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4192:, an exhilarating challenge on which the artist worked throughout 1503, completing the finishing touches in early 1504. The "colossus", as the sculpture was called at the time, is a triumph of ostentatious anatomical virtuosity, depicting David as a dreamy, already victorious adolescent, a striking departure from the traditional iconography of the athletic biblical hero depicted until then in the prime of life and preparing for battle. The David's limbs are all in tension, and the face is focused, showing maximum concentration, both physical and psychological. The nudity, beauty and sense of domination of the passions in order to defeat the enemy make the David a symbol of the virtue of the Republic, as well as the perfect embodiment of the physical and moral ideal of Renaissance man. The original location on the buttresses of the Duomo was quickly walled up, and the statue was finally placed in front of the
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3264:(c. 1478) is probably his most important work, perfectly in tune with "Laurentian" ideals in which myth reflects moral truths and modern style inspired by Antiquity. Spatiality is barely hinted at, with the scene set in front of a shady copse where nine figures are arranged in a semi-circle. The figure of Venus in the centre represents the axis, with two symmetrical groups on the sides, with rhythms and pauses reminiscent of a musical undulation. The dominant motif is the linear cadence, linked to the metrical aspect, as in the very fine veils of the Graces, with their supple volumes and the search for a type of ideal, universal beauty. The same considerations apply to
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2795:(workshop), which was simultaneously the place of production, trade and formation. The master's journey began in the workshop, where apprentices entered at a very young age, between thirteen and fifteen, in practical contact with the basics of the trade, starting with the humblest tasks such as cleaning and tidying tools, then progressively taking part in the creation and realisation of works. The practice of drawing is essential, whatever the art chosen. Theoretical preparation was limited to a few basic notions of mathematics and geometry. Complex processes such as linear perspective were learned empirically, without any knowledge of theoretical principles.
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1798:'s distinctive trait: his almost obsessive interest in linear perspective. This characteristic, combined with his adherence to the International Gothic style, makes him a figure straddling both figurative worlds. Following a personal artistic path, he uses perspective to situate his figures in a three-dimensional space, while his contemporaries use depth to describe the succession of events in the episode depicted. The intricate construction of his works does not help logical compositional order, but creates fantastical, visionary settings in undefined spaces.
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4270:, which was meant to be a counterpart to the work begun by Leonardo. The artist prepared only a cartoon, which was much admired and studied, but was a victim of its own success, first vandalised and then destroyed. The cartoon had become a fundamental model for the study of the human figure in motion, both for local and for visiting artists. Numerous figures were depicted in extremely lively, dynamic attitudes, with many elements borrowed from antiquity, as evidenced by the few copies and variants studied in the preparatory drawings.
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1590:(1454), which divided the territory into five major states. In the towns, the political class made the decisions, bringing dominant figures to power. Princely families, at the head of city-states, competed to produce the most beautiful expressions of their power. The bourgeoisie, less active, invested in agriculture and behaved like the old aristocracy, far from the ideals of sobriety, stubbornly showing off their wealth. The figurative language of these years is cultivated, ornate and flexible.
916:
883:(1415β1417), created a figure that is "restrained" yet energetic and vivacious, as if it were about to leap from one moment to the next. This effect is achieved by the compact, geometric shapes that make up the statue. The triangle formed by the spread legs in "compass-style", the ovals of the shield and breastplate, the slight lateral deviation of the head in the opposite direction to that of the body, the detail of the neck tendons, the frowning eyebrows and the contrast of the deep eyes.
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2934:, gave rise, among the various doctrines, to those linked to the pursuit of harmony and beauty as a means of accessing higher forms of human or divine love, and happiness. The attempt to reinstate classical philosophy in the field of Christian religion also led to a re-reading of myths as vectors of truth and witnesses to an inaccessible harmony. As a result, mythological scenes began to be commissioned, entering the field of privileged subjects in the figurative arts.
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2578:. Unlike Brunelleschi, Alberti approached architecture not as a practitioner, but as a researcher and theorist. Alberti's particular conception of architecture is based on a purely intellectual activity aimed at creating the project, without ensuring a constant presence on the building site. For him, architecture was a "practical philosophy" nourished by a range of literary, philosophical and artistic experiences, leading to meditations on ethics and aesthetics.
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3618:. In a monumental loggia, an evil judge sits on the throne advised by Ignorance and Suspicion; in front of him is Rancour, the ragged man holding Slander by the arm, a beautiful, richly dressed woman being groomed by Seduction and Deceit. Calumny drags the helpless "slandered" across the ground with one hand, and with the other clutches a flameless torch symbolising false knowledge. The old lady on the left is Remorse, and the last female figure is
2394:(1445β1447), demonstrates his complete mastery of the rules of linear perspective in this painting with three vanishing points. The dominant element of the painting, however, is the play of light falling from above, defining the volumes of the figures and architecture, and minimising linear suggestions: the profile of Saint Lucy, for example, stands out smoothly from the contour line thanks to the contrast of the glow against the green background.
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products of
Florence's mercantile ethics. The guilds representing these interests, from silk and wool merchants to stonecutters and woodcarvers, commissioned most of the public works of the first decades of the 15th century, subjecting them to rigorous control. Like the princes, they competed with each other for prestige, alongside the wealthy Florentine entrepreneurs who built increasingly elaborate palaces and private chapels.
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3624:(Naked Truth), whose gaze turned skyward indicates the only source of Justice. The dense decoration of the architectural elements and the frenzy of the figures accentuate the dramatic sense of the painting. The whole recreates a kind of "tribunal of history", in which the accusation seems directed against the ancient world, whose absence of justice, one of the fundamental values of civil life, is bitterly observed.
2975:, and figurative art, by sending the best artists to the Italian courts. These actions fostered the myth of the Laurentian era as a "golden age", enhanced by the period of peace he managed to maintain until his death, but on the other hand, these actions were also responsible for the weakening of artistic vivacity in Florence, by favouring the rise of other centres, in particular Rome, as a focus for novelties.
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4004:, a painting which was completed much later. Both works are nevertheless faithful to the cartoon exhibited at Santissima Annunziata. In the London cartoon, the figures are tightly packed into a single block and articulated in a rich interweaving of gestures and glances, with fluid modelling of pleats and drapery; very close together in the foreground, the figures are monumental and grandiose as in Leonardo's
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2786:, Alberti paints a portrait of the cultivated, literate, technically adept artist who masters all phases of the work, from idealisation to manual realisation. His portrayal is nevertheless idealised, and would only become truly effective in the 18th century with the dichotomy between artist and craftsman and the distinction between major and minor arts, which in the quattrocento were still unrecognised.
3175:, a theme taken up by other illustrious artists, to which he applied "courtly" canons, in the effigy of a daring, elusive youth revealing unprecedented psychological expressions. The space, which is occupied in a complex manner, solicits various points of view on the part of the spectator. The soft modelling, anatomical precision and psychology of the figure probably influenced Verrocchio's pupil
5119:, but lack of space required an alternative solution with the funerary monuments placed against the walls. In terms of architecture, the layout of the walls differs from Brunelleschi's model in that the windows are inserted in an intermediate space between the lower wall and the large lunettes below the dome. The tombs are attached to the walls, with statues in niches, and take the form of
2005:'s return from exile in 1434, the Florentine Republic remained in place, but Cosimo de' Medici gradually established his de facto power through a subtle strategy of alliances, enabling his most trusted men to control the decision-making bodies while remaining personally aloof from the city government. Cosimo's patronage of the arts began with him, and his behaviour resembled the Ciceronian
5007:, reveals his search for synthetic forms. In this painting, the placement of the figures is governed by an interweaving of almost paradoxical lines, such as the double direction of the ladders set against the Cross. Various figures with forced expressions make frenzied, exalted gestures. In October 1530, Rosso Fiorentino joined Francis I's court. He is considered the founder of the first
1417:(interlocking interiors thanks to artificial perspective), initiating the artistic movement known as the "painters of light" by playing with light and shadow to give depth to his paintings or modelling to his figures, thus abandoning the flat tints of Gothic painting (the only relief previously being given by small white touches on borders or edgings, simulating light).
2979:
allegorical, mythological, philosophical and literary meanings are intricately linked, readable only by the elite who possess the interpretive keys. This difficulty means that today, certain meanings of emblematic works escape us. Art detached itself from public and civil life, focusing on ideals of evasion of everyday existence tending towards harmony and serenity.
3375:(1475β1480). In the latter work, the artist's style is already rapidly maturing towards a greater fusion between the elements of the image, with more sensitive and fluid passages of light and chiaroscuro; indeed, the Virgin emerges from a room in semi-darkness, in contrast to a distant, fantastic landscape that appears through two windows in the background.
1534:, who settled in Florence in 1434, just as the revolution in figurative art was coming to an end. Alberti sought to give a scientific foundation to the work of art. He began to evaluate the results obtained, attenuating the differences between artists in favour of an overall vision which had the "renaissance" as its common denominator. In his treatise
2716:, the artist ignores the rules of perspective, order and harmony. It is difficult to distinguish the main characters in the mass of figures. The composition cuts off parts of the scene, such as the crucified thieves, whose feet alone are visible, giving the sensation of an indeterminate space, amplifying the unbalanced, dramatic pathos of the scene.
4653:, was an ingenious and imaginative artist, capable of creating singular and bizarre works. His work explores religious painting, portraits and mythological pictures. Many of his paintings play on a dualism between charming naivety and troubled eroticism that appears very "modern". Some seem to follow the theme of "Histories of Primitive Humanity".
4855:, signed in 1518, a work typical of Florentine culture, with its pyramid-like construction and figurative plasticity. A certain malaise shortened the artist's presence in France, making his stay a "missed opportunity" (he would remain indebted to King Francis for the sums advanced), according to Vasari, who was recalled to Florence by his wife.
2200:
attitudes, creating an elegant animation never before seen. The modelling of the sculptures is highly sensitive, creating illusionistic effects, far removed from the rational research that had animated the
Renaissance artists of the first generation. The relief on the base features one of the earliest examples of ancient myths reused in
5168:. The general theme is that of the survival of the Medici dynasty and the comfort provided by religion (the Madonna), to which the eyes of the two dukes are eternally turned. The other figurative allegories (of rivers) remain unrealised, as do the bronze bas-reliefs and frescoes which were probably intended to decorate the lunettes.
2531:, with figures clearly delineated by a clear outline, highlighted by cold lateral illumination. The upper part of the cycle contains the Deposition, the Crucifixion and the Resurrection, which, despite their poor state of preservation, highlight episodes with a highly expressive atmosphere, going against the common image spread by
3247:. Botticelli's style is a particular result of all these influences, with the figure seemingly placed on the surface rather than seated on the foreshortened throne, animated by a set of lines that dematerialise its appearance. The fundamental characteristic of Botticelli's style is the drawing and evidence of the contour line.
2158:, who died in Florence in 1458, and his royal household. The chapel is an example of the typical taste of midβ15th-century Florence, characterised by a diversity of materials, techniques, methods of expression and cultural references. Together, they create an elegant, finely staged effect. The architecture is in the form of a
4067:, this choice proved unsuitable. The size of the painting meant that the fires could not reach a sufficiently high temperature to dry the colours covering the plaster, which would then fade or disappear. In December 1503, the artist interrupted the transfer of the drawing from cartoon to wall, frustrated by this new failure.
5183:, has a longitudinal development and numerous windows on all sides, without resorting to the partition into naves. The chording of the walls and the exact replication of the ceiling design in the paving create a geometric sweep of space in conflict with the violent plastic contrasts and strong verticality of the vestibule.
5073:'s, characterised by a rectangular profile that differed from the "gabled" shape of the basilica's naves. The project, which also included a vast decoration of marble and bronze sculptures, went ahead at the end of 1517, but a series of events linked to the supply of materials slowed down the work and pushed up costs.
2961:: he favoured the creation of public works. On the one hand, for Lorenzo, art had an important public function, but one turned towards foreign states, as an ambassador for the cultural prestige of Florence, presented as the "new Athens". To this end, he promoted systematic literary diffusion of Tuscan poetry from the
2897:(cabinetmakers) in Florence. This large number of workshops can be explained by the high demand for work, both in Florence and in other centres of the Italian peninsula. From the 1480s onwards, the greatest Florentine masters were called upon to work abroad on prestigious projects such as the decoration of the
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generates a delicate balance in the alternation of light and shadow. The emotional component is powerful, especially at the point of strength of Saint Anne's gaze turned towards the Virgin. The painting in Paris work is more supple and natural, with elegant attitudes and a deep rocky landscape linked
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Finalmente fece un cartone dentrovi una Nostra Donna et una S. Anna, con un Cristo, la quale non pure fece maravigliare tutti glβartefici, ma finita chβella fu, nella stanza durarono due giorni dβandare a vederla glβuomini e le donne, i giovani et i vecchi, come si va a le feste solenni, per veder le
3362:
In 1469, Leonardo da Vinci entered
Verrocchio's workshop as an apprentice. From the 1470s onwards, he received a series of commissions demonstrating his adherence to the "finito" style, with its meticulous rendering of detail, supple pictorial execution and openness to Flemish influences, such as the
3114:
Pollaiuolo's research into human anatomy enabled him to achieve a realistic representation of movement, struggle and tension, resulting in clean, limpid forms, even in the smallest details. His main characteristic is the strong, vibrant contour line that gives the figures a dynamic tension that seems
228:
Thereafter, the figurative language of the
Renaissance gradually became the most popular and was transmitted to other Italian courts, including the papal court, as well as to European courts, thanks to the movement of artists from one court to another. Contact with these travellers gave rise to local
2912:
For the artists of the "third generation", linear perspective was already a fact, and research now turned to other areas of interest, such as the dynamic problems of figure masses or the tension of contour lines. Isolated, plastic figures, perfectly balanced in a measurable, immobile space, now gave
2472:(1452β1464) marks a turning point in Fra Filippo Lippi's career. In these scenes, human figures and their dynamism dominate the representation, with deep glimpses of architecture built from multiple vanishing points. The stories told are fluid and faithfully convey the human truth of the characters.
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The new generation of painters could not ignore the confrontation with the "greats" and their works that remained in the city. Leonardo, Michelangelo and
Raphael set the standard. Nevertheless, there were trends that attempted to surpass their example, emphasising other characteristics to the point
3926:
for life, although politically insignificant, marked an astonishing revival in artistic production, favouring a resumption of both public and private commissions. Great artists were recalled to
Florence to enhance the prestige of the new republic, generating a rapid and consistent artistic renewal.
