Themes in Italian Renaissance painting

856: 248: 3649: 2643: 3706: 1112: 2509: 2122: 555: 654: 2872: 875: 2891: 1984: 109:(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. 330: 2166: 2712: 894: 517: 3315: 1579: 914: 3334: 3277: 1963: 2620: 3239: 2486: 2053: 3505: 3355: 3486: 3180: 2463: 1525:'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. 1533: 835: 614: 3374: 2948: 3218: 1606: 2098: 1295: 2986: 2929: 1358: 1153: 1094: 1556: 34: 1777:, 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. 2551: 1314: 2967: 1652: 2147: 2532: 814: 2597: 370: 2910: 2032: 3258: 3199: 1053: 2666: 776: 593: 3524: 1034: 3668: 1337: 1923: 1673: 1398: 1629: 1276: 2072: 1134: 1379: 2006: 311: 633: 1257: 271: 574: 1696: 3296: 536: 795: 1942: 349: 2574: 3393: 3478:, 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. 3145:'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. 290: 2689: 1015: 3005: 3687: 393: 1076: 3545: 755:. 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. 3075:, 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. 3623:, 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. 2858:'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. 3162:, 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 3111:'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. 2375:'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. 1514:

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

1808:'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 3032:

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

3152:'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. 1175:

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.

3124:, 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. 1794:

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.

3081:'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. 1448:

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.

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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

3087:'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 247: 855: 1801:, 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. 3064:

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

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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

952:, 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. 2508: 1854:

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

734:'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. 2192:

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

1839:'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. 2838:. 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. 653: 1111: 2711: 1983: 1489:

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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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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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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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.

453:'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 2052: 3314: 3569:

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

913: 3091:, to achieve a subtle and detailed likeness in which the bushy eyebrows, the imperfections of the skin and the shadow of the beard have been rendered with photographic precision. 1477:

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.

2462: 1532: 700:'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. 1962: 740:

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

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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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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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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.

124:. Outside the hall, in the foreground of the painting, stand three men representing those who buried the body of Christ. The two older men, 1357: 3433:. The fact that the Goddess Venus rose naked from the sea provides justification for the nude study that dominates the centre of the work. 2688: 1152: 592: 2394: 1397: 1651: 270: 3523: 603: 469: 2378:

While in the Brancacci Chapel, historians seek to identify the faces of Masaccio, Masolino and perhaps Donatello among the apostles,

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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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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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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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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.

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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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The largest, most time-consuming paid work that an artist could do was a scheme of

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Three large works remain that were painted for a single room for the Este by

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The suggested authorship of this early-16th-century portrait includes

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and the observation of the way distant things are affected by light.

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of the 15th century. Also through this influence came an awareness of

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Giotto uses a few rocks to give the impression of a mountain setting.

253: 206: 192: 159: 59: 2252:. Breaking from medieval tradition, it set a standard of naturalism. 989:

The figure of Jesus in this painting, which is the combined work of

939:

essential part of a student's formal study of the art of painting.

2443:

and a number of his assistants painted the papal chambers known as

2499: 2476: 2237: 2201:'s Proto-Renaissance scheme at Padua and many others ranging from 2113: 2084: 1843: 1744: 1515:

serve to divide the picture into the tormentors and the tormented.

1433: 120:

is also called "scourging". The term "scourge" was applied to the

32: 2290:, shepherding the people of God. The painting includes a view of 1455:

is a remarkably cohesive whole, considering that it was begun by

2835: 1747:, is one of many images that was used in the petitioning of the 1066: 506: 209:, in which the receding figures add to the sense of perspective. 3069:

and the treatment of the rich Florentine brocade of her sleeve.

958:

abandoned the traditional formula and painted from observation.

447:, the desolate rocky landscape echoes the tragedy of the scene. 2322:, closely follows the Legend of the True Cross as written by 2817:

The figures placed at opposing diagonals seen in this early

2426:

all worked on the carefully designed and harmonious scheme.

1459:, left unfinished, vandalised, and eventually completed by 3440:'s picture is unclear. Had the subject been painted by an 4184:. Chicago, IL: University of Chicago Press. p. 71. 3598:

who also was renowned for his strength and slew a lion.

3990:

Paolo Uccello, Domenico Veneziano, Andrea del Castagno

1211:

depicts the grief resulting from loss of innocence as

169:'s fresco, the townscape gives an impression of depth. 87:

evolved a great deal during the period. These include

2410:, was commissioned in the 1480s as decoration to the 1473:, in this highly systemised painting, have taken the 3761:, (1568), 1965 edition, trans George Bull, Penguin, 2783:

The Madonna adoring the Christ Child with two Angels

2282:, which shows the role of the church in the work of 18:

