
2069:
2030:
2007:San Domenico
2004:
2001:Fra Angelico
1982:
1961:
1940:
1921:
1896:
1871:
1852:
1799:pseudo-kufic
1795:Fra Angelico
1773:
1761:
1760:In Duccio's
1745:
1725:
1715:
1695:
1671:
1650:
1627:
1624:Michelangelo
1608:
1581:
1558:
1554:
1531:
1507:
1500:
1486:
1473:
1441:
1430:
1408:
1396:
1377:
1356:
1335:
1313:Adam and Eve
1312:
1293:
1274:
1255:
1220:
1211:
1202:Adam and Eve
1171:Resurrection
1170:
1163:
1151:
1148:Michelangelo
1132:
1114:
1092:
1074:
1051:
1032:
1013:
994:Michelangelo
972:
961:
936:
926:
912:
893:
892:and others,
888:Ascribed to
873:
854:
833:
812:
793:
790:Fra Angelico
774:
771:Taddeo Gaddi
752:
707:
694:
687:Fra Angelico
679:
676:Taddeo Gaddi
664:
652:
631:
612:
591:
572:
553:
534:
515:
476:
475:has set the
457:
433:
409:
395:
368:
347:
328:
309:
306:Fra Angelico
288:
269:
246:
224:
205:
178:Fra Angelico
172:Brunelleschi
167:Holy Trinity
165:
141:
132:
107:Flagellation
100:
89:
87:
63:
56:
53:Michelangelo
40:
38:
30:
4257:Iconography
4247:Italian art
3527:, c. 1500.
3394:, 1511-12.
3084:Ghirlandaio
3056:chiaroscuro
2968:, c. 1500.
2763:The Madonna
2748:Last Supper
2573:Magi Chapel
2248:painted by
2196:Magi Chapel
1712:Altarpieces
1707:Major works
1275:Pippo Spano
1058:), c. 1420
938:Crucifixion
668:Chiaroscuro
459:Crucifixion
290:The Trinity
217:structures.
78:perspective
4231:Categories
4212:|via=
4147:References
3874:The Ufizzi
3791:0883639718
3663:Botticelli
3650:, c. 1470.
3592:Botticelli
3576:Pollaiuolo
3506:, c. 1510.
3504:The Mirror
3481:Botticelli
3410:Botticelli
3375:, c. 1510.
3356:, c. 1510.
3297:, c. 1500.
3234:Botticelli
3221:, c. 1465.
3200:, c. 1470.
3181:, c. 1450.
3068:Botticelli
3051:Pollaiuolo
2930:, 1470s.
2873:, c. 1450
2801:Doni Tondo
2786:Verrocchio
2780:Botticelli
2720:, 1509-10.
2661:Botticelli
2602:, c.1470.
2389:Botticelli
2261:Dominicans
2148:, 1513-14.
2129:1483-1508.
2054:, c. 1487.
1837:Bergognone
1718:altarpiece
1668:Signorelli
1647:Botticelli
1497:Signorelli
1470:Botticelli
1107:Verrocchio
988:St. Jerome
980:Verrocchio
444:geological
4021:Primavera
3669:, c.1481.
3519:Giorgione
3442:Giorgione
3436:Narcissus
3153:St. Peter
3106:Mona Lisa
3029:Mona Lisa
3017:Portraits
2273:Salvation
2229:with the
1985:, 1420s,
1924:, c.1280
1584:from the
1534:from the
1479:together.
1464:cross-bow
1393:Giorgione
1337:Ecce Homo
1315:from the
1236:Giorgione
1213:Ecce Homo
1154:, c.1510
1133:St Jerome
1035:, c.1300
703:painting.
636:, 1496.
550:Carpaccio
448:limestone
430:Carpaccio
406:Landscape
115:Nicodemus
103:Byzantium
3909:Painters
3719:See also
3548:, 1530s.
3400:The nude
3006:, 1505.
2987:, 1504.
2949:, 1487.
2742:and the
2740:Nativity
2726:Subjects
2671:, 1480s.
2646:Florence
2579:, 1459.
2577:Florence
2556:, 1450s.
2527:Masolino
2514:, 1350.
2491:, 1338.
2405:Perugino
2362:Mantegna
2291:Masolino
2287:Masaccio
2235:and the
2198:for the
2179:frescoes
2101:, 1496,
1979:Masaccio
1841:Mantegna
1835:painter
1833:Milanese
1788:Masaccio
1744:The two
1574:Masaccio
1446:Masaccio
1421:betrays
1374:Mantegna
1353:Mantegna
1309:Masaccio
1227:Mantegna
1198:Masaccio
1169:In this
1129:Leonardo
1111:Leonardo
1048:Masaccio
951:Massacio
896:, c.1510
628:Perugino
569:Mantegna
473:Perugino
469:(above).
440:Mantegna
285:Masaccio
162:Masaccio
70:Medieval
3741:General
3736:Sources
3713:, 1514.
3701:Bellini
3682:Raphael
3617:Bellini
3609:Galatea
3604:Raphael
3560:Galatea
3451:Titian.
3388:Raphael
3278:, 1488.
3259:, 1476.
3145:Raphael
3111:sfumato
3103:In the
3078:tempera
3000:Raphael
2892:, 1470s
2851:Raphael
2718:Vatican
2707:Raphael
2692:Vatican
2669:Vatican
2600:Ferrara
2430:Raphael
2423:Genesis
2371:at the
2331:of the
2315:in the
2210:at the
2142:Raphael
2072:, from
2035:1460s.