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His talent for storytelling and the clarity and attractiveness of his language were the keys to his success. His audience was not to be found in
Neoplatonist intellectual circles, but among the upper-middle class, more accustomed to trade and banking than to ancient literature and philosophy, eager
3481:
To this specificity, from his earliest works he added an attraction for serene, balanced compositions and for the creation of highly expressive portraits from a physiognomic and psychological point of view. On his return from Rome, he enriched his repertoire with reproductions of ancient monuments.
3041:
is developed with terraces on all sides, starting from a base surrounded by a loggia with a continuous arcade. The volume has a square base over two floors, with a large central salon whose height is the same as the height of two floors, with a barrel vault instead of the traditional courtyard. The
2321:
stands out for its originality. It is painted in the narrow corridor on the second floor, lit from the left by the light coming from a small window. Even in the painting, Fra
Angelico seeks to use this same source of illumination, with the shadows of the painted capitals appearing lengthwise on the
1375:
and is traditionally presented as the first modern painter. He introduced the notion of optical truth, perspective and volume into
Western art. Remarkable for his ability to depict the expressions and postures of his figures, he was one of the first to put into practice Brunelleschi's research into
572:
was in vogue in Italy and Europe, a debate was taking place in
Florence on two antagonistic artistic trends: one was inclined to accept the Gothic style adapted to local tradition, the other was inclined to reappropriate the more rigorous manner of the Ancients, restoring Florentia's original Roman
555:
perspective, built using a geometric method perfected at the turn of the century by Filippo Brunelleschi. Its use requires only a basic knowledge of geometry, which probably explains its success. In unison with the mentality of Renaissance man, perspective allows the rational use of space according
461:
had a profound influence on Florentine society, which, fearful of the political crisis sweeping the Italian peninsula, turned to a more austere, fundamentalist religion, in contrast to the humanist ideals inspired by the classical world which had run through the preceding period. Many artists, such
4404:
Raphael worked mainly for private commissions, creating numerous small- and medium-format devotional paintings, especially of the Virgin and Child and the Holy Family. He also painted portraits. In these works, he continually varies the theme, seeking new groupings and attitudes, with a particular
4074:
in the Louvre. The cartoon is lost, and the last traces of the work were probably covered by Vasar's frescoes in 1557. From the preparatory drawings, we can see the marked difference in representation compared to the earlier battle paintings, organised by Leonardo as a staggering whirlwind with an
3974:
Finally Leonardo made a cartoon with the Virgin and a Saint Anne, with a Christ that was not unanimously admired by art lovers, but once the work was finished, men and women, young and old, flocked into the room for two days to see it, as they do to solemn festivals, to see Leonardo's marvels that
2296:
in which typically Gothic rhythms and symmetries are updated by a powerful spatial composition and vivid colour, rich in highlights and shadows that give volume and sensitively highlight materials. His interest in the rendering of luminous phenomena led Fra Angelico in his mature phase to abandon
1593:
Once an anonymous craftsman, the artist became an important figure in society. The great creators were humanists, familiar with ancient culture and often with mathematics. Curious minds, they asserted their identity in their work. Thus, unlike the works of the Middle Ages, their creations are now
1105:
was a leading figure of the early Florentine Renaissance. Initially active as a sculptor, he turned to architecture in the first decade of the 15th century, taking advantage of his travels to Rome to refine his observations on the architecture of ancient monuments, in order to establish practical
515:
The Medici were bankers, not soldiers raised on chivalric ideals, and many of their commissions were more deliberately aristocratic than those of their princely counterparts. Many of the skills that gave Florentine art its distinctive form, such as practical mathematics, letters and numbers, were
4728:
After a four-year break caused by his taking of the vows, and influenced by Savonarola's preaching, Fra Bartolomeo began painting again in 1504. Initially influenced by his master Cosimo Rosselli and the entourage of Domenico Ghirlandaio, he moved towards a severe, essential conception of sacred
2444:, where his attention was focused on volumes, inspired by Masaccio, lighting effects, and the meticulously delineated landscape. The artist was also inspired by the Early Netherlandish masters, as can be seen in the details through the window on the left, the presence of precious objects and the
1521:
The framework that emerged was based on the detachment of radical, innovative artistic positions from those of the humanist world, which in the early decades sidelined the group of innovators, who remained misunderstood. The "old-fashioned" model favoured by humanists offered eclectic, sometimes
795:
Brunelleschi and Donatello were two artists who quickly assimilated the concepts of the new artistic language. Brunelleschi was about ten years older, and was probably the guide and stimulator for his younger colleague, with whom he travelled to Rome in 1409, where they studied ancient works and
1919:
Although Sforzinda was never built, its plan served as inspiration for many future city designs. In the 16th century, for example, military engineers and architects combined the features of Filarete's ideal city with the military defensive fortifications that were widely disseminated throughout
5137:
In 1530, the city was taken over by the Medici, and Michelangelo frantically resumed work until 1534, the year of his final departure for Rome. He created the statues of the two dukes in classical style, showing little interest in achieving accurate likenesses, and the four Allegories of Time,
3743:). During these years, the choice belonged to the party chosen by the patron. So, alongside flamboyant productions for the aristocracy, we also find austere works inspired by Savonarola's preaching. Filippino Lippi worked for both parties. Intense mysticism can be seen in the pair of panels of
2978:
Furthermore, Lorenzo, through his patronage, encouraged a taste for objects rich in philosophical meaning, establishing an intense, daily confrontation with the artists in his circle, seen as creative authorities on beauty. The result is a sophisticated and scholarly precious language in which
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In this case, the products were often copies of well-known original works. Even the most innovative pieces ended up in the common catalogue and were thus reproduced. Motifs were taken up and revisited in all disciplines, and models were frequently found indiscriminately in painting, sculpture,
2597:, he unified various existing buildings, concentrating above all on the facade, composed of a grid of horizontal and vertical elements between which windows are inserted. Using classical elements such as portals, cornices and capitals, he added elements from the medieval tradition, such as the
1060:
dance frenetically against a mosaic-decorated background. The construction with small columns in the foreground creates a kind of scene delimited by the frieze, which runs along diagonal lines that contrast with the straight, perpendicular lines of the cantoria's architecture. The movement is
3770:
that we can detect what was to become the signature characteristic of Filippino's style: Botticellian elegance and simplicity is complicated by the introduction of ever more detail and fantastic architecture, "where he deploys astonishing archaeological splendour". In this way, he creates an
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is situated. The theatrical space is completed by a curtain held on either side of the great arch by two painted angels. Each decoration contributes to the staging of the Cardinal's "triumph of the afterlife". The overall style is characterised by the richness of the figures and their supple
1049:, the text of which is inscribed in capital letters on the bands above, below and beneath the corbels. The sculpted groups of young people singing, dancing and playing have the classic ordered beauty that, animated by their natural position, expresses feelings in a calm and serene manner.
2308:, which began in 1436 and lasted until the 1450s, was an important work for the Florentine Renaissance. Fra Angelico and his workshop created a cycle of frescoes that were intended to be a source of meditation and prayer for the monks. The scenes, intended for the monks' cells, show
4989:, also a pupil of Andrea del Sarto, shared Pontormo's artistic path until 1523, when he left Florence for Rome. He participated in all the innovations of the period, revising traditional concepts. He focused on expressive, almost caricatural distortion, by drawing on the works of
1900:, a city that was never built. Despite the many references to medieval symbolism incorporated into Sforzinda's design, the principle of the city became, during the Renaissance, the archetype of the humanist city. The treaty attracted the interest of important rulers such as
2518:, close to Masaccio in terms of the power of the model, developed a rigorous style based on accentuated contrast and a more dramatic rendering through the use of high-contrast tints. His figures are realistic, and their sometimes exasperated attitudes reach expressionism.
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background encouraged him to consolidate the advances of the Renaissance, especially the use of perspective and realism, with the values of the medieval world, such as the didactic function of art. In the 1440s, his production moved towards "light painting", influenced by
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As early as 1520, a letter from the artist, in which he complained about the delay in the facade project, tells us that studies for the chapel had already begun. The chapel was similar in shape and symmetrical to Brunelleschi's Old Sacristy, built a century earlier.
2075:(1459), decorated on his initiative. In the sumptuous procession of the Magi appear members of the Medici family and their supporters, transported into the sacred episode in which myth becomes a pretext for representing the glittering bourgeois society of the time.
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It was in this context that Donatello and the slightly younger Nanni di Banco were formed. The two artists began to collaborate. Between 1411 and 1417, both worked at Orsanmichele, making it possible to compare their main works and their individual characteristics.
3728:, was one of the first artists to express a sense of unease in his style. Probably present in the Sistine Chapel alongside Botticelli during his stay, he enriched his repertoire with archaeological references, inspired by a desire to commemorate the ancient world.
3391:(c. 1475). The similarities between these two works can also be seen at iconographic level, if we consider that Leonardo's painting was originally larger in size, with the presence of the hands in the lower part, of which a study of hands on paper remains in the
2374:
style, unifying the view from the small details in the foreground to the landscape in the background. The work must have pleased the client, for in the following years Domenico was commissioned to decorate the church of Sant'Egidio. The fresco cycle, in which
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Fra Filippo Lippi had a great influence on Florentine artists, emphasising the research of poses and the predominance of contour. This dominant trend was opposed by a minority of artists who sought harmony between limpid colours and pure volumes, proposed by
3256:(c. 1483β1485), for example, he experimented with optics, with figures that appear as if reflected in a convex mirror, and whose dimensions are greater than those at the centre, thus moving away from the rational, geometric space of the early Quattrocento.
1502:
in 1425, still very much in the International Gothic style. The work comprises several scenes placed side by side, where the eye is lost in a myriad of small details and anecdotal scenes, organised in a manner faithful to the Byzantine literary model of
4446:). From Leonardo, Raphael adopted the principles of plastic-spatial composition, but avoided allusions and symbolic implications. Moreover, he preferred spontaneous, natural feelings to "Leonardian indefiniteness". This is evident in portraits such as
1130:. The clarity of his architecture is a function of a precise harmonic union of the various parts of the building, which does not come from geometric forms, but emerges from the simple and intuitive repetition of the basic measure, often the Florentine
3558:. In 1496, Savonarola openly condemned Neoplatonic and humanist doctrines, urging a vigorous reform of ascetic practices and customs. The exaltation of man and beauty was rejected, as was all production and collecting of "profane art", leading to the
3601:'s last works are all characterised by religious fervour, and reflect a rethinking of the principles that had guided the artist's previous activity. The return to early Quattrocento modes highlights the abandonment of traditional figurative systems.
2057:, son of Cosimo, the taste for the "intellectual" became more pronounced. Public works tended to focus on the collection of precious and often small objects, sought more for their intrinsic value than for their rarity, demonstrating social prestige.
3277:
The first symptoms of a crisis were already apparent in Florence with the death of Lorenzo the Magnificent and the establishment of Savonarola's republic. This gradual shift was already evident in the work of other artists such as Filippino Lippi.
547:
used to organise space, in the attention paid to the human being as an individual, concerning anatomy and physiognomy as well as the representation of emotions, and in the rejection of decorative elements with a concentration on the essential.
3827:, where the artist became aware of the indissoluble unity between the images of myths and the passions that animated them, rapidly becoming capable of reviving the classical style without being a passive interpreter copying a repertoire. The
3168:
Andrea del Verrocchio, a versatile artist skilled in drawing, goldsmithing, painting and sculpture, was inclined towards naturalism and rich ornamentation. During the 1470s, he produced elegant works that gradually became monumental, such as
1751:
was a sculptor and architect, a great connoisseur of Ghiberti, Donatello and Brunelleschi, with whom he collaborated. A connoisseur of the Gothic tradition, he used the new concepts of the Renaissance to refine and enrich the old tradition.
1408:
style. In his early works as an illuminator, he created elongated geometric figures with simple, heavily pleated clothes and luminous colours in a well-defined space. These elements can also be found in his early works on panel, such as the
4749:
A trip to Rome allowed him to see the works of Michelangelo and Raphael at the Vatican, which, according to Vasari, disturbed him to such an extent that he eventually withdrew into himself, diminishing his vigour and innovative enthusiasm.
4954:. His choice of a model from beyond the Alps, already very popular throughout northern Italy, confirmed his break with the traditional canons of the Florentine Renaissance. This choice of new reformist ideas from Germany was criticised by
1831:
2544:, he accentuates expressive values through the foreshortening of the Cross and the realism of the figures. His style, little appreciated in Florence where the dominant taste preferred the harmony of light hues, was the foundation of the
1142:
with a square plan. The module is based on the length of the column, which determines both span and depth. The space thus appears clear and measurable to the naked eye, with a harmonious rhythm highlighted by a few decorative elements.
620:, a pyramid-shaped scene, with attention drawn to the intersection of the perpendicular lines of Abraham's hands, the angel and Isaac's body, the central point of the scene, according to a less elegant but more disruptive expressivity.
4814:
Andrea del Sarto knew how to reconcile the chiaroscuro of Leonardo, the plasticity of Michelangelo and the classicism of Raphael, thanks to an impeccable execution, free and supple in its modelling, which earned him the appellation of
2109:
theorised by Alberti, i.e., the reproduction of similar models with slight modifications and evolutions in order to satisfy taste through a donor fashion effect. In this respect, the evolution of funerary monuments is exemplary, from
2805:
Works commissioned by contract, in which the characteristics of the object, the materials used, the execution time and the terms of payment are precisely listed. The workshop often has complete freedom in matters of composition and
196:
during the period from approximately the beginning of the 15th century to the end of the 16th. This new figurative language was linked to a new way of thinking about humankind and the world around it, based on the local culture and
1561:
in 1462. His writings served as the basis for the training of subsequent generations, facilitating the dissemination of Renaissance precepts and the transformation of the artist from "medieval craftsman" to "modern intellectual".
2426:
and, above all, by Masaccio. He mastered the expressions and postures of characters, and put into practice Brunelleschi's research into perspective. Later, Early Netherlandish painting and Fra Angelico also influenced his style.