Italian Renaissance painting, development of themes

3864:Harrap's Illustrated Dictionary of Art and Artists 3822:Painting and Experience in Fifteenth Century Italy 3579:was, with several works by Titian, in the home of 3436:Painted thirty years later, the exact meaning of 1496:mastery of complex figure composition, as in his 2761:was commonly depicted in religious refectories. 501:in his view of the precipitous mountains around 497:Leonardo da Vinci, displays a theatrical use of 2977:The Madonna and Child with St. John the Baptist 2789:'s such as this were to particularly influence 195:accurately drafted to create an intimate space. 3836:The Fifteenth Century, the Prospect of Europe 8: 3850:The Renaissance, an Illustrated Encyclopedia 3047:The advantage of a profile portrait such as 83:painter. Certain characteristic elements of 75:The themes that preoccupied painters of the 3058:cast a medal or sculpt an image in relief. 3043:, is open to speculation and controversy. 1727:Through the Renaissance period, the large 3054:Portrait of Sigismondo Pandolfo Malatesta 1593:The Resurrection of the Son of Theophilus 1453:The Resurrection of the Son of Theophilus 3741:Oriental carpets in Renaissance painting 3249:Portrait of Lorenzo di Ser Piero Lorenzi 490:against the familiar hilly landscape of 4182:Piero della Francesca: The Flagellation 4163: 3644: 3481: 3287:Portrait of an old man and his grandson 3175: 2867: 2458: 1918: 1647: 1528: 1463:. Masaccio painted the central section. 1252: 1010: 771: 512: 243: 4222: 4221: 4210: 3887:, (1971) Scala, Florence. ISBN unknown 3796:, (1992) Hugh Lauter Levin/Macmillan, 1789:is now housed in the same room of the 1215:are expelled from the presence of God. 1063:Crucifixion of Santa Maria del Carmine 52:themes in Italian Renaissance painting 50:This article about the development of 4048:, (1980) Specimen/Scala, ISBN unknown 2882:The Madonna and Child with Two Angels 2765:increasingly secular subject matter. 2257:Allegories of Good and Bad Government 846:The Agony in the Garden of Gethsemane 461:prevalent in areas of Northern Italy. 7: 4205:http://www.jstor.org/stable/24241887 4016:Peter Murray and Pier Luigi Vecchi, 3810:, (1970) Harcourt, Brace and World, 3773:A History of Italian Renaissance Art 1850:has drawn on aspects of the work of 3971:, (1988) G. Deganello, ISBN unknown 3120:Leonardo employed the technique of 2395:The Punishment of the Sons of Korah 2340:fresco cycle for the private chapel 1044:The Crucifix of Santa Maria Novella 4100:Gabriel Bartz and Eberhard König, 3824:, (1974) Oxford University Press, 3158:, in this much-copied portrait of 25: 3976:Masaccio and the Brancacci Chapel 3573:for Agostino Chigi and Bellini's 3345:Portrait of Doge Leonardo Loredan 2318:'s fresco cycle in the church of 2232:painted the large, free-standing 2195:Basilica of St. Francis of Assisi 1994:The Madonna of the Pisa polyptych 191:uses the simple motif of a small 4180:Aronberg Lavin, Marilyn (1972). 3704: 3685: 3666: 3647: 3543: 3522: 3503: 3484: 3391: 3372: 3353: 3332: 3313: 3294: 3275: 3256: 3237: 3216: 3197: 3178: 3003: 2984: 2965: 2946: 2927: 2908: 2889: 2870: 2710: 2687: 2664: 2641: 2618: 2595: 2572: 2549: 2530: 2507: 2484: 2461: 2365:at Ferrara, executed in part by 2164: 2145: 2120: 2096: 2070: 2051: 2030: 2004: 1982: 1961: 1940: 1921: 1812:script, probably to suggest her 1694: 1671: 1650: 1627: 1604: 1577: 1554: 1531: 1396: 1377: 1356: 1335: 1312: 1293: 1274: 1255: 1233:Lamentation over the Dead christ 1151: 1132: 1110: 1092: 1074: 1051: 1032: 1013: 912: 892: 873: 854: 833: 812: 793: 774: 664:The Virgin and Child and St Anne 652: 631: 612: 591: 572: 553: 534: 515: 445:Deposition of the Body of Christ 391: 368: 347: 328: 309: 288: 269: 246: 140:Elements of Renaissance painting 3969:Frescoes by Giusto de' Menabuoi 2496:The Allegory of Good Government 54:is an extension to the article 4097:, (1962) Phaidon, ISBN unknown 3878:Florence: the city and its art 2217:'s supreme accomplishment for 1743:but previously in a chapel in 1620:The Martyrdom of St. Sebastian 281:The Presentation of the Virgin 201:has painted a vast space, the 1: 4153:, (1969) Hamlyn, ISBN unknown 3789:, (1968) Abrams, ISBN unknown 3787:Renaissance and Mannerist Art 3678:Pallas Athena and the Centaur 3190:Sigismondo Pandolfo Malatesta 2406:series, which, together with 2278:, completed a huge fresco of 691:Annunciation to the Shepherds 423:Early Netherlandish paintings 62:in the early 14th century to 4146:, (1990) Scala. ISBN unknown 4116:Raphael, the Life and Legacy 4051:Angela Ottino della Chiesa, 3929:, (1979) Thames and Hudson, 3892:The National Gallery, London 3880:, (1971) Scala, ISBN unknown 3838:, (1979) Thames and Hudson, 3775:, (1970) Thames and Hudson, 3365:The Man with the blue sleeve 3229:Portrait of a Lady in Yellow 3099:an old man with his grandson 2850:Early Netherlandish