2012:Fiesole
1966:, 1310.
1918:Cimabue
1887:Murillo
1878:Raphael
1844:bricks.
1826:Bellini
1805:origin.
1750:Cimabue
1692:Raphael
1601:Antonio
1557:, from
1512:Raphael
1456:Antonio
1219:In his
1160:Realism
1016:, 1287
1010:Cimabue
973:Baptism
933:Cimabue
923:Anatomy
706:In his
692:In his
671:space.
388:Raphael
221:Raphael
4140:Titian
4125:
4111:
4097:
4076:
4062:
4048:
4027:
4013:
3999:
3985:
3971:
3950:
3936:
3922:
3916:Duccio
3901:
3887:
3859:
3845:
3831:
3817:
3803:
3789:
3768:
3754:
3705:Titian
3688:, 1511
3621:Titian
3585:Samson
3540:Titian
3455:Titian
3350:Titian
3132:Titian
2746:. The
2686:, the
2640:, the
2623:Mantua
2571:, the
2554:Arezzo
2548:, the
2529:, the
2460:, the
2458:Giotto
2219:Giotto
2200:Medici
2188:Giotto
2167:, 1517
2127:London
2078:London
1987:London
1958:Giotto
1937:Duccio
1780:Uffizi
1770:Giotto
1528:Giotto
1415:Giotto
1252:Giotto
1175:Giotto
1029:Giotto
945:Giotto
512:Giotto
481:Umbria
243:Giotto
196:Venice
182:loggia
149:Giotto
111:plague
84:Themes
49:Giotto
2825:icons
2489:Siena
2466:Padua
2438:. In
2227:Padua
2103:Paris
2074:Pavia
1734:Milan
1674:from
1423:Jesus
1419:Judas
1075:Pieta
983:form.
962:Pieta
661:Light
4217:help
4123:ISBN
4109:ISBN
4095:ISBN
4074:ISBN
4060:ISBN
4046:ISBN
4025:ISBN
4011:ISBN
3997:ISBN
3983:ISBN
3969:ISBN
3948:ISBN
3934:ISBN
3920:ISBN
3899:ISBN
3885:ISBN
3857:ISBN
3843:ISBN
3829:ISBN
3815:ISBN
3801:ISBN
3787:ISBN
3766:ISBN
3752:ISBN
2711:the
2411:and
2289:and
1945:1285
1870:The
1831:The
1752:and
1603:and
1576:and
1458:and
1258:.
1152:Adam
1109:and
1056:Pisa
740:and
615:.
496:Alps
117:and
88:The
4190:156
3606:'s
3594:'s
3590:In
3578:'s
3457:'s
3412:'s
3408:In
3040:'s
3026:'s
2833:'s
2810:by
2794:'s
2510:at
2387:by
2350:'s
2327:'s
2225:in
2214:.
2202:to
2194:'s
1876:by
1851:'s
1847:In
1824:In
1793:In
1772:'s
1748:by
1724:'s
1632:.
1499:'s
1492:it.
1429:In
1361:.
1340:.
971:'s
967:In
960:'s
956:In
935:'s
917:.
876:.
796:.
751:'s
747:In
719:In
685:In
678:'s
556:.
537:.
432:'s
428:In
375:.
331:.
194:in
164:'s
154:In
147:In
94:by
55:'s
4233::
4206::
4204:}}
4200:{{
4188:.
3707:,
3684:,
3665:,
3646:,
3542:,
3521:,
3502:,
3483:,
3390:,
3371:,
3352:,
3331:,
3312:,
3293:,
3274:,
3255:,
3236:,
3215:,
3196:,
3002:,
2983:,
2964:,
2945:,
2926:,
2907:,
2888:,
2869:,
2709:,
2690:,
2667:,
2663:,
2644:,
2621:,
2617:,
2598:,
2594:,
2575:,
2552:,
2506:,
2487:,
2483:,
2464:,
2407:,
2163:,
2144:,
2125:,
2119:,
2095:,
2076:,
2050:,
2029:,
2010:,
2003:,
1981:,
1960:,
1939:,
1920:,
1698:,
1694:,
1670:,
1655:.
1649:,
1626:,
1611:.
1607:,
1588:.
1580:,
1561:.
1553:,
1538:.
1530:,
1433:,
1399:.
1395:,
1355:,
1334:,
1319:.
1311:,
1296:.
1292:,
1273:,
1254:,
1225:,
1173:,
1150:,
1135:,
1131:,
1113:,
1091:,
1073:,
1050:,
1031:,
1012:.
911:,
872:,
857:.
853:,
838:.
832:,
817:.
811:,
792:,
777:.
773:,
736:,
712:,
698:,
655:.
651:,
630:,
611:,
596:.
590:,
575:.
571:,
552:,
533:,
518:.
514:,
400:.
394:,
371:,
367:,
352:.
346:,
327:,
308:,
287:,
272:.
268:,
253:.
249:,
245:,
105:.
29:,
4219:)
4215:(
4196:.
3438:.
3161:.
2841:.
2803:.
2782:.
2343:.
2301:.
2283:.
1904:.
1678:.
1438:p
1380:.
1277:.
1194:.
1054:(
483:.
210:.
174:.
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