4501:
organised around the central point constituted by the Virgin's throne, with a grandiose architectonic background cut into the sides to amplify its monumentality. The work was a model for the following decade for artists such as
669:
The first phase of the Renaissance, which developed in the 1430s and 1440s, was a period of experimentation, characterised by a technical and practical approach in which innovations and advances were taken up by local artists.
3819:
in Santa Croce and Masaccio at the Brancacci Chapel. Already in these early works, he shows a facility for assimilating the fundamental stylistic elements of the masters, particularly regarding plastic and monumental aspects.
492:, now a cardinal, intimidated the population with the Sack of Prato in 1512, and was given the keys to the city. He became pope under the name of Leo X in 1513, and governed the city from Rome through members of his family.
3581:
These tragic events had consequences for artistic production, both in terms of new demands from patrons who were followers of Savonarola and for the religious crisis and new spiritual orientation of certain artists such as
796:
sought to discover the techniques that made such creations possible. Despite their similar way of thinking, their different temperaments and sensibilities meant that their artistic works had very different characteristics.
3482:
All these characteristics, combined with his ability to organise an efficient workshop with his brothers, made him the main artist in demand by Florentine high society clients during the 1480s. From 1482, he worked on the
4150:
2775:
The quattrocento saw an important evolution in the image of the artist. The figure of the manual craftsman producing "objects" on commission evolved towards a more intellectual conception aspiring to become part of the
1650:
The relationship of relief according to the feigned distance of the planes, the calculated passage from the ronde-bosse to the bas-relief and finally to the almost flat modelling of the medal, the rigorous flow of the
6047:
Balard, Michel; GenΓͺt, Jean-Philippe; et al. (Initiation Γ l'Histoire) (1988). "XXIII/4 : La vie religieuse, intellectuelle et artistique ; paragraphe : La Renaissance italienne dans les arts".
6016:
Balard, Michel; GenΓͺt, Jean-Philippe; et al. (Initiation Γ l'Histoire) (1988). "XXIII/4 : La vie religieuse, intellectuelle et artistique ; paragraphe : La Renaissance italienne dans les arts".
1483:
The innovators of Florentine art were held in high esteem and influenced artistic production. Clients, on the other hand, favoured less radical changes. The best example is that of the wealthy humanist merchant
3771:"animation", mysterious and fantastic, but his disturbing style also shows unreality in a kind of nightmare. He depicts deformed, merciless executioners with dark faces who threaten the saints. In the scene of
420:, was a period of peace, prosperity and cultural refinement. Florence became an influential centre, exporting its art and know-how to the other courts of Italy and Europe by sending its artists and scholars as
3870:, it shows, in addition to a certain virtuosity, the ability to transmit an impression of blocked energy, given by the unusual position of the Virgin and Child, who seem to show their shoulders to the viewer.
1707:
and Renaissance styles. In his works created after the end of his collaboration with Masaccio, he developed a style that was easy to assimilate in places where Gothic culture was still predominant, such as in
221:'s innovations in the figurative arts at the very beginning of the 15th century were not immediately accepted by the community, and for some twenty years remained misunderstood and in the minority compared to
4481:
from the Florentine church of Santa Chiara. The artist thus created a dramatic, dynamic monumental composition in which clear signs of Michelangelo's style and of antiquity shine through, particularly in the
3701:
327:. Nevertheless, the Florentines held on to their independence. With the death of Visconti in 1402 and the loosening of the military stranglehold on the city, economic recovery resumed and Florence conquered
232:
The Florentine Renaissance was divided into several periods. Until the middle of the 15th century, this movement was based on technical and practical approaches, then a second phase covering the period of
3378:
The rapid maturation of Leonardo's style brought him into confrontation with his master. In the past, a series of sculptures by Verrocchio have been attributed to the young Leonardo, such as Verrocchio's
2212:
descent, a symbol of resurrection and moral strength, the charioteer on the chariot (a Neoplatonist symbol of thought that guides the soul and dominates the passions), the unicorns clashing (a symbol of
1543:
Alberti sought out the objective foundations and philosophical path that allowed the Renaissance to blossom, confronting technical and aesthetic themes. He dedicated himself to the three "major arts":
811:, which leaves his colleague shocked. In reality, it seems that the two pieces were not produced at the same time, and the gap would be around ten years, but nonetheless the anecdote remains eloquent.
5186:
As Vasari reminds us, Michelangelo's architecture at San Lorenzo had a strong influence on the artistic culture of the time, introducing the theme of "licence" into classical architectural language.
2737:
2639:, Giovanni Rucellai's funeral monument, Alberti used the white and green marble marquetry of the Florentine Romanesque tradition, creating a classical structure whose dimensions are derived from the
1812:
4199:
The work aroused great enthusiasm, establishing the artist's reputation and securing him a large number of commissions, including a large series of Apostles for the Duomo, of which he only sketched
2094:, which was destroyed in 1659. He was also a great bibliophile: Filarete tells us that he looked at his books "as if they were a pile of gold". He was also a scholar, like his father, the patron of
3142:
The Pollaiuolo brothers were among the first to use an oil base in both the preparation of the wood supports and the execution of the colours, achieving a brilliance reminiscent of Flemish works.
4785:
Experimenting with new iconographies and techniques, his first works can be found in the Chiostrino dei Voti (Cloister of the Vows) in Santissima Annunziata and in the monochrome frescoes in the
1771:, in which Michelozzo closely blended the sober Florentine Gothic style with the new classical trends inspired by Antiquity. Michelozzo thus played an active role in the spread of the new style.
1586:
The next phase took place around 1450, with a more intellectual codification of the previous innovations. During these years, the political situation on the Italian peninsula stabilised with the
814:
Donatello's Crucifix focuses on human suffering, emphasising aesthetics: the muscular contractions underline the moment of agony, and the body is heavy and graceless, but exudes vigorous energy.
820:
The proportions are carefully studied: the span of the open arms is the same as the height of the figure, the bridge of the nose points to the barycentre of the navel, recalling the typology of
4764:
3578:
on 23 May 1498. This execution reinforced the spiritual misguidance and social crisis that would forever undermine the humanist certainty which was the foundation of the early Renaissance.
2034:, satisfying the demands of a cultivated environment. The figure's heroic nudity was revolutionary at the time, counterbalancing the androgynous nature of the sculpture. Thus, according to
1451:, the figures are dilated with strong contrasts and the use of colour. In the group of wingless angels and in the saints depicted as children, lively expressions appear, reminiscent of the
4860:
241:, who had a profound and lasting influence on many artists, calling into question freedom of choice through the establishment of a theocratic state in Florence. From 1490 to 1520, the
3407:(1475β1478), a collaborative work between the two artists, marks the closest point of contact; however, in 1482 Leonardo's Florentine experience came to an end when, having begun the
4228:, the cold rigidity of Mary contrasts with the dynamism of the Child, who seems to project himself towards the viewer, taking on symbolic meanings. Their figures are inscribed in an
1357:
in detail: "It is a barrel vault, drawn in perspective, and divided into coffers decorated with rosettes that diminish, so that it looks as if the vault is sinking into the wall."
5291:
was legitimized in particular by the multiple tax levies attributable to the financial costs of the wars of the 1420s, but also to the investments made in new monumental edifices.
864:
Both artists reject Gothic concepts, taking their inspiration from ancient art. They place the figures freely in space, amplifying their plastic force and physiognomic rendering.
4276:
4123:
3982:
1790:
1655:, the suggestion in bronze of an aerial landscape struck the popular imagination like a miraculous revelation; the gates of the baptistery were henceforth the gates of Paradise.
1347:
1458:
Fra Filippo Lippi is renowned for his numerous depictions of the Virgin Mary. These are famous for the elegance of their silhouettes and the delicacy of their facial features.
824:, but with a slight twist to the left creating various "points of view", generating space around it, thus inviting the viewer to make a semicircular journey around the figure.
5049:
created the ephemeral facade for the unfinished cathedral. This work impressed the Pope, who soon afterwards launched a competition for another unfinished facade, that of the
4251:, it is difficult to determine whether Michelangelo intended to draw inspiration from Leonardo's atmospheric sfumato. A clear reaction to such a suggestion can be seen in the
1847:
3063:
The villa is open to the garden owing to the loggia, which allows a gradual transition from the inside to the outside. This feature, combined with ancient techniques such as
1293:, while Masaccio was already developing a mode of painting that created solid figures with shadow effects reminiscent of sculptures coherently placed in the pictorial space.
673:
The first art form to develop this new artistic language was sculpture. The local presence of ancient works facilitated this development. As early as 1410β1420, the sculptor
1615:
continued the modernist tradition, updating it in line with the new precepts of humanist culture and perspective. Following the construction of the north door of Florence's
388:
backfired on him and he was forced into exile. Nevertheless, the dissatisfied population chased away his enemies and forced his return. Received with acclaim, he was dubbed
380:
began to take political action, bringing in men he trusted, while he remained in the second line, but the confrontation with Florence's other powerful families, such as the
4401:. In Florence, Raphael studied the local artistic tradition from the quattrocento to the most recent innovations, demonstrating an extraordinary capacity for assimilation.
4908:, but he then began a process of renewing traditional patterns. The spatial and narrative organisation of episodes becomes more complex than that of his colleagues, as in
4851:
4023:. Leonardo's example had a strong impact on local artists, revealing a new formal universe that opened up unexplored new horizons in the field of artistic representation.
3855:
in Rome, who, once his anger had passed after the discovery of the deception, wanted to meet the artist by bringing him to Rome, where he produced his first masterpieces.
951:
1192:, through its dimensions, the techniques employed and the quality of the work carried out. It brings into play his conception of an open, "rationally decomposed" space.
4115:
3637:(1501), where spatial distances become confused, proportions are dictated by chosen hierarchies and the expressive poses, often accentuated, end up appearing unnatural.
1256:, whose activity was concentrated on a short period from 1422 to 1428, was an important figure in the Florentine Renaissance. In 1417, he was in Florence, where he met
4642:
many other artists worked in Florence. They often brought with them alternative styles and content, but did not leave their mark on the period in any significant way.
1993:
The next generation of artists continued to spread the new style, influenced in its orientation by the social and political climate and by the new demands of clients.
2870:, an interpreter of measure between idealisation, naturalism and virtuosity, created a series of busts with flexible lines and rich descriptive details. In painting,
1384:
Masaccio's first disciples were some of his pupils and the artists who studied the master's innovations in the Brancacci Chapel. Among these, the most prominent were
3628:
2608:
At Santa Maria Novella, the facade has remained unfinished since 1365, its progress reaching as far as the first order of arcades, with certain elements such as the
4649:, the last great artist of the Florentine art tradition that stretches from Filippo Lippi to Botticelli and Ghirlandaio. Piero, who owes his nickname to his master
2009:
model of seeking the common good and moderation, rejecting personal prestige and the display of wealth. Based on these principles, he commissioned major works, had
2317:
2249:
1110:
to design military works such as the fortifications of Staggia, and Vicopisano, before turning his attention to the problem of the dome of Santa Maria del Fiore.
3506:
to see themselves portrayed as participating in sacred stories, and little inclined to the frivolities and anxieties that ran through the minds of painters like
2709:
2656:
2180:
4342:
9485:
2667:
The gap between the artists of the first humanism and those of the new generation, oriented towards a varied and decorated artistic taste, became evident when
2297:
indistinct, generic illumination in favour of a careful, rational rendering of light and shade, where each surface is associated with its own specific lustre.
821:
3873:
In the following years, moved by Savonarola's preaching, Michelangelo abandoned secular subjects and charged his works with psychological and moral meanings.
1440:
Fra Filippo Lippi was initially influenced by Lorenzo Monaco and above all by Masaccio, of whom he was a pupil and whom he had seen working at the convent of
4533:
4466:
1296:
This strength in the construction of the figures and their position in space, which emphasises their expressions and postures, was further developed in the
3067:
and Ionic elements, made the villa at Poggio a Caiano a model for private villa architecture, which was exported to other towns in the Veneto and to Rome.
2967:
2351:, which was particularly in vogue at the time and aroused considerable interest among collectors, as it met the taste for variety which was then dominant.
3643:
2060:
Piero de' Medici ruled Florence for five years (1464β1469). He adopted the refined fashions of the aristocratic courts, emulated by the city aristocracy.
1164:. This was the first centrally planned Renaissance building: a cube surmounted by a hemispherical dome with a figurative sky, the vaults of which rest on
647:
616:, with an abandonment of physical beauty and perfection, without expression or implication, while Brunelleschi's work is inspired by the ancient style of
5422:
Delays in the work bogged down the funereal architectural project, which was probably thwarted by the papacy's budgetary vacuity at the beginning of the
4789:. The modernity of his language, narrative style and well-ordered rhythms soon made him a point of reference for a group of contemporary artists such as
3182:
During the 1470s, Verrocchio's versatile workshop was one of the most sought-after in Florence, a melting pot for new talents such as Leonardo da Vinci,
2468:
2863:
The end of the 15th century saw a slowing down in the innovative process, as taste took on more varied forms compared to the rigour of the early years.
831:, Brunelleschi's Crucifix is "the first work of Renaissance style in the history of art", and a point of reference for later developments by Donatello,
4394:
3130:
2455:(1438), where the unity of the scene is the result of the rhythmic evolution of the contours. Light seems to envelop the figures from the drawing in a
2225:, symbols of purity and the immortality of the soul. The symbolic ensemble alludes to the young prelate's moral virtues, victory over the passions and
8734:
Balard, Michel; GenΓͺt, Jean-Philippe; et al. (Initiation Γ l'Histoire) (1988). "Chapter XXIII: La vie religieuse, intellectuelle et artistique".
3320:
1756:
commissioned his most important works, including the construction of his own palace and the restructuring of the old Dominican convent and library of
704:
The best creations are the result of artistic competitions between artists asked to work "face to face" on identical or similar subjects, such as the
853:
with statues of their patron saints. The project was added to that of the Duomo, which at the time was carried out in a style similar to the work of
6138:
4858:
In Florence, he gradually turned to revising old designs, entrusting their execution to his workshop, with the exception of a few works such as the
2387:
also participated, has been lost. During these years, Domenico Veneziano developed a palette of light tones that seem to be imbued with pale light.
2162:, with each arm featuring a different decoration. The whole is unified by a continuous frieze featuring the Portuguese royal arms and by the use of
4929:
Pontorno meticulously studied his subjects, and his work is the result of a mental process whose figures possess a suspended, crystallised beauty.