painting 2388:the Birth of the Virgin Mary 2357:The elaborate cycle for the 2081:The Madonna of St. Catherine 1570:The legend of the True Cross 1483:'s long, narrow painting of 1408:Portrait of an elderly woman 1221:painted several versions of 340:Procession of the True Cross 56:Italian Renaissance painting 29:Italian Renaissance painting 4130:Raphael, his Life and Works 1025:The Crucifix of Santa Croce 467:sets the grim scene of the 4284: 4006:, (1985) Scala/Riverside, 3992:, (1991) Scala/Riverside, 3978:, (1990) Scala/Riverside, 3943:, (1991) Scala/Riverside, 3714:, background repainted by 2255:The two large frescoes of 2176:The Madonna of the Harpies 1389:the Circumcision of Christ 43:The Flagellation of Christ 26: 3908:, (1974) Michael Joseph, 3785:R.E. Wolf and R. Millen, 2741:Devotional images of the 2630:The Court of the Gonzagas 2280:the Triumph of the Church 360:The Adoration of the Magi 323:, San Marco's, Florence. 4083:, (1986) Harmony Books, 4046:Il Palazzo di Schifanoia 2561:Legend of the True Cross 2133:The Madonna of the Rocks 1900:and many other painters. 1741:National Gallery, London 505:at the foothills of the 258:Annunciation to St. Anne 4197:The Burlington Magazine 3967:Mgr. Giovanni Foffani, 3906:Lorenzo the Magnificent 3866:, (1990) Harrap Books, 3097:'s tempera portrait of 3015:The Bridgewater Madonna 2402:is one of episodes the 1830:Federico da Montefeltro 1797:A hundred years later, 885:Portrait of a Young Man 745:Ridolfo del Ghirlandaio 499:atmospheric perspective 427:atmospheric perspective 304:, Santa Maria Novella. 134:St. John the Evangelist 3904:Hugh Ross Williamson, 3697:The Triumph of Galatea 3659:Hercules and the Hydra 3655:Antonio del Pollaiuolo 3608:Pallas and the Centaur 3591:Hercules and the Hydra 3205:Antonio del Pollaiuolo 2699:Sistine Chapel ceiling 2346:is a late work in the 2109:Madonna della Vittoria 1908:Madonna of the Harpies 1865:Madonna della Vittoria 1683:The Fall of the Damned 997:Leonardo's picture of 624:St. Francis in Ecstasy 457:formations of the red 102:Flagellation of Christ 47: 4263:Renaissance paintings 4203:: 614–15 – via 4170:John VIII Palaeologus 4093:Ludwig Goldschieder, 4018:Piero della Francesca 4004:Piero della Francesca 4002:Alessandro Angelini, 3941:Duccio di Buoninsegna 3721:The Feast of the Gods 3634:. Of these, Titian's 3186:Piero della Francesca 3103:The Madonna and Child 3049:Piero della Francesca 2897:Andrea del Verrocchio 2557:Piero della Francesca 2320:San Francesco, Arezzo 2316:Piero della Francesca 2310:the Life of St. Peter 2274:at the new church of 2197:. It was followed by 2063:San Giobbe Altarpiece 2038:Piero della Francesca 1821:Piero della Francesca 1765:Duccio di Buoninsegna 1562:Piero della Francesca 1446:Piero della Francesca 1305:the Madonna Trivulzio 1104:The Baptism of Christ 1100:Piero della Francesca 980:Piero della Francesca 820:Piero della Francesca 749:Mariotto Albertinelli 711:Piero della Francesca 644:Adoration of the Magi 488:Adoration of the Magi 218:Adoration of the Magi 107:Piero della Francesca 38:Piero della Francesca 36: 4248:Paintings by subject 4132:, (1985) Chartwell, 4079:Massimo Giacometti, 3957:, (1967) Time/Life, 3808:Art through the Ages 3759:Lives of the Artists 3283:Domenico Ghirlandaio 3264:Antonello da Messina 3085:Antonello da Messina 2916:Antonello da Messina 2803:Antonello da Messina 2769:Devotional paintings 2649:Domenico Ghirlandaio 2452:The School of Athens 2420:Domenico Ghirlandaio 2380:Domenico Ghirlandaio 2348:International Gothic 2304:collaborated on the 2288:the Hounds of Heaven 1870:Francesco II Gonzaga 1737:Madonna of the Rocks 1616:Piero del Pollaiuolo 1471:Piero del Pollaiuolo 1343:Antonello da Messina 1219:Antonello da Messina 1126:The Bapism of Christ 599:Antonello da Messina 465:Antonello da Messina 376:Domenico Ghirlandaio 225:Domenico Ghirlandaio 130:Joseph of Arimathaea 85:Renaissance painting 4253:Italian Renaissance 4142:Mariolina Olivari, 4128:Jean-Pierre Cuzin, 4104:, (1998) Könemann, 3988:Annarita Paolieri, 3955:The World of Giotto 3820:Michael Baxandall, 3792:Keith Chistiansen, 3637:Bacchus and Ariadne 3565:Classical mythology 3431:Classical mythology 3224:Alesso Baldovinetti 3209:Portrait of a woman 3073:Alesso Baldovinetti 2958:The Carrara Madonna 2603:Francesco del Cossa 2523:Santa Maria Novella 2492:Ambrogio Lorenzetti 2367:Francesco del Cossa 2324:Jacobus de Voragine 2276:Santa Maria Novella 2270:, painting for the 2261:Ambrogio Lorenzetti 2157:The Sistine Madonna 2078:Ambrogio Bergognone 1933:The Trinita Madonna 1749:Blessed Virgin Mary 1707:The Battle of Ostia 1519:The Battle of Ostia 901:Giuliano Bugiardini 825:The Emperor's Dream 753:Giuliano Bugiardini 720:Agony in the Garden 584:Agony in the Garden 77:Italian Renaissance 4081:The Sistine Chapel 4055:, (1967) Penguin, 4020:, (1967) Penguin, 3939:Cecilia Jannella, 3852:, (1979) Octopus, 3630:and his successor 3496:The Birth of Venus 3458:The Sleeping Venus 2939:The Benois Madonna 2920:The Benson Madonna 2901:Madonna with Child 2831:was influenced by 2810:in Michelangelo's 2747:Life of the Virgin 2607:Palazzo Schifanoia 2519:The Spanish Chapel 2515:Andrea di Bonaiuto 2408:The Life of Christ 2363:Palazzo Schifanoia 2292:Florence Cathedral 2268:Andrea di Bonaiuto 2243:Life of the Virgin 1974:Ognissanti Madonna 1913:Mannerist painting 1828:, while the donor 1786:Ognissanti Madonna 1757:Enthroned Madonnas 1512:Fall of the Damned 1416:Figure composition 905:Portrait of a Lady 866:Portrait of a Lady 862:Domenico Veneziano 732:Domenico Veneziano 509:in Northern Italy. 149:Linear perspective 48: 4220:External link in 4069:, (1975) Abrams, 4067:Leonardo da Vinci 4053:Leonardo da Vinci 4034:, (1984) Abrams, 4030:Umberto Baldini, 3974:Ornella Casazza, 3771:Frederick Hartt, 3576:Feast of the Gods 3384:Portrait of a man 3321:Leonardo da Vinci 3306:Portrait of a boy 3268:Portrait of a man 3035:Leonardo da Vinci 3023:Secular paintings 2973:Vittore Carpaccio 2935:Leonardo da Vinci 2878:Fra Filippo Lippi 2846:Madonna and Child 2842:Vittore Carpaccio 2823:Leonardo da Vinci 2819:Madonna and Child 2807:Madonna and Child 2743:Madonna and Child 2128:Leonardo da Vinci 1876:Leonardo da Vinci 1733:Leonardo da Vinci 1687:Orvieto Cathedral 1566:The Death of Adam 1543:The Kiss of Judas 1506:At first glance, 1442:The Death of Adam 1301:Fra Filippo Lippi 920:Leonardo da Vinci 760:Leonardo da Vinci 660:Leonardo da Vinci 408:Fire in the Borgo 384:Tornabuoni Chapel 355:Leonardo da Vinci 237:Fire in the Borgo 213:Leonardo da Vinci 16:(Redirected from 4275: 4232: 4231: 4225: 4224: 4218: 4216: 4208: 4192: 4186: 4185: 4177: 4171: 4168: 4144:Giovanni Bellini 4114:David Thompson, 4065:Jack Wasserman, 4044:Ranieri Varese, 3894:, (1977) Scala, 3890:Michael Wilson, 3834:Margaret Aston, 3794:Italian Painting 3757:Giorgio Vasari, 3708: 3689: 3670: 3651: 3581:Alfonso I d'Este 3547: 3526: 3511:Giovanni Bellini 3507: 3488: 3438:Giovanni Bellini 3395: 3380:Andrea del Sarto 3376: 3357: 3340:Giovanni Bellini 3336: 3317: 3298: 3279: 3260: 3241: 3220: 3201: 3182: 3150:Andrea del Sarto 3132:Leonardo Loredan 3128:Giovanni Bellini 3007: 2988: 2969: 2954:Giovanni Bellini 2950: 2931: 2912: 2893: 2874: 2829:Giovanni Bellini 2755:Passion of Jesus 2724:School of Athens 2714: 2691: 2668: 2645: 2622: 2599: 2576: 2553: 2542:Brancacci Chapel 2534: 2511: 2488: 2473:Scrovegni Chapel 2465: 2439:Simultaneously, 2306:Brancacci Chapel 2234:Scrovegni Chapel 2172:Andrea del Sarto 2168: 2149: 2124: 2100: 2074: 2059:Giovanni Bellini 2055: 2034: 2008: 1986: 1965: 1953:Rucellai Madonna 1944: 1925: 1904:Andrea del Sarto 1819:In the hands of 1774:Rucellai Madonna 1711:Raphael's Stanze 1698: 1675: 1654: 1631: 1608: 1597:Brancacci Chapel 1581: 1558: 1547:Scrovegni Chapel 1535: 1521:was executed by 1400: 1381: 1360: 1339: 1328:Brancacci Chapel 1316: 1297: 1278: 1267:The Resurrection 1259: 1155: 1136: 1114: 1096: 1082:Giovanni Bellini 1078: 1055: 1036: 1017: 969:Giovanni Bellini 925:John the Baptist 916: 896: 877: 858: 841:Giovanni Bellini 837: 816: 805:The Annunciation 797: 786:The Annunciation 778: 765:John the Baptist 725:Giovanni Bellini 656: 635: 620:Giovanni Bellini 616: 595: 576: 557: 538: 519: 477:Giovanni Bellini 395: 372: 351: 332: 321:The Annunciation 313: 292: 273: 262:Scrovegni Chapel 250: 203:Piazza San Marco 21: 4283: 4282: 4278: 4277: 4276: 4274: 4273: 4272: 4238: 4237: 4236: 4235: 4219: 4209: 4194: 4193: 4189: 4179: 4178: 4174: 4169: 4165: 4160: 3922: 3883:Luciano Berti, 3876:Luciano Berti, 3806:Helen Gardner, 3754: 3749: 3732: 3725: 3709: 3700: 3690: 3681: 3671: 3662: 3652: 3567: 3560: 3556:Venus of Urbino 3548: 3539: 3527: 3518: 3508: 3499: 3489: 3471:Venus of Urbino 3413: 3406: 3396: 3387: 3377: 3368: 3358: 3349: 3337: 3328: 3318: 3309: 3299: 3290: 3280: 3271: 3261: 3252: 3242: 3233: 3221: 3212: 3202: 3193: 3183: 3148:Superficially, 3141:The subject of 3130:'s portrait of 3030: 3025: 3018: 3008: 2999: 2989: 2980: 2970: 2961: 2951: 2942: 2932: 2923: 2922:, 1465-1470. 2913: 2904: 2894: 2885: 2875: 2776: 2771: 2739: 2732: 2727:in the Stanze, 2715: 2706: 2692: 2683: 2669: 2660: 2653:Sassetti Chapel 2646: 2637: 2626:Andrea Mantegna 2623: 2614: 2600: 2591: 2580:Benozzo Gozzoli 2577: 2568: 2554: 2545: 2535: 2526: 2512: 2503: 2489: 2480: 2466: 2424:Cosimo Rosselli 2384:Sassetti Chapel 2336:Benozzo Gozzoli 2203:Benozzo Gozzoli 2186: 2179: 2169: 2160: 2150: 2141: 2125: 2116: 2104:Andrea Mantegna 2101: 2092: 2075: 2066: 2056: 2047: 2035: 2026: 2016:The Madonna of 2009: 2000: 1987: 1978: 1966: 1957: 1945: 1936: 1926: 1884:Sistine Madonna 1860:Andrea Mantegna 1826:oriental carpet 1725: 1720: 1713: 1699: 1690: 1676: 1667: 1655: 1644: 1632: 1623: 1609: 1600: 1589:Filippino Lippi 1582: 1573: 1559: 1550: 1536: 1461:Filippino Lippi 1418: 