1368:. Some critics believe that Brunelleschi himself drew the perspective lines; others maintain that Masaccio interpreted Brunelleschi's innovations.
909:
behind the figures in order to highlight the centre of the action, creating a contrasting effect, as if the space were revealed behind the figures.
3107:, whose most renowned member was Antonio, active in sculpture, painting and graphic arts. For Lorenzo de' Medici, he created the bronze statuette
298:
of 1378, an economic recovery began in Florence. The population began to grow, and public works began again under the initiative of the bourgeois
4141:
3996:
3403:
2284:
1113:
In his architectural work, he addresses technical-structural issues by strictly associating them with the forms' stylistic characteristics. Grey
4729:
images, opening himself up to the suggestions of the "greats", in particular Raphael, with whom he had made friends during his Florentine stay.
1926:
9261:
8819:
8796:
5435:
To get around this space restriction, Michelangelo opted for an architectural plan featuring two interlocking volumes: a cube topped by a dome.
3952:
2601:
and geminated windows, creating a varied and elegant aesthetic result, thanks to the variation of light between the light, smooth areas of the
9063:
1877:
Filarete was probably a pupil of Lorenzo Ghiberti during the casting of the North door of the Florentine Baptistery. In 1433, he travelled to
817:
Brunelleschi's Crucifix, on the other hand, is more idealised and calibrated, its perfect forms echoing the divine perfection of the subject.
8460:
4926:
is overturned, with the figures arranged along diagonal lines and the wide-eyed, worried expressions of the figures reminiscent of Leonardo.
1522:
opposing points of view. Artists could draw inspiration from this heritage, choosing what best suited the taste and mentality of the moment.
504:
2217:) and the genii seated on leonine heads (a symbol of strength). In the centre, above the garland, is a skull surrounded on either side by a
576:
These two trends can be seen in the construction of the Porta della Mandorla (1391), where, alongside Gothic spirals and ornamentation, the
9402:
2822:
2817:, votive images and furniture, which were usually produced without a specific order. Mass-produced pieces, such as Madonnas in stucco, raw
2620:), with pillar-column motifs on the sides. The upper area is separated from the lower by a cornice with a square inlaid band. The two side
2616:
decoration in bichromatic marble and leaving the small lower arcades, inserting a classical portal in the centre (derived from that of the
3858:
But alongside these lively, vigorous works, Michelangelo demonstrates an ability to adopt a variety of languages, as in the more intimate
3758:
Filippino Lippi set his figures in a landscape that recreates the ancient world down to the smallest detail, showing the influence of the
3385:(1475β1480), in which the tender rendering of the marble seems to evoke the atmospheric effects of Leonardo's pictorial works such as the
9596:
4477:
3111:(c. 1475), in which the mythological motif is represented by a play of interlocking broken lines, generating tensions of great violence.
2440:
1557:
1498:
1475:
1278:
5481:
2722:
629:
6818:
3673:
7072:
5580:
4622:
2508:
5783:
6518:
6358:
5100:(a nephew of Leo X), died; this jeopardised the Medici dynasty, coming as it did three years after the death of the Pope's brother
4892:
3823:
Under the protection of Lorenzo de' Medici, Michelangelo studied the classical models available to the Medici in the garden of the
2906:
2835:
1308:
in 1481 and 1482. The work is considered crucial to the renewal of painting, and was studied by generations of painters, including
992:
237:'s reign, from 1450 to 1492, was characterised by mainly intellectual contributions. The third phase was shaped by the precepts of
6968:
5666:"Anthony Molho. Florentine public finances in the early Renaissance, 1400β1433. Cambridge (Mass.), Harvard University Press, 1971"
5601:"Anthony Molho. Florentine public finances in the early Renaissance, 1400β1433. Cambridge (Mass.), Harvard University Press, 1971"
1068:
The result is an exaltation of movement and expression that became the hallmark of Donatello's style, which the artist brought to
9672:
9579:
8626:
6545:
6385:
5410:
5101:
7643:
5455:
9689:
9542:
8876:
8239:
6916:
6728:
6488:
5981:
5553:
5244:
4671:, although very active and in demand, did not renew their repertoire, remaining faithful to the tradition of the 14th century.
2760:
1737:
138:
4454:, but with results where the description of physical lines, clothes and jewels, and the luminosity of the landscape, prevail.
2408:
2358:? But more likely Florence itself), but he acquired all the foundations available in Italy. An early example, commissioned by
623:
The competition was won by Ghiberti, demonstrating that it was not yet the right time for the change proposed by Brunelleschi.
9640:
9236:
8945:
8856:
8743:
8636:
8131:
8089:
7672:
7226:
7176:
7032:
7005:
6951:
6528:
6420:
6368:
6057:
6026:
5936:
5793:
5633:
5563:
5518:
5508:
5465:
5406:
5097:
4133:
4063:, that would allow him to avoid being impeded by the short time needed to complete the fresco. As had been the case with the
3829:
3799:
3474:, where he came into contact with Flemish art, whose style remained a constant throughout his career, and then probably with
3250:
Botticelli's research led him to develop an incisive, "virile" style, with a progressive detachment from the natural. In the
2391:
2335:
1794:, states that "Uccello's sole aim was to explore things of difficult and impossible perspective". In so doing, he underlines
923:
873:
9088:
6845:
4567:
2312:, whose attitude serves as an example of how to behave in each episode: meditation, compassion, humility, prostration, etc.
1264:. On the basis of their contributions concerning the occupation of space and the strength of plastic expression, he revised
915:
9510:
9495:
7078:
4261:
are linked in a spiral movement, with clearly distinct planes of light and shadow, prominent profiles and intense colours.
4026:
In 1503, some time before Michelangelo, Leonardo was commissioned with a fresco to decorate part of the large walls of the
3731:
Filippino Lippi was influenced by the Savonarola period and the debate between two parties, one in favour of the monk (the
2628:
and its multiples, mitigated by a few asymmetries such as the decentring of certain vertical elements and the inlay on the
2038:, "It is so natural and of such beauty that it seems incredible to the artists that it was not moulded on a living model".
5623:
1530:
From 1435 onwards, innovative fervour gave way to the theorisation of experimentation. The key player in this process was
1126:, concentrating only on a few modules combined in various ways to avoid repetition, in contrast to the thousand facets of
9823:
5041:
after the Republican interlude. The city's finest artists participated in the creation of ephemeral decorative displays.
4398:
5534:
4584:
1056:(1430β1432), drew inspiration from early Christian and Roman works, creating a continuous frieze of small columns where
933:
9140:
6978:
6498:
6336:
5991:
4264:
From 1504 onwards, Michelangelo worked on a major public commission: the fresco decoration of the Sala Grande with the
1570:
5115:
Initially, Michelangelo presented a project with a central plan that followed the layout of the first project for the
4838:, with its pale colours and well-calibrated monumentality, without overdoing the anatomy like his younger colleagues.
4601:
3655:
2045:, founded in 1459, which endorsed the intellectual trends and currents of culture by developing humanist disciplines.
1945:
9525:
9432:
9334:
9287:
9215:
9196:
9159:
9121:
9052:
8997:
8978:
8934:
8762:
8724:
8396:
8309:
8002:
7889:
7849:
7572:
7059:
6899:
6267:
6122:
5964:
5866:
5839:
5696:
5379:
began his artistic training at the age of thirteen. His apprenticeship lasted three years in the Florentine workshop.
5269:
5050:
4550:
4036:
3890:
3284:
2701:
1441:
1241:
1225:
1161:
959:
888:
500:
4698:
2535:"of an artist incapable of tenderness who, through his dark chromaticism, rendered the works rather raw and harsh".
2139:
1466:
9771:
9520:
9395:
7381:
4350:
4266:
4102:
of the landscape and the enigmatic smile that has contributed to the development of the myth surrounding the work.
3409:
3229:
was closely associated with the Medici court and its ideal of harmony and beauty. Already in his first dated work,
1172:
857:, blending Gothic and antique elements with natural, flexible movements that left little room for experimentation.
760:
6571:
4782:, trained in Piero di Cosimo's workshop, the point of reference is the works of the three "geniuses" in Florence.
4224:, in which the circular movement of the group is blocked by deeper, almost sculptural chiaroscuro effects. In the
4094:, dates from these same years. One of Leonardo's most important works, it is characterised by minute light fades (
3235:(1470), he demonstrates his dexterity in the refined use of colour and chiaroscuro derived from his first master,
9882:
9490:
7775:
6995:
4934:
4516:
3956:
3663:
3606:
3156:
3135:
3087:
1345:, with its spectacular coffered vaulted ceiling behind Christ on the Cross. Vasari, in the second edition of his
1304:, begun in 1424 in collaboration with Masolino, continued by Massaccio alone from 1426 to 1427, and completed by
7022:
4291:
2267:
was one of Masaccio's first followers and, in his mature phase, played an important role in Florentine art. His
1820:
9846:
9606:
9371:
9306:
9226:
7946:
6926:
6828:
6555:
6395:
5665:
5600:
4628:
3348:
3302:
2677:
1514:, or refined personalities whose style was halfway between Gothic fashion and "old-fashioned" novelty, such as
4325:
1723:
This cycle of frescoes is one of the greatest testimonies to the transition from Gothic to Renaissance style.
1022:(singing galleries) for the Duomo marked the passing of the baton between the two artistic styles. In 1431, a
9841:
9831:
9601:
9557:
9515:
7822:
4679:
4405:
attention to naturalness, harmony and rich, intense colour with a background derived from the Umbrian style.
3847:
2931:
2575:
2359:
2054:
1905:
457:, established the Republic and created a theocratically inspired state. His proclamations from the pulpit of
343:. The burden of war and the cost of completing the cathedral dome necessitated new taxes. Thus, in 1427, the
6095:
5037:(Giovanni de' Medici, son of Lorenzo the Magnificent) to his native city signalled the return of the Medici
4182:
In the spring of 1501, after four years in Rome, Michelangelo also returned to Florence. The consuls of the
405:
was transferred to Florence because of the plague. Although this council aimed to settle the problem of the
9657:
9633:
9547:
9537:
6614:
4201:
3881:
2348:
1980:
1909:
7095:
4849:, he worked in the wake of the aged Leonardo, who died in 1519. He produced several lost works, including
3427:
1635:". This work is emblematic of Ghiberti's "mediating" position. It shows his freedom of composition, using
1138:(1419β1428), for example, features a portico with semicircular arches supported by columns that form nine
290:
After the economic and social crisis of the second half of the 14th century, caused by bank failures, the
9836:
9388:
6673:
6146:
5326:
4687:
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2918:
2624:
act as connectors. The whole is governed by the principle of modular composition based on the use of the
2042:
1410:
6633:
3901:
323:, who laid siege to Florence with the aim of creating a national state in Italy under the domination of
9454:
6692:
5171:
From 1524, work on the sacristy was intertwined with that on another major project at San Lorenzo, the
5126:
In 1521, the death of the Pope led to an initial suspension of work. Work resumed with the election of
4972:
4910:
4742:
4609:
4575:
4491:
4450:, where the mid-figure placement in the landscape, with hands folded, reveals his inspiration from the
4447:
4363:
4006:
3752:
2598:
1119:, for example, is used for the architectural frames, contrasting with the pale rendering of the walls.
485:
in 1498. From then on, the social situation became even more confused, and many artists left the city.
353:, taxing families according to their wealth, i.e. at the time taxing the families of merchant bankers.
7882:
La Cappella Tornabuoni a Santa Maria Novella, in Various authors, Cappelle del Rinascimento a Firenze
5397:
The New Sacristy commission was intended to create a monument housing the tombs of the Pope's father
3531:
3252:
3218:
3033:
was one of Lorenzo de' Medici's most important projects. The villa was commissioned around 1480 from
2030:
1986:
1632:
1579:
5919:
Balard, Michel; GenΓͺt, Jean-Philippe; et al. (Initiation Γ l'Histoire) (1988). "XXIII/4 :
4188:
and the workers of the Duomo of Florence entrusted him with an enormous block of marble to sculpt a
3971:, "Le vite de' piΓΉ eccellenti pittori, scultori e architettori" (1568), "Vita di Lionardo da Vinci."
799:
An example of this is the comparison of two wooden crucifixes, at the centre of an anecdote told by
556:
to criteria established by the artist; the choices that determine the rules are subjective, such as
9915:
9475:
8846:
4943:
4592:
4471:
4105:
In 1508, the artist returned first to Milan, then in 1516 to the French court, becoming painter to
3834:
3371:
3117:
3030:
3023:
2593:. These were always partial interventions that Alberti downplayed as "parietal decoration". At the
2540:
1804:
1540:, he included Brunelleschi, Donatello, Ghiberti, Luca della Robbia and Masaccio in the dedication.
1150:
1135:
941:
879:
686:
7995:
La Cappella Strozzi a Santa Maria Novella, in Various authors, Cappelle del Rinascimento a Firenze
7774:
Carusi, Enrico; Marcolongo, Roberto; Favaro, Giuseppe; Gentile, Giovanni; Venturi, Adolfo (1933).
5736:
4308:
3542:" was shaken, leading to the first wave of instability. In Florence, a popular uprising drove out
1684:
1182:
Nevertheless, his most significant work is the cupola of Florence's Duomo, a project initiated by
9889:
9872:
9781:
9699:
5249:
5008:
4469:, created in Florence and inspired by Florentine trends. In the central compartment, he depicted
4393:, was staying. Deciding to go to Florence, he had a letter of recommendation prepared for him by
4059:
3921:
3559:
3413:, he distanced himself from the artists called to work on the Sistine Chapel and moved to Milan.
3365:
3053:
2690:
2119:
2072:
2018:
1933:
1886:
1764:
1742:
1636:
1337:
1324:
544:
471:
4746:, amplifying the monumentality of the figures and further varying the attitudes of the figures.
2937:
2347:
Domenico Veneziano was one of the first Florentine artists to assimilate the characteristics of
2150:
One of the most significant works from this period is the Chapel of the Cardinal of Portugal at
1425:
9797:
9652:
9628:
9591:
9500:
5402:
5116:
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architecture and goldsmiths' and silversmiths' work, such as the miniature reproduction of the
2777:
2765:
2556:
2527:
1269:
320:
133:
38:
8412:
7662:
1507:, i.e., the description and interpretation of works of art accessible in Florence since 1415.
245:
corresponds to the period of "experimentation" by the three major figures of the Renaissance:
9867:
9776:
9721:
9645:
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6787:
5398:
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2384:
2279:, with the rational use of light sources to arrange and unify all the elements of the scene.
2127:
1531:
1095:
1037:
Luca della Robbia, who was in his early thirties at the time, sculpted a classical six-panel
781:
765:
694:
507:, who became Grand Duke after the conquest of Siena, making Florence the capital of Tuscany.
482:
454:
413:
234:
108:
97:
7119:. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009. James Press.
4872:, whose characteristics anticipate the devotional motifs of the second half of the century.
4377:
In 1504, echoes of the innovations unveiled by Leonardo and Michelangelo's cartoons reached
4257:, probably painted for the wedding of Agnolo Doni and Maddalena Strozzi. The figures of the
3793:
2992:(1483), for example, Daphnis is the Greek version of the name Laurus ('Lorenzo'). Likewise,
2885:('Chronicles') lists more than forty painters' workshops, forty-four goldsmiths, over fifty
2696:
Donatello thus found himself isolated in Florence and received his last commission, the two
1639:
and an ever less accentuated relief to arrange a large number of figures on several planes.
1413:(1427β1428). He incorporated the stylistic innovations introduced by Masaccio, Masolino and
481:
put an end to the influence of Savonarola, who was condemned as a heretic and burned in the
9920:
9877:
9736:
9726:
9716:
9662:
9569:
9419:
6300:
Grifoni, Paola; Nannelli, Francesca; et al. (Quaderni del servizio educativo) (2006).
6193:"Il crocifisso di Donatello in Santa Croce e quello di Brunelleschi in Santa Maria Novella"
5334:
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5140:
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2002:
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682:
606:
569:
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406:
377:
222:
210:
198:
112:
59:
9093:Γ©cole pratique des haute Γ©tudes. 4e section sciences historiques et philologiques (Livret)
6192:
2130:'s tomb of Piero and Giovanni de' Medici (1472). In these works, starting from the common
8:
9802:
9744:
9681:
9618:
9459:
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5180:
5158:
5152:
5131:
4999:
4978:
4886:
4842:
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4497:
4442:
4408:
The starting point for his compositions is varied, and he takes certain suggestions from
4390:
4106:
3824:
3714:
3555:
3499:
3471:
3104:
2972:
2913:
way to a continuous play of moving forms, with greater tension and expressive intensity.
2867:
2780:. Writings on the theory of Leon Battista Alberti played a fundamental role. Already, in
2586:
2515:
2497:
2380:
2376:
2322:
plaster, while on the right, the saints have the reflection of the window in their eyes.
2301:
2196:
2167:
2111:
2014:
1757:
1620:
1616:
1551:
1489:
1470:
1342:
1329:
1127:
786:
773:
584:
496:
458:
450:
398:
238:
159:
143:
6454:
5337:. The Italian philosopher drew up the first founding principles at the beginning of the
4664:
were alternatives to Michelangelo. Sansovino was a craftsman of slender, vibrant forms.
4220:
of Leonardo. Indeed, he took up the theme in a number of drawings, including one in the
1627:, Ghiberti was commissioned in 1425 to design a new east door, completed in 1452, which
9807:
9754:
9749:
9709:
9574:
9447:
9255:
8813:
8790:
7962:
7112:
5313:
5172:
5146:
5028:
5012:
5004:
4683:
4213:. Michelangelo left suddenly for Rome in March 1505, leaving many projects unfinished.
4099:
4050:
4040:, a victorious feat of arms for Florence intended as a "counterpart" to Michelangelo's
3381:
3328:
3266:
3171:
2988:
2927:
2855:
2590:
2477:
2342:
2276:
2192:
2163:
1961:
1952:
1893:
1839:
NiccolΓ² Mauruzi da Tolentino Unseats Bernardino della Carda at the Battle of San Romano
1139:
1091:
308:
303:
6413:
Donatello e la sua lezione: sculture e oreficerie a Padova tra Quattro e Cinquecento;
2651:
2243:
1353:
1276:, and the two artists influenced each other, as shown by their first studio work, the
752:
9910:
9764:
9759:
9704:
9623:
9613:
9586:
9564:
9480:
9367:
9330:
9302:
9283:
9232:
9211:
9192:
9155:
9136:
9117:
9048:
8993:
8974:
8930:
8852:
8758:
8739:
8720:
8632:
8392:
8305:
8127:
8085:
7998:
7942:
7885:
7845:
7668:
7568:
7055:
7028:
7001:
6974:
6947:
6922:
6895:
6824:
6551:
6524:
6494:
6436:
6416:
6391:
6364:
6332:
6263:
6118:
6053:
6022:
5987:
5960:
5932:
5862:
5789:
5692:
5629:
5559:
5514:
5461:
5350:
These are essentially based on two key axes: a conception of reality proceeding from
5259:
4299:
4206:
4091:
4071:
4042:
3928:
3895:
3885:
3598:
3567:
3507:
3495:
3444:
3343:
3226:
3207:
3183:
3176:
2545:
2522:
2185:
2155:
2087:
2021:. He took a keen interest in art and science, and all Florence followed his example.
1913:
1717:
1693:
1372:
1027:
868:
849:
In 1406, the Arti were commissioned to decorate the external niches of the church of
715:
543:
The main characteristics of the new style are found in a formulation of the rules of
478:
435:
336:
274:
246:
206:
77:
33:
4951:
892:, at the foot of the tabernacle, Donatello sculpted one of the earliest examples of
166:
9862:
9437:
8888:
8251:
6740:
5329:
was strongly supported and suggested by the Medici Neoplatonist author and thinker
5127:
5066:
5062:
5046:
5042:
4986:
4967:
4916:
4905:
4865:
4798:
4779:
4759:
4661:
4657:
4503:
4221:
3987:
3776:
3392:
3191:
2594:
2582:
2370:(1438β1441), in which he adds space and volume to the elegance and sanctity of the
2123:
1608:
1603:
1515:
1301:
1289:
Masolino's style moved away from the late Gothic of his earlier works, such as his
1221:
981:
854:
723:
609:, among others, took part in the competition, whose finalist panels have survived.
602:
598:
588:
417:
242:
93:
8376:(in French). Turin: Republished in "Studi di Iconologia", Einaudi. pp. 39β38.
7444:
6850:Γ©cole pratique des hautes Γ©tudes. 4e section sciences historiques et philologiques
591:
in 1401, further highlights these two tendencies. The specifications called for a
9532:
9178:
Lemerle, FrΓ©dΓ©rique; Pauwels, Yves; et al. (Tout l'Art, 2e Γ©dition) (2003).
5358:
determined by the individual, on the one hand, and by the universe, on the other.
5330:
5234:
5203:
5080:
Michelangelo's Tomb of Giuliano de' Medici, Duke of Nemours, with the figures of
5024:
4994:
4990:
4682:
excelled in centrally planned religious buildings, while in private construction
4650:
4646:
4382:
4193:
4184:
4054:
4031:
3948:
3852:
3842:
3833:(c. 1492) is a case in point. The tumultuous movement and strong contrast recall
3721:
3696:
3563:
3551:
3511:
3487:
3452:
3448:
3436:
3187:
3007:
2993:
2983:
2982:
References to Lorenzo in the works are frequent, but hidden behind allusions. In
2941:
2923:
2850:
2612:
already defined. Alberti seeks to integrate the old with the new, continuing the
2463:
2268:
2095:
2064:
1305:
1297:
1123:
906:
828:
731:
617:
613:
557:
552:
536:
443:
365:
278:
8715:
Arasse, Daniel; TΓΆnnesmann, Andreas; et al. (L'univers des formes) (1997).
5460:. Histoire (in Italian). Rennes: Presses universitaires de Rennes. p. 253.
5104:. The Pope changed his plans and decided to build a funeral chapel known as the
1364:
represents the translation into painting of the laws of perspective revealed by
269:
9064:"Anthony Molho: Florentine public finances in the early Renaissance, 1400-1433"
8369:
7051:
6329:
Donatello ou l'art d'animer la matière: Un sculpteur avant-gardiste à l'aube...
6302:
Le statue dei santi protettori delle arti fiorentine e il Museo di Orsanmichele
5264:
5197:
5164:
5053:, patronised by the Medici family. Of the designs submitted by artists such as
4955:
4723:
4507:
3968:
3915:
3816:
3590:
and Botticelli, who, after meeting Savonarola, no longer painted female nudes.
3583:
3464:
3396:
2898:
2814:
2682:
2617:
2532:
2423:
2175:
2115:
2035:
1882:
1785:
1643:
1587:
1511:
1401:
832:
800:
503:
in 1529β1530 put an end to the Florentine Republic, which became a duchy under
467:
427:
385:
8892:
8255:
6744:
4070:
Among the best copies inspired by Leonardo's cartoon, all partial, is that by
524:
470:
and Botticelli) destroying their earlier productions, which were burnt at the
466:, abandoned creations of "profane inspiration", sometimes (as in the cases of
394:. From then on, the Medici family took power and held it for three centuries.
9904:
5738:
Dictionnaire universel et complet des conciles tant gΓ©nΓ©raux que particuliers
4869:
4846:
4541:
4420:
4414:
3767:
3725:
3614:, which was created to defend himself from an unjust accusation described by
3491:
3236:
3018:
2878:
2748:
2419:
2403:
2309:
1795:
1780:
1624:
1493:
1485:
1429:
1414:
1385:
1186:'s successors and which he took over again: a testament to his architectural
1115:
295:
4075:
unprecedented wealth of movement and attitudes linked to "bestial madness" (
3947:
Leonardo returned to Florence shortly before August 1500, after the fall of
7021:
Moffett, Marian; Fazio, Michael W.; Wodehouse, Lawrence (3 February 2024).
5376:
5338:
5217:
5105:
5089:
5070:
4920:(1518) is even more innovative. The traditional pyramidal structure of the
4829:
remains a model of the genre, a fresco that took him 16 years to complete.
4790:
4430:
4425:
4386:
4316:
4247:
4049:
For this work, Leonardo experimented with a new technique, inspired by the
3932:
3788:
3610:(1496). The work purports to recreate a lost painting by the Greek painter
3587:
3535:
3115:
capable of bursting at any moment. This effect can be seen in the panel of
3064:
3038:
2831:
2640:
2613:
2264:
2238:
2205:
2201:
2010:
1652:
1628:
1389:
1309:
1157:
1134:, whose multiples and submultiples generate all the useful dimensions. The
850:
844:
690:
678:
463:
313:
250:
120:
81:
8447:
Antonio da Sangallo: l'impiego del fregio storico nei disegni e nell'opera
6670:" Fra Angelico : un nom qui sonne comme la musique des anges ! "
5457:
Florence et la Toscane: XIVe-XIXe siΓ¨cles les dynamiques d'un Γtat italien
2502:
1716:
was his pupil and collaborator, or in northern Italy with the frescoes at
1233:
9505:
9427:
9411:
5423:
5388:
According to a recent study, the work was executed between 1506 and 1508.
5301:
4638:
4333:
4258:
4241:
4210:
4169:
3807:
Michelangelo Buonarroti entered the workshop of the brothers Daniele and
3239:, but animated by a greater solidity and monumentality, in the manner of
3050:
2818:
2609:
2456:
2363:
2330:
2171:
2159:
2068:
1444:. Later, Filippo Lippi met Fra Angelico, who in turn influenced his art.
1210:
369:
291:
3081:
3060:
ceiling. Inside, the rooms are arranged symmetrically around the salon.
2846:
1892:
In architecture, Filarete was responsible for the Filarete Tower at the
901:
Unlike Brunelleschi, whose perspective was a means of fixing spatiality
8683:
Three studies after Michelangelo in the Graphic Arts Department of the
8546:
Rosso Fiorentino au chΓ’teau de Fontainebleau, Dossier de l'art de l'art
5351:
5176:
5034:
4253:
4236:
4232:
of great purity and apparent simplicity, exalting their monumentality.
3866:
2782:
2686:
2445:
2226:
2132:
2079:
1748:
1732:
1713:
1612:
1545:
1536:
1165:
898:
and one of the earliest representations of central linear perspective.
894:
577:
489:
172:
129:
28:
6410:
4950:, where he created a series of frescoes inspired by the engravings of
4732:
A trip to Venice enriched his palette, as evidenced by the altarpiece
4475:, the culmination of his studies and elaborations based on Perugino's
4209:
for a merchant family in Bruges, and a series of sculpted and painted
3935:, who returned to the city after stays in other artistic centres, and
1916:
began planning their ideal cities, they borrowed ideas from Filarete.
154:
9442:
6944:
History of Italian Renaissance art: painting, sculpture, architecture
6227:
5355:
5288:
4826:
4711:
4409:
4086:
3907:
3761:
3550:, establishing a new republic spiritually guided by the preacher and
3003:
2668:
2222:
2214:
2209:
2063:
The emblematic work of his era is the frescoes covering the walls of
2025:
1968:
1897:
1504:
1261:
1171:
In 1425, he began rebuilding the Basilica of San Lorenzo, adopting a
1046:
1031:
674:
299:
258:
214:
116:
7048:
National Gallery Catalogues: The Fifteenth Century Italian Paintings
5367:
The Ghirlandaio brothers enjoyed a solid and prestigious reputation.
4904:
imitated the well-ordered narrative style and rhythms of his master
3766:
style he had seen on his trip to Rome. It is in the frescoes of the
3534:
and Jerusalem and entered Italy. This marked the start of the first
2191:
The highlight is to the east, where the Cardinal's tomb sculpted by
8389:
Andrea Sansovino, sculptor and architect of the Italian Renaissance
5225:
5120:
5038:
4901:
4881:
4794:
2791:
2605:
and the dark areas of the openings and grooves of the rustication.
2435:
2293:
2256:
2091:
2006:
1975:
1872:
1319:
1315:
1253:
705:
698:
657:
639:
528:
349:
344:
218:
202:
193:
101:
73:
8755:
Histoire de l'art Flammarion. Temps modernes: XVe - XVIIIe siècles
3042:
roof is simple, projecting over the walls on either side, with no
2693:'s contemporary work, which focuses on naturalism and aesthetics.
1030:, and in 1433 it was joined by a second of the same dimensions by
6411:
Banzato, Davide; Donatello; Musei Civici di Padova, eds. (2015).
5058:
4939:
4693:
4229:
4019:
4012:
3939:, who returned to the city to keep informed of new developments.
3936:
3779:
is a menacing figure who seems to challenge the Christian saint.
3611:
3574:, prophetism, sedition and religious error; he was burned in the
3043:
2810:
2315:
Among the frescoes created for the convent's communal areas, the
2271:
1768:
402:
381:
332:
302:. In 1391, construction began on the Porta della Mandorla at the
254:
189:
85:
9248:
A critical and historical corpus of Florentine painting, Sect. 2
7113:
International Dictionary of Architects and Architecture (1993).
7070:"nd not Ciarda, as he is often referred to" (Lorenzo Sbaraglio,
6490:
Espace et lieu dans la pensΓ©e occidentale: De Platon Γ Nietzsche
2916:
The figurative production and dissemination of the ideas of the
1146:
8909:
Le Sac de Rome, 1527: du premier maniΓ©risme Γ la Contre-rΓ©forme
8684:
7293:
La Cappella del Cardinale del Portogallo a San Miniato al Monte
6052:(in French). Vol. 14/456/9. Paris: Hachette. p. 271.
6021:(in French). Vol. 14/456/9. Paris: Hachette. p. 269.
5931:(in French). Vol. 14/456/9. Paris: Hachette. p. 270.
5130:(Giulio de' Medici), but was interrupted in 1527 following the
4462:
4458:
4124:
The Virgin and Child with Saint Anne and Saint John the Baptist
4001:
3991:
3983:
The Virgin and Child with Saint Anne and Saint John the Baptist
3838:
3812:
3615:
3571:
3122:
3057:
2957:'s relationship with art differed from that of his grandfather
2697:
2625:
2621:
2602:
2485:
2481:
2355:
2289:
2218:
2041:
Cosimo conceived the idea of reviving "a kind of Academy": the
1300:, begun in 1426 and now dispersed, and in the frescoes for the
1283:
1265:
1183:
1131:
1062:
1042:
719:
677:
developed an original style inspired by Antiquity. followed by
449:
After Lorenzo's death, a dark era began with the appearance of
416:, in power from 1469 to 1492, after a difficult start with the
361:
335:
in 1421. In 1424, Florence suffered defeat at the hands of the
9380:
6993:
5312:. These two works are part of a theme of scenes linked to the
3965:
maraviglie di Lionardo, che fecero stupire tutto quel popolo.
1065:
that inlay the background and all the architectural elements.
8432:
Giuliano da Sangallo: i disegni di architettura e dell'antico
7773:
5229:
4489:
His last work from the Florentine period of 1507β1508 is the
4378:
3707:
Saint Philip Driving the Dragon from the Temple of Hierapolis
3604:
The turning point is clearly evident in the allegorical work
3201:
3010:'s bearer of peace, as in the verses recited by court poets.
2672:
2431:
2136:
model, ever more refined and precious results were attained.
1709:
1106:
rules for construction. He was initially commissioned by the
1069:
1057:
340:
324:
285:
147:
8851:(in French). Centre d'Γ©tudes supΓ©rieures de la Renaissance.
6921:(in French). Les Γ©ditions du Septentrion. pp. 103β104.
6262:. San Giovanni Lupatoto, Vr, Italie: Arsenale Editrice srl.
4811:
in San Marco, with its more solemn, calm stylistic accents.
3980:
It now seems to be accepted that this is not the cartoon of
3851:, presented as a classical work and which deceived Cardinal
3002:(c. 1490) addresses the theme of the incarnation of the god
2048:
9318:
Le vite de' piΓΉ eccellenti pittori, scultori e architettori
6550:(in French). Presses Universitaires du Mirail. p. 36.
2521:
His most representative work is the fresco painting in the
2078:
Piero de' Medici was a pious man. In 1448, he commissioned
1937:
1878:
1176:
1053:
431:
328:
8374:
Preistoria umana in due cicli pittorici di Piero di Cosimo
7159:
Les Vies des meilleurs peintres, sculpteurs et architectes
5175:, commissioned by Clement VII. The reading room, based on
5108:. Michelangelo was commissioned to carry out the project.
3538:(1494β1497). The fragile political system of the Italian "
2838:, as well as in reliquaries, candelabras and monstrances.
1086:
9036:
Minche-Ange architecte et sculteur de la chapelle MΓ©decis
8918:
Histoire universelle de l'art β Renaissance et maniΓ©risme
5134:
and the final establishment of the Republic in Florence.
3914:
The last period of the Florentine Republic, during which
1360:
Considered a milestone in the history of art, Masaccio's
551:
Among these features, the most important is probably the
434:
was the work of a group of Florentine artists, including
185:
9344:
Ventura, RenΓ©; et al. (Les belles lettres) (2006).
8757:(in French). Flammarion β Collection Histoire de l'Art.
8753:
Bajard, Sophie; Mignot, Claude; Rabreau, Daniel (1996).
4736:(1508), characterised by austere, orderly eloquence. In
4465:, during this period he produced a work in Perugia, the
3056:
that leads to a loggia-vestibule with a barrel-vaulted,
803:, who witnessed Brunelleschi's criticism of Donatello's
9271:
A Critical and Historical Corpus of Florentine Painting
8925:
Collective; et al. (Questions d'histoire) (2002).
8806:
Da Brunelleschi a Masaccio. Le origini del Rinascimento
5454:
Boutier, Jean; Landi, Sandro; Rouchon, Olivier (2004).
2574:
worked mainly as an architect for the wealthy merchant
2101:
Sculptors often drew inspiration from the principle of
1052:
Donatello, who had just returned from a second trip to
580:
feature figures solidly modelled in the antique style.
5857:
Cole, Alison (1995). "La cour, identitΓ© et histoire".
5628:(in Italian). Rome: Storia e Letteratura. p. 74.
5582:
The De Wit Collection of Medieval Coins, 1000 years of
4486:, which the artist saw during a trip to Rome in 1506.
3470:
Domenico Ghirlandaio trained first in the workshop of
3467:. He was sent to Rome to decorate the Sistine Chapel.
1156:
In 1421, Brunelleschi created the chapel known as the
560:, distance from the viewer and height of the horizon.
426:('cultural ambassadors'). The first decoration of the
7979:
La chapelle Carafa de Santa Maria sopra Minerva, in:
7884:(in Italian). Florence: Editrice Giusti. p. 99.
7020:
4164:
3631:(1488β1490), with its archaic gilded background, and
2451:
His art gradually moves towards linearity, as in the
1767:, constructed in 1444, was the archetypal Florentine
1122:
He uses classical elements inspired by architectural
664:
9268:
5959:(in Italian). Florence: Giunti Editore. p. 28.
5651:
Florence Γ l'Γ©poque des MΓ©decis: de la citΓ© Γ l'Γtat
5513:(in Italian). Editoriale Jaca Book. pp. 13β15.
5193:
3811:
as a very young apprentice, copying masters such as
2841:
2689:
and old age, could not be more outmoded compared to
1371:
Massaccio is considered the greatest painter of the
8831:(in Italian). Translated by Cecchi, E. London: BUR.
8752:
7650:(in Italian). Dizionario Biografico degli Italiani.
6516:
5756:(in French). Presses UniversitΓ© Laval. p. 288.
5506:
5453:
4686:imported classical "Roman-style" models, as in the
2469:
Stories of Saint Stephen and Saint John the Baptist
2024:Private works have different characteristics, like
1996:
1268:'s work, as evidenced in his first known work, the
372:(1459), a celebration of the Medici family's power.
257:. The art of the period which followed is known as
9324:
9112:Legrand, GΓ©rard; et al. (Comprendre) (2005).
8738:(in French). Vol. 14/456/9. Paris: Hachette.
8699:
8671:
8578:
8532:
8520:
8503:
8484:
8356:
8341:
8329:
8287:
8275:
8222:
8207:
8183:
8151:
8126:(in Italian). Milan: Mondadori Arte. p. 112.
8109:
8067:
8035:
7909:
7867:
7809:
7797:
7752:
7737:
7725:
7694:
7626:
7596:
7544:
7510:
7495:
7472:
7430:
7403:
7364:
7349:
7330:
7313:
7277:
7212:
7144:
6942:Hartt, Frederick; Wilkins, David G., eds. (1994).
6804:
6769:
6714:
6667:
6600:
6588:
6363:(in Italian). Vol. 3. Lulu.com. p. 287.
6326:
6314:
6214:
6081:
5881:
5769:The Rise and Decline of the Medici Bank, 1397β1494
5162:, complementary in theme and pose, as well as the
4358:
3942:
2809:Routine production and marketing, such as wedding
9208:Domenico Ghirlandaio, in Pittori del Rinascimento
9024:
8548:(in French). Vol. 184. 2011. pp. 92β95.
7842:Ghirlandaio, serie dei Maestri dell'arte italiana
6894:(in Italian). Florence: Mandragora. p. 174.
5287:The Florentine public's disavowal of the ancient
4738:The Mystical Marriage of Saint Catherine of Siena
4704:The Mystical Marriage of Saint Catherine of Siena
3876:
3773:Saint Philip Driving the Dragon out of Hierapolis
1619:, which is similar in design to the 14th-century
1492:to paint an altarpiece for the Strozzi Chapel in
1272:(1422). He set up a studio in collaboration with
1011:(1433β1438), Museo dell'Opera del Duomo, Florence
867:Nevertheless, Nanni di Banco reproduced imperial
697:date to 1419. Finally, painting was dominated by
9902:
9269:Offner, Richard; Boskovits, Miklos (1931β1958).
8714:
8079:
7939:Botticelli, in I protagonisti dell'arte italiana
4397:, Duchess of Sora, sister of the Duke of Urbino
2825:, were made from moulds, templates and matrices.
1976:Years of the Medici's first presence (1440β1469)
1885:commissioned him to create the Filarete door in
9149:
8877:"Les cadres ronds de la Renaissance florentine"
8240:"Les cadres ronds de la Renaissance florentine"
6918:De l'histoire de l'art Γ la sΓ©miotique visuelle
6729:"Les cadres ronds de la Renaissance florentine"
6668:Sainte Fare Garnot, Nicolas (6 December 2011).
6299:
5921:La vie religieuse, intellectuelle et artistique
5785:Dizionario illustrato dell'arte e degli artisti
5300:In particular, he produced works in the purest
4348:Aristotile da Sangallo, copy of Michelangelo's
3649:Botticelli, Altarpiece of San Marco (1488β1492)
3463:set up by Lorenzo de' Medici to reconcile with
2764:The lantern in Florence's Duomo, reproduced in
2459:that restores relief in a more subdued manner.
612:Ghiberti's work presents figures modelled in a
9325:De Vecchi, Pierluigi; Cerchiari, Elda (1999).
9177:
7844:(in Italian). Cologne: KΓΆnemann. p. 134.
7000:(in French). Les Dictionnaires d'Universalis.
5625:Firenze Nel Quattrocento: Politica e fiscalitΓ
5578:
5316:, initiated by Luca della Robbia and Masaccio.
5018:
4710:of exaggeration. These were the beginnings of
4694:Crisis in the third decade of the 16th century
3337:
2789:The basic unit of artistic production was the
2755:
2170:coating. All surfaces are decorated, from the
2086:. Around 1450, he commissioned Michelozzo and
2082:to build the Tabernacle of the Crucifixion at
1668:, Paris, 1965, Librairie Armand Collin, p. 370
1061:accentuated by the colours of the gold-ground
9396:
9282:(in French). Paris: Γditions Pierre Terrail.
8835:
8386:
8052:(in Italian). Milan: Rizzoli. pp. 90β91.
6823:(in French). Γcole des Chartes. p. 533.
6520:L'arte del Quattrocento in Italia e in Europa
5510:L'arte del Quattrocento in Italia e in Europa
4921:
4816:
4807:, antagonistic to that of Fra Bartolomeo and
4802:
4740:(1511), he followed the pattern of Raphael's
4076:
3951:in Milan. A few months later, he exhibited a
3759:
3738:
3737:) and the other in favour of the Medici (the
3732:
2892:
2886:
2675:in 1453, after a ten-year stay. His poignant
709:
592:
421:
9329:(in Italian). Vol. 2. Milan: Bompiani.
8946:"Les platoniciens de l'art Γ la Renaissance"
8445:Zampa, P. (2003). "Annali di architettura".
8304:(in Italian). Florence: Scala. p. 217.
7227:"Les platoniciens de l'art Γ la Renaissance"
7177:"Les platoniciens de l'art Γ la Renaissance"
7132:The City Shaped: Urban Patterns and Meanings
6941:
6879:(in Italian). Florence: Sansoni. p. 38.
6486:
6383:
6304:(in Italian). Florence: Edizioni Polistampa.
5788:(in Italian). Gremese Editore. p. 323.
4801:, who in the 1510s formed a school known as
1187:
9061:
8733:
7567:(in Italian). Florence: Scala. p. 10.
6946:(4 ed.). New York: Thames and Hudson.
6046:
6015:
5918:
5861:(in French). Paris: Flammarion. p. 7.
5663:
5598:
4938:, a bucolic scene in classical style for a
3919:
3619:
389:
294:, famine and civil wars culminating in the
201:already highlighted in the 14th century by
9403:
9389:
9260:: CS1 maint: location missing publisher (
9205:
8924:
8915:
8818:: CS1 maint: location missing publisher (
8795:: CS1 maint: location missing publisher (
8780:
7559:
6816:
6612:
6415:(in Italian). Milano: Skira. p. 127.
6093:
3202:Sandro Botticelli β formation and maturity
3095:At this time, Florence's most prestigious
2922:, thanks in particular to the writings of
2907:equestrian monument to Bartolomeo Colleoni
2874:added a touch of sensitivity and realism.
2801:were involved in two types of production:
2646:
409:, its concrete result was hardly visible.
286:Late 14th β first half of the 15th century
27:
9280:Michel.Ange: Sculpteur Peintre Architecte
9189:de la Renaissance, entre science et magie
8302:Pintoricchio, in Pittori del Rinascimento
8050:L'opera completa di Michelangelo scultore
7997:(in Italian). Florence: Editrice Giusti.
7527:(in Italian). Florence: Roberto Barducci.
6914:
6631:
6523:(in Italian). Jaka Book. pp. 12β20.
5766:
5686:
4385:and now a promising young artist helping
3782:
3627:Examples of stylistic regression are the
3070:
2049:The arts under Piero di Cosimo de' Medici
1525:
477:The confrontation between Savonarola and
9355:Filippino Lippi e l'Umanesimo fiorentino
9015:
8943:
8826:
8624:
8368:
7839:
7300:(in Italian). Florence: Editrice Giusti.
7289:
7255:
7224:
7174:
6874:
6331:(in French). 50 Minutes. pp. 5β20.
5979:
5954:
5859:La Renaissance dans les cours italiennes
5754:Les rΓ©cits de conjuration sous Louis XIV
5075:
4971:
4885:
4763:
4697:
4621:
4362:
4168:
3900:
3880:
3792:
3700:
3426:
3347:
3211:
3155:
3145:
3080:
3017:
2936:
2845:
2834:of the Duomo in the Silver Cross at the
2759:
2650:
2555:
2551:
2501:
2407:
2329:
2255:
2242:
2138:
1979:
1896:in Milan. He also designed the plan for
1736:
1683:
1569:
1465:
1424:
1314:
1145:
1085:
968:
523:
360:
268:
165:
153:
128:
9343:
9111:
8906:
8803:
8771:
8695:
8693:
8667:
8665:
8652:
8650:
8648:
8620:
8618:
8616:
8614:
8601:
8599:
8597:
8595:
8593:
8591:
8589:
8587:
8574:
8572:
8559:
8557:
8555:
8516:
8514:
8512:
8499:
8497:
8495:
8493:
8480:
8478:
8476:
8474:
8352:
8350:
8325:
8323:
8321:
8299:
8233:
8231:
8218:
8216:
8179:
8177:
8168:
8164:
8162:
8160:
8147:
8145:
8143:
8121:
8105:
8103:
8101:
8063:
8061:
8059:
8047:
8031:
8029:
8016:
8014:
7905:
7903:
7901:
7863:
7861:
7793:
7791:
7789:
7769:
7767:
7765:
7763:
7761:
7748:
7746:
7721:
7719:
7717:
7715:
7690:
7688:
7686:
7684:
7637:
7635:
7622:
7620:
7607:
7605:
7592:
7590:
7588:
7586:
7584:
7555:
7553:
7540:
7538:
7536:
7534:
7525:La cronica dall'anno 1400 all'anno 1500
7506:
7504:
7491:
7489:
7487:
7485:
7483:
7481:
7415:
6994:Dictionnaire de la Renaissance (2016).
6892:Il museo dell'Opera del Duomo a Firenze
6543:
6487:Younès, Chris; Paquot, Thierry (2014).
6356:
6257:
6112:
5823:
5808:
5751:
5734:
5648:
5482:"Tornata visibile porta della mandorla"
3994:, but rather a preparatory cartoon for
3416:
1565:
1379:
568:At the dawn of the 15th century, while
9903:
9352:
9315:
9245:
9086:
9025:Delumeau, Jean; Lightbown, R. (1996).
9006:
8987:
8968:
8874:
8631:(in Italian). Giunti. pp. 82β90.
8237:
7992:
7879:
7468:
7466:
7399:
7397:
7395:
7375:
7373:
7360:
7358:
7345:
7343:
7341:
7339:
7326:
7324:
7322:
7309:
7307:
7273:
7271:
7269:
7267:
7208:
7206:
7204:
7202:
7170:
7168:
7156:
7129:
7090:
7088:
6889:
6843:
6782:
6780:
6778:
6765:
6763:
6761:
6726:
6710:
6708:
6706:
6687:
6685:
6683:
6651:
6649:
6647:
6512:
6510:
6482:
6480:
6243:Masaccio e le origini del Rinascimento
5925:La Renaissance italienne dans les arts
5914:
5912:
5910:
5826:Historia de' Rossi Parmigiani, Ravenne
5558:. John Wiley & Sons. p. 194.
5551:
5245:Renaissance art in Bergamo and Brescia
3570:, and in 1498 the Pope accused him of
3517:
3459:was one of the members of the mission
2491:
2397:
1461:
583:The competition for the north door of
9384:
9361:
9296:
9224:
9186:
9168:
9130:
9042:
9033:
8865:
8785:(in Italian). Vol. VI. Florence.
8444:
8429:
8195:
8084:(in Italian). Milan: Mondadori Arte.
7941:(in Italian). Florence: Scala Group.
7936:
7706:
7660:
7611:
7379:
7096:"Filarète, Antonio Averlino detto il"
6966:
6655:
6471:
6352:
6350:
6348:
6287:
6283:
6281:
6279:
6210:
6208:
6206:
6179:
6167:
6077:
6075:
6073:
6071:
6069:
6042:
6040:
6038:
6011:
6009:
6007:
6005:
6003:
5950:
5948:
5908:
5906:
5904:
5902:
5900:
5898:
5896:
5894:
5892:
5890:
5781:
5722:
5718:
5716:
5714:
5712:
5710:
5708:
5621:
4946:. From 1522 to 1525, he lived in the
4841:In 1518β1519, he joined the court of
4832:In 1517, he produced his masterpiece
3927:The main players in this period were
3864:(1490β1492). Inspired by Donatello's
3243:, with a linear tension learned from
2325:
264:
9277:
9150:Marchetti Letta, Elisabetta (1994).
8927:L'Europe de la Renaissance 1470β1560
8844:
8838:The study and critics of Italian Art
8690:
8662:
8656:
8645:
8611:
8605:
8584:
8569:
8563:
8552:
8509:
8490:
8471:
8347:
8318:
8228:
8213:
8174:
8157:
8140:
8098:
8056:
8026:
8020:
8011:
7981:Rome, Art et archΓ©ologie (in French)
7921:
7898:
7858:
7786:
7758:
7743:
7712:
7681:
7667:(in French). Michelin. p. 149.
7644:"Benci, Antonio, detto il Pollaiolo"
7641:
7632:
7617:
7602:
7581:
7550:
7531:
7501:
7478:
7079:Dizionario Biografico degli Italiani
5986:(in French). Dunod. pp. 45β47.
5856:
5771:. Cambridge: Beardbooks. p. 28.
5653:(in French). Flammarion. p. 76.
5594:
5592:
5102:Giuliano de' Medici, Duke of Nemours
4239:" nature of some tondi, such as the
4142:The Virgin and Child with Saint Anne
3997:The Virgin and Child with Saint Anne
2581:From 1447 onwards, he completed the
2354:The artist's training is uncertain (
1455:of Donatello and Luca della Robbia.
1420:
1041:, with four more panels between the
488:Meanwhile, Lorenzo de' Medici's son
9068:Bibliothèque de l'école des chartes
7522:
7463:
7442:
7392:
7370:
7355:
7336:
7319:
7304:
7297:Cappelle del Rinascimento a Firenze
7264:
7199:
7165:
7085:
6775:
6758:
6703:
6680:
6644:
6517:Vegas Castelfranchi, Liana (1996).
6507:
6477:
6327:Reynold de Seresin, Eliane (2015).
5670:BibliothΓ¨que de l'Γcole des chartes
5605:BibliothΓ¨que de l'Γcole des chartes
5507:Vegas Castelfranchi, Liana (1996).
4961:
4753:
4216:Michelangelo was influenced by the
3433:Confirmation of the Franciscan Rule
2712:(1460β1466), in scenes such as the
2260:Detail of a capital and its shadows
1597:
708:by Brunelleschi and Donatello, the
356:
13:
9301:(in French). Place des Victoires.
9171:Botticelli, le sacrΓ© et le profane
9116:. Chambers Harrap Publishers Ltd.
8124:Leonardo, collana I Geni dell'arte
7290:Guidetti, Giovanni Matteo (1998).
7073:Paolo di Dono, detto Paolo Uccello
6345:
6276:
6203:
6066:
6035:
6000:
5945:
5887:
5705:
5409:, Duke of Urbino, and his brother
5098:Lorenzo de' Medici, Duke of Urbino
4165:Return of Michelangelo (1501β1504)
3690:
3593:
2525:in Florence, and particularly the
2392:Santa Lucia de' Magnoli Altarpiece
2336:Santa Lucia de' Magnoli Altarpiece
2143:Tomb of the Cardinal of Portugal,
1404:, had already moved away from the
1018:In the 1430s, the creation of two
665:Origin and development (1410β1440)
563:
519:
510:
14:
9932:
9433:Greek scholars in the Renaissance
9228:Les PrΓ©curseurs de la renaissance
9018:La civilisation de la Renaissance
8829:Pittori Italiani del Rinascimento
8783:Notizie dei professori di disegno
6970:Les PrΓ©curseurs de la renaissance
6143:Mseicivicifiorentini.comune.fi.it
6115:Masaccio et la chapelle Brancacci
5983:Petite histoire des mathΓ©matiques
5735:Peltier, Adolphe-Charles (1847).
5589:
5535:"Revue des questions historiques"
5270:Greek scholars in the Renaissance
4861:Madonna in Glory with Four Saints
4717:
3957:Basilica of Santissima Annunziata
3562:. On 23 May 1497, Savonarola was
3013:
2842:The Laurentian period (1470β1492)
2538:In subsequent works, such as the
2300:His decoration of the convent of
2232:
1889:, on which he worked until 1445.
1242:Expulsion from the Garden of Eden
960:Saint George Freeing the Princess
889:Saint George Freeing the Princess
742:
9047:(in Italian). Florence: Giunti.
8990:The Flowering of the Renaissance
8677:
8538:
8526:
8453:
8438:
8423:
8405:
8380:
8362:
8335:
8293:
8281:
8269:
8201:
8189:
8115:
8080:Alvarez GonzΓ‘lez, Marta (2007).
8073:
8041:
7986:
7973:
7955:
7930:
7915:
7873:
7833:
7815:
7803:
7731:
7700:
7654:
7516:
7134:. London: Thames and Hudson Ltd.
6260:Florence: An Architectural Guide
5429:
5416:
5391:
5382:
5370:
5361:
5210:
5196:
4948:Carthusian monastery in Florence
4617:
4600:
4583:
4566:
4549:
4532:
4515:
4478:Lamentation over the Dead Christ
4341:
4324:
4307:
4290:
4284:Virgin and Child with Saint Anne
4275:
4149:
4132:
4114:
3672:
3654:
3642:
3319:
3301:
3283:
3270:(c. 1485), probably through the
2736:
2721:
2704:, thanks to the intervention of
1997:The arts under Cosimo de' Medici
1960:
1944:
1925:
1846:
1841:(dating uncertain; c. 1435β1455)
1830:
1811:
1774:
1447:In his early works, such as the
1279:Virgin and Child with Saint Anne
1232:
1209:
1000:
980:
950:
932:
914:
772:
751:
646:
628:
9410:
9357:(in Italian). Florence: Giunti.
9320:(in Italian). Florence: Giunti.
9210:(in Italian). Florence: Scala.
9182:(in French). Paris: Flammarion.
9180:L'architecture Γ la Renaissance
9154:(in Italian). Florence: Scala.
9020:(in French). Paris: Flammarion.
8836:Berenson, Bernard (1901β1902).
8708:
8700:De Vecchi & Cerchiari (1999
8672:De Vecchi & Cerchiari (1999
8579:De Vecchi & Cerchiari (1999
8533:De Vecchi & Cerchiari (1999
8521:De Vecchi & Cerchiari (1999
8504:De Vecchi & Cerchiari (1999
8485:De Vecchi & Cerchiari (1999
8357:De Vecchi & Cerchiari (1999
8342:De Vecchi & Cerchiari (1999
8330:De Vecchi & Cerchiari (1999
8288:De Vecchi & Cerchiari (1999
8276:De Vecchi & Cerchiari (1999
8223:De Vecchi & Cerchiari (1999
8208:De Vecchi & Cerchiari (1999
8184:De Vecchi & Cerchiari (1999
8152:De Vecchi & Cerchiari (1999
8110:De Vecchi & Cerchiari (1999
8068:De Vecchi & Cerchiari (1999
8036:De Vecchi & Cerchiari (1999
7910:De Vecchi & Cerchiari (1999
7868:De Vecchi & Cerchiari (1999
7810:De Vecchi & Cerchiari (1999
7798:De Vecchi & Cerchiari (1999
7753:De Vecchi & Cerchiari (1999
7738:De Vecchi & Cerchiari (1999
7726:De Vecchi & Cerchiari (1999
7695:De Vecchi & Cerchiari (1999
7661:Teffo, Anne (3 February 2024).
7627:De Vecchi & Cerchiari (1999
7597:De Vecchi & Cerchiari (1999
7545:De Vecchi & Cerchiari (1999
7511:De Vecchi & Cerchiari (1999
7496:De Vecchi & Cerchiari (1999
7473:De Vecchi & Cerchiari (1999
7436:
7431:De Vecchi & Cerchiari (1999
7424:
7409:
7404:De Vecchi & Cerchiari (1999
7365:De Vecchi & Cerchiari (1999
7350:De Vecchi & Cerchiari (1999
7331:De Vecchi & Cerchiari (1999
7314:De Vecchi & Cerchiari (1999
7283:
7278:De Vecchi & Cerchiari (1999
7249:
7218:
7213:De Vecchi & Cerchiari (1999
7150:
7145:De Vecchi & Cerchiari (1999
7138:
7123:
7106:
7064:
7041:
7024:A World History of Architecture
7014:
6987:
6960:
6935:
6908:
6883:
6868:
6837:
6810:
6805:De Vecchi & Cerchiari (1999
6798:
6770:De Vecchi & Cerchiari (1999
6720:
6715:De Vecchi & Cerchiari (1999
6661:
6625:
6606:
6601:De Vecchi & Cerchiari (1999
6594:
6589:De Vecchi & Cerchiari (1999
6582:
6564:
6537:
6465:
6447:
6429:
6404:
6377:
6320:
6315:De Vecchi & Cerchiari (1999
6308:
6293:
6251:
6241:Da Brunelleschi a Masaccio, in
6233:
6220:
6215:De Vecchi & Cerchiari (1999
6185:
6173:
6161:
6131:
6117:(in Italian). Florence: Scala.
6106:
6087:
6082:De Vecchi & Cerchiari (1999
5973:
5882:De Vecchi & Cerchiari (1999
5875:
5850:
5832:
5817:
5802:
5775:
5760:
5745:
5728:
5680:
5657:
5555:A History of Florence 1200β1575
5539:Revue des questions historiques
5344:
5319:
5294:
5281:
4944:Medici villa at Poggio a Caiano
4821:('painter without error'). His
4359:Raphael in Florence (1504β1508)
3943:Leonardo's return and departure
3031:Villa Medici at Poggio a Caiano
1646:describes the door as follows:
1510:"Storytelling" artists such as
1395:
1075:
877:(1411β1414). Donatello, in his
838:
827:According to the art historian
809:Crucifix of Santa Maria Novella
397:In 1439, with Cosimo reigning,
319:The recovery was threatened by
51:Early 15th to late 16th century
9173:(in French). Γditions Hersher.
8950:Revue Philosophique de Louvain
8920:(in French). Vol. 7. Ldf.
8387:Haydn Huntley, George (1971).
7924:Savonarole, le prophète maudit
7231:Revue Philosophique de Louvain
7181:Revue Philosophique de Louvain
6357:Tolazzi, Maria Angela (2015).
5980:Escofier, Jean-Pierre (2016).
5741:(in French). pp. 265β266.
5642:
5615:
5572:
5545:
5527:
5500:
5474:
5447:
4734:The Eternal Father with Saints
4629:Portrait of Simonetta Vespucci
3955:, described by Vasari, in the
3775:, the statue of the pagan god
2509:David with the Head of Goliath
2480:, whose success lay mainly in
714:in the Duomo by Donatello and
312:decorated the outer niches of
1:
9366:(in Italian). Milan: Electa.
9074:(2). Harvard University Press
9029:(in French). Paris: Le Seuil.
8870:(in French). Paris: Le Seuil.
8776:(in Italian). Milan: Rizzoli.
8736:Des barbares Γ la Renaissance
6050:Des Barbares Γ la Renaissance
6019:Des Barbares Γ la Renaissance
5929:Des Barbares Γ la Renaissance
5441:
5123:above the doors and windows.
5033:In 1515, the solemn visit of
4893:The Deposition from the Cross
4680:Antonio da Sangallo the Elder
4156:Leonardo, Study of faces for
4017:to the figures by the use of
3388:Portrait of Ginevra de' Benci
3133:, or in the engraving of the
3024:Villa Medici, Poggio a Caiano
1741:Michelozzo, courtyard of the
1726:
685:. The first works on the new
597:, a bas-relief depicting the
499:sparked a new rebellion. The
277:and the coats of arms of the
182:Florentine Renaissance in art
9634:Platonism in the Renaissance
9538:Early Netherlandish painting
9089:"Histoire de la Renaissance"
9062:Giordanengo, GΓ©rard (1974).
8781:Baldinucci, Filippo (1976).
7418:Les DΓ©buts de la Renaissance
6846:"Histoire de la Renaissance"
6613:Gianandrea, Manuela (2006).
6493:(in French). La DΓ©couverte.
6094:Gianandrea, Manuela (2005).
5691:(in French). Robert Lafont.
5664:Giordanengo, GΓ©rard (1974).
5599:Giordanengo, GΓ©rard (1974).
5327:Platonic Academy of Florence
5304:tradition, such as the 1453
4495:, a large altarpiece with a
4381:, where Raphael, a pupil of
4081:, as the artist called it).
2891:(sculptors) and over eighty
2685:and disfigurement caused by
2681:(1453β1455), with its rough
2637:tempietto del Santo Sepolcro
2422:was initially influenced by
2349:Early Netherlandish painting
2204:and Christian doctrine: the
2071:, the private chapel of the
2043:Platonic Academy of Florence
1910:Francesco di Giorgio Martini
1821:NiccolΓ² Mauruzi da Tolentino
737:
701:, active from 1422 to 1428.
462:as Botticelli and the young
7:
8944:Combrone, Caroline (1999).
8875:Cecchi, Alessandro (1987).
8238:Cecchi, Alessandro (1987).
7225:Combrone, Caroline (1999).
7175:Combrone, Caroline (1999).
6817:Zimmermann, Michel (2001).
6727:Cecchi, Alessandro (1987).
6360:L'Arte Svelata Terzo Volume
6245:, catalogue de l'exposition
5811:Vita di Girolamo Savonarola
5189:
5019:Michelangelo at San Lorenzo
4875:
4688:Palazzo Bartolini Salimbeni
4282:Michelangelo, Study of the
3439:, Santa Trinita (1482β1485)
3338:The young Leonardo da Vinci
2756:The artist and the workshop
2448:at the base of the throne.
2017:convent and modernised the
1932:Filarete Door (in detail),
1866:
1859:at the Battle of San Romano
1823:at the Battle of San Romano
1673:
1411:San Pietro Martire Triptych
1200:
1195:
16:Renaissance art in Florence
10:
9937:
9543:Dutch and Flemish painting
9486:Central and Eastern Europe
9455:Outline of the Renaissance
9348:(in French). Champ social.
9152:Pontormo, Rosso Fiorentino
8971:The Florentine Renaissance
8848:Sciences de la Renaissance
8827:Berenson, Bernard (2001).
8300:Acidini, Cristina (2004).
7880:Razeto, Francesco (1998).
7840:Quermann, Andreas (1998).
6632:Tartuferi, Angelo (2008).
6547:Les mots de la Renaissance
5923: ; paragraphe :
5824:Carrari, Vincenzo (1503).
5813:(in Italian). p. 393.
5689:Machiavel Εuvres complΓ¨tes
5022:
4965:
4879:
4757:
4743:Madonna of the Baldacchino
4721:
4610:Madonna of the Baldacchino
4576:Portrait of Maddalena Doni
4492:Madonna of the Baldacchino
3786:
3694:
3420:
3341:
3205:
3149:
3074:
2836:Museo dell'Opera del Duomo
2714:Lamentation and Deposition
2563:
2523:Cenacolo di Sant'Apollonia
2495:
2401:
2360:Piero di Cosimo de' Medici
2340:
2236:
2055:Piero di Cosimo de' Medici
2013:paint the frescoes of the
1906:Piero di Cosimo de' Medici
1870:
1778:
1730:
1677:
1601:
1335:Another major work is the
1079:
993:Museo dell'Opera del Duomo
842:
807:and his response with the
533:Crucifixion of Saint Peter
453:, who, after the exile of
9855:
9822:
9790:
9735:
9680:
9671:
9468:
9418:
9299:La Renaissanche Italienne
9206:Micheletti, Emma (2004).
9169:Jamet, Christian (1996).
9087:Jestaz, Bertrand (1995).
9038:(in Italian). La Villete.
8893:10.3406/rvart.1987.347624
8868:La Renaissance europΓ©enne
8804:Bellosi, Luciano (2002).
8772:Baldini, Umberto (1973).
8717:La Renaissance maniΓ©riste
8625:Crispino, Enrica (2001).
8256:10.3406/rvart.1987.347624
8048:Baldini, Umberto (1973).
7562:Domenico Ghirlandaio, in
7560:Micheletti, Emma (2004).
7420:(in French). p. 119.
7416:Wundram, Manfred (1975).
6915:Caraniurl, Marie (1992).
6875:Brunetti, Giulia (1996).
6844:Jestaz, Bertrand (1995).
6745:10.3406/rvart.1987.347624
6113:Casazza, Ornella (1990).
5649:Tenenti, Alberto (1968).
5069:, the Pope finally chose
5003:(1521) originally at the
4667:Other sculptors, such as
4448:that of Maddalena Strozzi
4090:, probably a portrait of
3975:dazzled all these people.
3253:Madonna of the Magnificat
3219:Madonna of the Magnificat
2743:Desiderio da Settignano,
1400:Fra Angelico, a pupil of
1045:. The bas-reliefs depict
139:Portrait of a Young Woman
65:
55:
47:
26:
9316:Vasari, Giorgio (1568).
9246:Offner, Richard (1930).
9191:(in French). PU Rennes.
9187:Morel, Philippe (2005).
9007:Cronin, Vincent (1992).
8988:Cronin, Vincent (1969).
8969:Cronin, Vincent (1967).
8719:(in French). Gallimard.
8413:"Benedetto da Rovezzano"
8122:Magnano, Milena (2007).
7664:Toscane, Ombrie, Marches
7564:Pittori del Rinascimento
7258:Trattato di architettura
7157:Vasari, Giorgio (1568).
6997:Michelozzo di Bartolomeo
6672:(in French). Curator of
5955:Capretti, Elena (2003).
5782:Piper, David T. (2000).
5333:, whose main patron was
5275:
5015:in the art of painting.
3484:Stories of Saint Francis
3372:Madonna of the Carnation
3118:Hercules Slaying Antaeus
3085:Antonio del Pollaiuolo,
2541:Holy Trinity with Saints
2438:in 1437 and painted the
2285:Coronation of the Virgin
1805:The Battle of San Romano
1594:often signed and dated.
1496:. Gentile completed the
1341:fresco in the church of
1151:Ospedale degli Innocenti
1136:Ospedale degli Innocenti
687:Ospedale degli Innocenti
331:in 1406 and the port of
9362:Zuffi, Stefano (2004).
9135:(in French). Salvator.
9131:Leroy, Thierry (2014).
9016:Delumeau, Jean (1984).
8911:(in French). Gallimard.
8907:Chastel, AndrΓ© (1984).
8430:Borsi, Stefano (1985).
7993:Giorgi, Silvia (1998).
7523:Dei, Benedetto (1985).
6820:Auctor & auctoritas
6788:"Leon Battista Alberti"
6258:Zucconi, Guido (1995).
5840:"La conquista di Siena"
5752:Tribout, Bruno (2010).
5622:Molho, Anthony (2006).
5552:Nayemy, John M (2006).
5399:Lorenzo the Magnificent
5250:Renaissance in Lombardy
5051:Basilica of San Lorenzo
5009:School of Fontainebleau
4997:. His masterpiece, the
4100:atmospheric perspective
4060:Natural History (Pliny)
4053:technique described by
3953:cartoon with Saint Anne
3753:Galleria dell'Accademia
3629:Altarpiece of San Marco
3560:Bonfire of the Vanities
3494:, and from 1485 on the
3369:(c. 1472β1475) and the
3049:The façade features an
2955:Lorenzo the Magnificent
2691:Desiderio da Settignano
2647:The return of Donatello
2589:(1456) and finally the
2120:Desiderio da Settignano
1857:Michelotto da Cotignola
1825:(probably c. 1438β1440)
1765:Palazzo Medici Riccardi
1743:Palazzo Medici Riccardi
1442:Santa Maria del Carmine
1351:(1568), describes this
1226:Santa Maria del Carmine
1162:Basilica of San Lorenzo
905:, Donatello placed the
656:, Brunelleschi (1401),
472:bonfire of the vanities
184:is the new approach to
9353:Zanchi, Mauro (2011).
9278:Sala, Charles (1995).
9231:(in French). Ligaran.
9225:Müntz, Eugène (2015).
9133:Renaissance florentine
9043:Fossi, Gloria (2004).
9034:Ferro, Sergio (2002).
7922:Baum, Michael (2006).
7823:"Domenico Ghirlandaio"
7295:, in Various authors,
7130:Kostof, Spiro (1991).
6973:(in French). Ligaran.
6967:Müntz, Eugène (2015).
6674:MusΓ©e Jacquemart-AndrΓ©
6576:Polomuseale.firenze.it
6544:Souriac, RenΓ© (2002).
6139:"The Brancacci Chapel"
5828:(in Italian). Ravenna.
5767:de Roover, R. (1963).
5093:
5005:cathedral of that city
4983:
4922:
4897:
4835:Madonna of the Harpies
4817:
4804:scuola dell'Annunziata
4803:
4775:
4771:Madonna of the Harpies
4706:
4669:Benedetto da Rovezzano
4633:
4374:
4179:
4158:The Battle of Anghiari
4077:
4037:The Battle of Anghiari
3920:
3911:
3898:
3830:Battle of the Centaurs
3804:
3800:Battle of the Centaurs
3783:The young Michelangelo
3760:
3745:Saint John the Baptist
3739:
3733:
3718:
3711:Filippo Strozzi Chapel
3620:
3528:Charles VIII of France
3440:
3431:Domenico Ghirlandaio,
3359:
3245:Antonio del Pollaiuolo
3223:
3165:
3092:
3077:Antonio del Pollaiuolo
3071:Antonio del Pollaiuolo
3026:
2951:
2919:Accademia Neoplatonica
2893:
2887:
2860:
2772:
2766:Antonio del Pollaiuolo
2664:
2561:
2512:
2416:
2338:
2318:Madonna of the Shadows
2261:
2253:
2250:Madonna of the Shadows
2147:
1990:
1855:The Counter-attack of
1745:
1697:
1671:
1583:
1526:Alberti's theorisation
1480:
1437:
1332:
1270:San Giovenale Triptych
1188:
1153:
1099:
1026:was commissioned from
779:Filippo Brunelleschi,
710:
654:The Sacrifice of Isaac
636:The Sacrifice of Isaac
593:
540:
422:
390:
373:
321:Gian Galeazzo Visconti
282:
177:
163:
151:
134:Antonio del Pollaiuolo
22:Florentine Renaissance
9868:Medieval renaissances
9646:Scientific Revolution
8866:Burke, Peter (2000).
8845:Buck, August (1973).
8774:Michelangelo scultore
7937:Santi, Bruno (2001).
7382:"Andrea del Castagno"
7380:Gamba, Carlo (1929).
6384:Casa Bonechi (1996).
5181:Basilica of San Marco
5138:elongated figures of
5079:
5011:, which launched the
4975:
4889:
4809:Mariotto Albertinelli
4787:Chiostro dello Scalzo
4767:
4701:
4625:
4399:Giovanni della Rovere
4366:
4172:
3904:
3891:The Battle of Aghiari
3884:
3861:Madonna of the Stairs
3796:
3704:
3682:The Mystical Nativity
3634:The Mystical Nativity
3576:Piazza della Signoria
3530:assumed the title of
3524:Ferdinand I of Naples
3522:On the death of King
3430:
3410:Adoration of the Magi
3404:The Baptism of Christ
3351:
3215:
3159:
3152:Andrea del Verrocchio
3146:Andrea del Verrocchio
3084:
3021:
2965:onwards, such as the
2940:
2849:
2763:
2710:Pulpit of the Passion
2657:Pulpit of the Passion
2654:
2572:Leon Battista Alberti
2566:