1411: 1401: 1392: 1382: 1373: 1369:The Dead Christ 1361: 1352: 1340: 1331: 1317: 1308: 1298: 1289: 1282:Andrea Castagno 1279: 1270: 1260: 1193:Andrea Castagno 1173: 1166: 1156: 1147: 1137: 1128: 1115: 1106: 1097: 1088: 1079: 1070: 1056: 1047: 1037: 1028: 1018: 936: 929: 917: 908: 897: 888: 881:Filippino Lippi 878: 869: 859: 850: 838: 829: 817: 808: 798: 789: 779: 738:Filippino Lippi 706:Emperor's Dream 674: 667: 657: 648: 636: 627: 617: 608: 604:The Crucifixion 596: 587: 577: 568: 558: 549: 546:Franciscan Life 539: 530: 527:Joachim's Dream 520: 419: 412: 401:, completed by 396: 387: 373: 364: 352: 343: 336:Gentile Bellini 333: 324: 314: 305: 293: 284: 274: 265: 251: 199:Gentile Bellini 151: 142: 97: 31: 23: 22: 15: 12: 11: 5: 4281: 4279: 4271: 4270: 4265: 4260: 4255: 4250: 4240: 4239: 4234: 4233: 4187: 4172: 4162: 4161: 4159: 4156: 4155: 4154: 4147: 4140: 4126: 4118:, (1983) BBC, 4112: 4098: 4091: 4077: 4063: 4049: 4042: 4028: 4014: 4000: 3986: 3972: 3965: 3953:Sarel Eimerl, 3951: 3937: 3921: 3918: 3917: 3916: 3902: 3888: 3881: 3874: 3862:Diana Davies, 3860: 3846: 3832: 3818: 3804: 3790: 3783: 3769: 3753: 3750: 3748: 3745: 3744: 3743: 3738: 3731: 3728: 3727: 3726: 3710: 3703: 3701: 3691: 3684: 3682: 3672: 3665: 3663: 3653: 3646: 3643: 3642: 3624: 3612: 3599: 3566: 3563: 3562: 3561: 3549: 3542: 3540: 3535:Sleeping Venus 3528: 3521: 3519: 3509: 3502: 3500: 3490: 3483: 3480: 3479: 3476:Birth of Venus 3463: 3450: 3434: 3426:Birth of Venus 3412: 3409: 3408: 3407: 3403:Pope Julius II 3397: 3390: 3388: 3378: 3371: 3369: 3359: 3352: 3350: 3338: 3331: 3329: 3319: 3312: 3310: 3300: 3293: 3291: 3281: 3274: 3272: 3262: 3255: 3253: 3243: 3236: 3234: 3222: 3215: 3213: 3203: 3196: 3194: 3188:, portrait of 3184: 3177: 3174: 3173: 3160:Pope Julius II 3153: 3146: 3139: 3136:Doge of Venice 3134:, the elected 3125: 3112: 3106: 3092: 3082: 3076: 3070: 3059: 3029: 3026: 3024: 3021: 3020: 3019: 3009: 3002: 3000: 2996:The Doni Tondo 2990: 2983: 2981: 2971: 2964: 2962: 2952: 2945: 2943: 2933: 2926: 2924: 2914: 2907: 2905: 2895: 2888: 2886: 2876: 2869: 2866: 2865: 2859: 2853: 2839: 2833:Greek Orthodox 2826: 2815: 2800: 2794: 2775: 2772: 2770: 2767: 2738: 2735: 2734: 2733: 2716: 2709: 2707: 2693: 2686: 2684: 2676:Sistine Chapel 2670: 2663: 2661: 2659:, 1483-1486. 2647: 2640: 2638: 2624: 2617: 2615: 2601: 2594: 2592: 2578: 2571: 2569: 2555: 2548: 2546: 2536: 2529: 2527: 2513: 2506: 2504: 2490: 2483: 2481: 2467: 2460: 2457: 2456: 2437: 2427: 2414:. The artists 2412:Sistine Chapel 2391: 2376: 2370: 2355: 2352:Three Wise Men 2333: 2313: 2295: 2264: 2253: 2249:Life of Christ 2223:Sistine Chapel 2219:Pope Julius II 2185: 2182: 2181: 2180: 2170: 2163: 2161: 2151: 2144: 2142: 2126: 2119: 2117: 2102: 2095: 2093: 2076: 2069: 2067: 2057: 2050: 2048: 2036: 2029: 2027: 2010: 2003: 2001: 1988: 1981: 1979: 1967: 1960: 1958: 1946: 1939: 1937: 1927: 1920: 1917: 1916: 1901: 1893:Pope Sixtus II 1879: 1873: 1856: 1840: 1833: 1817: 1814:Middle Eastern 1802: 1795: 1778: 1769: 1724: 1721: 1719: 1716: 1715: 1714: 1701:Assistants of 1700: 1693: 1691: 1677: 1670: 1668: 1663:Venus and Mars 1656: 1649: 1646: 1645: 1640:The Entombment 1633: 1626: 1624: 1610: 1603: 1601: 1583: 1576: 1574: 1560: 1553: 1551: 1537: 1530: 1527: 1526: 1516: 1504: 1499:The Entombment 1491: 1486:Mars and Venus 1478: 1464: 1450: 1438: 1417: 1414: 1413: 1412: 1402: 1395: 1393: 1387:, detail from 1383: 1376: 1374: 1362: 1355: 1353: 1341: 1334: 1332: 1318: 1311: 1309: 1299: 1292: 1290: 1280: 1273: 1271: 1261: 1254: 1251: 1250: 1244: 1241: 1228: 1216: 1206: 1196: 1189: 1172: 1169: 1168: 1167: 1157: 1150: 1148: 1138: 1131: 1129: 1116: 1109: 1107: 1098: 1091: 1089: 1080: 1073: 1071: 1057: 1050: 1048: 1038: 1031: 1029: 1019: 1012: 1009: 1008: 1002: 995: 987: 976: 965: 959: 953: 935: 932: 931: 930: 918: 911: 909: 898: 891: 889: 879: 872: 870: 860: 853: 851: 839: 832: 830: 818: 811: 809: 799: 792: 790: 780: 773: 770: 769: 756: 741: 735: 728: 715: 701: 694: 673: 670: 669: 668: 658: 651: 649: 637: 630: 628: 618: 611: 609: 597: 590: 588: 578: 571: 569: 565:The Deposition 559: 552: 550: 540: 533: 531: 521: 514: 511: 510: 495: 481: 474: 462: 448: 437: 434: 418: 415: 414: 413: 397: 390: 388: 380:The Visitation 374: 367: 365: 353: 346: 344: 334: 327: 325: 315: 308: 306: 294: 287: 285: 275: 268: 266: 252: 245: 242: 241: 234:'s design for 229: 222: 210: 196: 186: 170: 163: 150: 147: 141: 138: 96: 93: 72:of the 1530s. 69:Last Judgement 46:, c. 1468-1470 27:Main article: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4280: 4269: 4266: 4264: 4261: 4259: 4256: 4254: 4251: 4249: 4246: 4245: 4243: 4229: 4214: 4206: 4202: 4198: 4191: 4188: 4183: 4176: 4173: 4167: 4164: 4157: 4152: 4149:Cecil Gould, 4148: 4145: 4141: 4139: 4138:0-89009-841-7 4135: 4131: 4127: 4125: 4124:0-563-20149-5 4121: 4117: 4113: 4111: 4110:3-8290-0253-X 4107: 4103: 4099: 4096: 4092: 4090: 4089:0-517-56274-X 4086: 4082: 4078: 4076: 4075:0-8109-0262-1 4072: 4068: 4064: 4062: 4061:0-14-008649-8 4058: 4054: 4050: 4047: 4043: 4041: 4040:0-8109-2314-9 4037: 4033: 4029: 4027: 4026:0-14-008647-1 4023: 4019: 4015: 4013: 4012:1-878351-04-4 4009: 4005: 4001: 3999: 3998:1-878351-20-6 3995: 3991: 3987: 3985: 3984:1-878351-11-7 3981: 3977: 3973: 3970: 3966: 3964: 3963:0-900658-15-0 3960: 3956: 3952: 3950: 3949:1-878351-18-4 3946: 3942: 3938: 3936: 3935:0-500-09135-8 3932: 3928: 3924: 3923: 3919: 3915: 3914:0-7181-1204-0 3911: 3907: 3903: 3901: 3900:0-85097-257-4 3897: 3893: 3889: 3886: 3882: 3879: 3875: 3873: 3872:0-245-54692-8 3869: 3865: 3861: 3859: 3858:0-7064-0857-8 3855: 3851: 3848:Ilan Rachum, 3847: 3845: 3844:0-500-33009-3 3841: 3837: 3833: 3831: 3830:0-19-881329-5 3827: 3823: 3819: 3817: 3816:0-15-503752-8 3813: 3809: 3805: 3803: 3799: 3795: 3791: 3788: 3784: 3782: 3781:0-500-23136-2 3778: 3774: 3770: 3768: 3767:0-14-044164-6 3764: 3760: 3756: 3755: 3751: 3746: 3742: 3739: 3737: 3734: 3733: 3729: 3723: 3722: 3717: 3713: 3707: 3702: 3698: 3694: 3688: 3683: 3679: 3675: 3669: 3664: 3660: 3656: 3650: 3645: 3639: 3638: 3633: 3629: 3625: 3622: 3621: 3616: 3613: 3610: 3609: 3604: 3600: 3597: 3592: 3588: 3585: 3584: 3583: 3582: 3578: 3577: 3572: 3564: 3558: 3557: 3552: 3546: 3541: 3537: 3536: 3531: 3525: 3520: 3516: 3512: 3506: 3501: 3498:, 1482-1486. 3497: 3493: 3487: 3482: 3477: 3473: 3472: 3467: 3464: 3460: 3459: 3454: 3451: 3448: 3443: 3442:Impressionist 3439: 3435: 3432: 3428: 3427: 3422: 3418: 3417: 3416: 3410: 3404: 3400: 3394: 3389: 3385: 3381: 3375: 3370: 3366: 3362: 3356: 3351: 3347: 3346: 3341: 3335: 3330: 3326: 3325:The Mona Lisa 3322: 3316: 3311: 3307: 3303: 3297: 3292: 3288: 3284: 3278: 3273: 3269: 3265: 3259: 3254: 3250: 3246: 3240: 3235: 3231: 3230: 3225: 3219: 3214: 3210: 3206: 3200: 3195: 3191: 3187: 3181: 3176: 3171: 3170: 3165: 3161: 3157: 3154: 3151: 3147: 3144: 3140: 3137: 3133: 3129: 3126: 3123: 3119: 3118: 3113: 3110: 3107: 3104: 3100: 3096: 3093: 3090: 3086: 3083: 3080: 3077: 3074: 3071: 3068: 3063: 3060: 3056: 3055: 3050: 3046: 3045: 3044: 3042: 3041: 3036: 3027: 3022: 3016: 3012: 3006: 3001: 2997: 2993: 2987: 2982: 2978: 2974: 2968: 2963: 2959: 2955: 2949: 2944: 2940: 2936: 2930: 2925: 2921: 2917: 2911: 2906: 2902: 2898: 2892: 2887: 2883: 2879: 2873: 2868: 2863: 2860: 2857: 2854: 2851: 2847: 2843: 2840: 2837: 2834: 2830: 2827: 2824: 2820: 2816: 2813: 2808: 2804: 2801: 2798: 2795: 2792: 2788: 2787:Filippo Lippi 2784: 2781: 2780: 2779: 2773: 2768: 2766: 2762: 2760: 2756: 2752: 2748: 2744: 2736: 2730: 2726: 2725: 2719: 2713: 2708: 2705:, 1508-1511. 2704: 2700: 2696: 2690: 2685: 2681: 2677: 2673: 2667: 2662: 2658: 2654: 2650: 2644: 2639: 2636:, 1471-1474. 2635: 2631: 2627: 2621: 2616: 2612: 2608: 2604: 2598: 2593: 2589: 2585: 2581: 2575: 2570: 2566: 2562: 2558: 2552: 2547: 2544:. 1424-1427. 2543: 2539: 2533: 2528: 2524: 2520: 2516: 2510: 2505: 2501: 2497: 2493: 2487: 2482: 2478: 2474: 2470: 2464: 2459: 2454: 2453: 2448: 2447: 2446:Raphael Rooms 2442: 2438: 2435: 2431: 2428: 2425: 2421: 2417: 2413: 2409: 2405: 2404:Life of Moses 2401: 2397: 2396: 2392: 2389: 2385: 2381: 2377: 2374: 2371: 2368: 2364: 2360: 2359:House of Este 2356: 2353: 2349: 2345: 2344:Medici Palace 2341: 2337: 2334: 2331: 2330: 2329:Golden Legend 2325: 2321: 2317: 2314: 2311: 2307: 2303: 2299: 2296: 2293: 2289: 2285: 2281: 2277: 2273: 2269: 2266:By contrast, 2265: 2262: 2258: 2254: 2251: 2250: 2245: 2244: 2239: 2235: 2231: 2228: 2227: 2226: 2224: 2220: 2216: 2212: 2208: 2204: 2200: 2196: 2191: 2184:Fresco cycles 2183: 2177: 2173: 2167: 2162: 2158: 2154: 2148: 2143: 2139: 2135: 2134: 2129: 2123: 2118: 2115: 2111: 2110: 2105: 2099: 2094: 2090: 2086: 2082: 2079: 2073: 2068: 2064: 2060: 2054: 2049: 2045: 2044: 2043:Brera Madonna 2039: 2033: 2028: 2025:, 1428-1430. 2024: 2020: 2019: 2013: 2007: 2002: 1999: 1995: 1991: 1985: 1980: 1976: 1975: 1970: 1964: 1959: 1955: 1954: 1949: 1943: 1938: 1934: 1930: 1924: 1919: 1914: 1909: 1905: 1902: 1899: 1894: 1890: 1886: 1885: 1880: 1877: 1874: 1871: 1867: 1866: 1861: 1857: 1853: 1849: 1845: 1841: 1838: 1834: 1831: 1827: 1822: 1818: 1815: 1811: 1807: 1803: 1800: 1796: 1792: 1788: 1787: 1782: 1779: 1776: 1775: 1770: 1766: 1762: 1758: 1754: 1753: 1752: 1750: 1746: 1742: 1739:, now in the 1738: 1734: 1730: 1722: 1717: 1712: 1708: 1704: 1697: 1692: 1688: 1684: 1680: 1674: 1669: 1665: 1664: 1659: 1653: 1648: 1642: 1641: 1636: 1630: 1625: 1621: 1617: 1613: 1607: 1602: 1598: 1594: 1590: 1586: 1580: 1575: 1571: 1567: 1563: 1557: 1552: 1548: 1544: 1540: 1534: 1529: 1524: 1520: 1517: 1513: 1509: 1505: 1501: 1500: 1495: 1494:Michelangelos 1492: 1488: 1487: 1482: 1479: 1476: 1472: 1468: 1465: 1462: 1458: 1454: 1451: 1447: 1443: 1439: 1435: 1431: 1427: 1424: 1423: 1422: 1415: 1409: 1405: 1399: 1394: 1390: 1386: 1380: 1375: 1371: 1370: 1365: 1359: 1354: 1350: 1349: 1344: 1338: 1333: 1329: 1325: 1321: 1315: 1310: 1306: 1302: 1296: 1291: 1287: 1283: 1277: 1272: 1268: 1264: 1258: 1253: 1248: 1245: 1242: 1239: 1235: 1234: 1229: 1226: 1225: 1220: 1217: 1214: 1210: 1207: 1204: 1203:Down syndrome 1200: 1199:Filippo Lippi 1197: 1194: 1191:In contrast, 1190: 1187: 1183: 1179: 1178: 1177: 1170: 1164: 1160: 1154: 1149: 1145: 1141: 1135: 1130: 1127: 1123: 1119: 1113: 1108: 1105: 1101: 1095: 1090: 1087: 1083: 1077: 1072: 1068: 1064: 1060: 1054: 1049: 1045: 1041: 1035: 1030: 1026: 1022: 1016: 1011: 1006: 1003: 1000: 996: 992: 988: 985: 981: 977: 974: 970: 966: 963: 960: 957: 954: 951: 950: 945: 942: 941: 940: 933: 927: 926: 921: 915: 910: 906: 902: 895: 890: 886: 882: 876: 871: 867: 863: 857: 852: 848: 847: 842: 836: 831: 827: 826: 821: 815: 810: 806: 802: 796: 791: 787: 783: 777: 772: 767: 766: 761: 757: 754: 750: 746: 742: 739: 736: 733: 729: 726: 722: 721: 716: 712: 708: 707: 702: 699: 695: 692: 688: 685: 684: 683: 680: 671: 665: 661: 655: 650: 646: 645: 640: 634: 629: 625: 621: 615: 610: 606: 605: 600: 594: 589: 585: 581: 575: 570: 566: 562: 556: 551: 547: 543: 542:Paolo Uccello 537: 532: 528: 524: 518: 513: 508: 504: 503:Lago di Garda 500: 496: 493: 489: 485: 482: 478: 475: 472: 471: 466: 463: 460: 456: 452: 449: 446: 442: 438: 435: 432: 431: 430: 428: 424: 416: 410: 409: 404: 403:Giulio Romano 400: 394: 389: 385: 381: 377: 371: 366: 362: 361: 356: 350: 345: 341: 337: 331: 326: 322: 318: 312: 307: 303: 302: 297: 291: 286: 282: 278: 277:Paolo Uccello 272: 267: 263: 259: 255: 249: 244: 239: 238: 233: 230: 226: 223: 220: 219: 214: 211: 208: 204: 200: 197: 194: 190: 187: 184: 180: 179: 174: 171: 168: 167:Paolo Uccello 164: 161: 157: 156: 155: 154:cityscapes. 148: 146: 139: 137: 135: 131: 127: 123: 119: 115: 110: 108: 104: 103: 94: 92: 90: 86: 82: 78: 73: 71: 70: 65: 61: 57: 53: 45: 44: 39: 35: 30: 19: 4213:cite journal 4200: 4196: 4190: 4181: 4175: 4166: 4150: 4143: 4129: 4115: 4102:Michelangelo 4101: 4095:Michelangelo 4094: 4080: 4066: 4052: 4045: 4031: 4017: 4003: 3989: 3975: 3968: 3954: 3940: 3926: 3925:John White, 3905: 3891: 3884: 3877: 3863: 3849: 3835: 3821: 3807: 3793: 3786: 3772: 3758: 3736:Pseudo-Kufic 3719: 3696: 3677: 3658: 3635: 3618: 3606: 3590: 3574: 3570: 3568: 3554: 3534: 3514: 3495: 3475: 3469: 3456: 3424: 3414: 3402: 3383: 3364: 3348:, 1501-1505. 3343: 3327:, 1503-1507. 3324: 3305: 3302:Pintoricchio 3286: 3267: 3251:, 1490-1495. 3248: 3227: 3208: 3169:della Rovere 3167: 3121: 3115: 3109:Pintoricchio 3102: 3052: 3038: 3031: 3014: 2995: 2992:Michelangelo 2976: 2957: 2938: 2919: 2900: 2881: 2856:Michelangelo 2845: 2818: 2811: 2806: 2782: 2777: 2763: 2740: 2721: 2695:Michelangelo 2629: 2518: 2495: 2479:, 1305-1310 2450: 2444: 2430:Michelangelo 2407: 2403: 2393: 2387: 2327: 2309: 2287: 2279: 2256: 2247: 2241: 2215:Michelangelo 2187: 2175: 2156: 2131: 2107: 2091:1490-1505?. 2080: 2041: 2018:San Domenico 2015: 2012:Fra Angelico 1993: 1972: 1951: 1932: 1907: 1882: 1863: 1810:pseudo-kufic 1806:Fra Angelico 1784: 1772: 1771:In Duccio's 1756: 1736: 1726: 1706: 1682: 1661: 1638: 1635:Michelangelo 1619: 1592: 1569: 1565: 1542: 1518: 1511: 1497: 1484: 1452: 1441: 1419: 1407: 1388: 1367: 1346: 1324:Adam and Eve 1323: 1304: 1285: 1266: 1231: 1222: 1213:Adam and Eve 1182:Resurrection 1181: 1174: 1162: 1159:Michelangelo 1143: 1125: 1103: 1085: 1062: 1043: 1024: 1005:Michelangelo 983: 972: 947: 937: 923: 904: 903:and others, 899:Ascribed to 884: 865: 844: 823: 804: 801:Fra Angelico 785: 782:Taddeo Gaddi 763: 718: 705: 698:Fra Angelico 690: 687:Taddeo Gaddi 675: 663: 642: 623: 602: 583: 564: 545: 526: 487: 486:has set the 468: 444: 420: 406: 379: 358: 339: 320: 317:Fra Angelico 299: 280: 257: 235: 216: 189:Fra Angelico 183:Brunelleschi 178:Holy Trinity 176: 152: 143: 118:Flagellation 111: 100: 98: 74: 67: 64:Michelangelo 51: 49: 41: 4268:Iconography 4258:Italian art 3538:, c. 1500. 3405:, 1511-12. 3095:Ghirlandaio 3067:chiaroscuro 2979:, c. 1500. 2774:The Madonna 2759:Last Supper 2584:Magi Chapel 2259:painted by 2207:Magi Chapel 1723:Altarpieces 1718:Major works 1286:Pippo Spano 1069:), c. 1420 949:Crucifixion 679:Chiaroscuro 470:Crucifixion 301:The Trinity 228:structures. 89:perspective 4242:Categories 4223:|via= 4158:References 3885:The Ufizzi 3802:0883639718 3674:Botticelli 3661:, c. 1470. 3603:Botticelli 3587:Pollaiuolo 3517:, c. 1510. 3515:The Mirror 3492:Botticelli 3421:Botticelli 3386:, c. 1510. 3367:, c. 1510. 3308:, c. 1500. 3245:Botticelli 3232:, c. 1465. 3211:, c. 1470. 3192:, c. 1450. 3079:Botticelli 3062:Pollaiuolo 2941:, 1470s. 2884:, c. 1450 2812:Doni Tondo 2797:Verrocchio 2791:Botticelli 2731:, 1509-10. 2672:Botticelli 2613:, c.1470. 2400:Botticelli 2272:Dominicans 2159:, 1513-14. 2140:1483-1508. 2065:, c. 1487. 1848:Bergognone 1729:altarpiece 1679:Signorelli 1658:Botticelli 1508:Signorelli 1481:Botticelli 1118:Verrocchio 999:St. Jerome 991:Verrocchio 455:geological 4032:Primavera 3680:, c.1481. 3530:Giorgione 3453:Giorgione 3447:Narcissus 3164:St. Peter 3117:Mona Lisa 3040:Mona Lisa 3028:Portraits 2284:Salvation 2240:with the 1996:, 1420s, 1935:, c.1280 1595:from the 1545:from the 1490:together. 1475:cross-bow 1404:Giorgione 1348:Ecce Homo 1326:from the 1247:Giorgione 1224:Ecce Homo 1165:, c.1510 1144:St Jerome 1046:, c.1300 714:painting. 647:, 1496. 561:Carpaccio 459:limestone 441:Carpaccio 417:Landscape 126:Nicodemus 114:Byzantium 3920:Painters 3730:See also 3559:, 1530s. 3411:The nude 3017:, 1505. 2998:, 1504. 2960:, 1487. 2753:and the 2751:Nativity 2737:Subjects 2682:, 1480s. 2657:Florence 2590:, 1459. 2588:Florence 2567:, 1450s. 2538:Masolino 2525:, 1350. 2502:, 1338. 2416:Perugino 2373:Mantegna 2302:Masolino 2298:Masaccio 2246:and the 2209:for the 2190:frescoes 2112:, 1496, 1990:Masaccio 1852:Mantegna 1846:painter 1844:Milanese 1799:Masaccio 1755:The two 1585:Masaccio 1457:Masaccio 1432:betrays 1385:Mantegna 1364:Mantegna 1320:Masaccio 1238:Mantegna 1209:Masaccio 1180:In this 1140:Leonardo 1122:Leonardo 1059:Masaccio 962:Massacio 907:, c.1510 639:Perugino 580:Mantegna 484:Perugino 480:(above). 451:Mantegna 296:Masaccio 173:Masaccio 81:Medieval 3752:General 3747:Sources 3724:, 1514. 3712:Bellini 3693:Raphael 3628:Bellini 3620:Galatea 3615:Raphael 3571:Galatea 3462:Titian. 3399:Raphael 3289:, 1488. 3270:, 1476. 3156:Raphael 3122:sfumato 3114:In the 3089:tempera 3011:Raphael 2903:, 1470s 2862:Raphael 2729:Vatican 2718:Raphael 2703:Vatican 2680:Vatican 2611:Ferrara 2441:Raphael 2434:Genesis 2382:at the 2342:of the 2326:in the 2221:at the 2153:Raphael 2083:, from 2046:1460s. 2023:Fiesole 1977:, 1310. 1929:Cimabue 1898:Murillo 1889:Raphael 1855:bricks. 1837:Bellini 1816:origin. 1761:Cimabue 1703:Raphael 1612:Antonio 1568:, from 1523:Raphael 1467:Antonio 1230:In his 1171:Realism 1027:, 1287 1021:Cimabue 984:Baptism 944:Cimabue 934:Anatomy 717:In his 703:In his 682:space. 399:Raphael 232:Raphael 4151:Titian 4136: 4122: 4108: 4087: 4073: 4059: 4038: 4024: 4010: 3996: 3982: 3961: 3947: 3933: 3927:Duccio 3912: 3898: 3870: 3856: 3842: 3828: 3814: 3800: 3779: 3765: 3716:Titian 3699:, 1511 3632:Titian 3596:Samson 3551:Titian 3466:Titian 3361:Titian 3143:Titian 2757:. The 2697:, the 2651:, the 2634:Mantua 2582:, the 2565:Arezzo 2559:, the 2540:, the 2471:, the 2469:Giotto 2230:Giotto 2211:Medici 2199:Giotto 2178:, 1517 2138:London 2089:London 1998:London 1969:Giotto 1948:Duccio 1791:Uffizi 1781:Giotto 1539:Giotto 1426:Giotto 1263:Giotto 1186:Giotto 1040:Giotto 956:Giotto 523:Giotto 492:Umbria 254:Giotto 207:Venice 193:loggia 160:Giotto 122:plague 95:Themes 60:Giotto 2836:icons 2500:Siena 2477:Padua 2449:. In 2238:Padua 2114:Paris 2085:Pavia 1745:Milan 1685:from 1434:Jesus 1430:Judas 1086:Pieta 994:form. 973:Pieta 672:Light 4228:help 4134:ISBN 4120:ISBN 4106:ISBN 4085:ISBN 4071:ISBN 4057:ISBN 4036:ISBN 4022:ISBN 4008:ISBN 3994:ISBN 3980:ISBN 3959:ISBN 3945:ISBN 3931:ISBN 3910:ISBN 3896:ISBN 3868:ISBN 3854:ISBN 3840:ISBN 3826:ISBN 3812:ISBN 3798:ISBN 3777:ISBN 3763:ISBN 2722:the 2422:and 2300:and 1956:1285 1881:The 1842:The 1763:and 1614:and 1587:and 1469:and 1269:. 1163:Adam 1120:and 1067:Pisa 751:and 626:. 507:Alps 128:and 99:The 4201:156 3617:'s 3605:'s 3601:In 3589:'s 3468:'s 3423:'s 3419:In 3051:'s 3037:'s 2844:'s 2821:by 2805:'s 2521:at 2398:by 2361:'s 2338:'s 2236:in 2225:. 2213:to 2205:'s 1887:by 1862:'s 1858:In 1835:In 1804:In 1783:'s 1759:by 1735:'s 1643:. 1510:'s 1503:it. 1440:In 1372:. 1351:. 982:'s 978:In 971:'s 967:In 946:'s 928:. 887:. 807:. 762:'s 758:In 730:In 696:In 689:'s 567:. 548:. 443:'s 439:In 386:. 342:. 205:in 175:'s 165:In 158:In 105:by 66:'s 4244:: 4217:: 4215:}} 4211:{{ 4199:. 3718:, 3695:, 3676:, 3657:, 3553:, 3532:, 3513:, 3494:, 3401:, 3382:, 3363:, 3342:, 3323:, 3304:, 3285:, 3266:, 3247:, 3226:, 3207:, 3013:, 2994:, 2975:, 2956:, 2937:, 2918:, 2899:, 2880:, 2720:, 2701:, 2678:, 2674:, 2655:, 2632:, 2628:, 2609:, 2605:, 2586:, 2563:, 2517:, 2498:, 2494:, 2475:, 2418:, 2174:, 2155:, 2136:, 2130:, 2106:, 2087:, 2061:, 2040:, 2021:, 2014:, 1992:, 1971:, 1950:, 1931:, 1709:, 1705:, 1681:, 1666:. 1660:, 1637:, 1622:. 1618:, 1599:. 1591:, 1572:. 1564:, 1549:. 1541:, 1444:, 1410:. 1406:, 1366:, 1345:, 1330:. 1322:, 1307:. 1303:, 1284:, 1265:, 1236:, 1184:, 1161:, 1146:, 1142:, 1124:, 1102:, 1084:, 1061:, 1042:, 1023:. 922:, 883:, 868:. 864:, 849:. 843:, 828:. 822:, 803:, 788:. 784:, 747:, 723:, 709:, 666:. 662:, 641:, 622:, 607:. 601:, 586:. 582:, 563:, 544:, 529:. 525:, 411:. 405:, 382:, 378:, 363:. 357:, 338:, 319:, 298:, 283:. 279:, 264:. 260:, 256:, 116:. 40:, 4230:) 4226:( 4207:. 3449:. 3172:. 2852:. 2814:. 2793:. 2354:. 2312:. 2294:. 1915:. 1689:. 1449:p 1391:. 1288:. 1205:. 1065:( 494:. 221:. 185:. 20:)

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Knowledge (XXG)

Themes in Italian Renaissance painting

Index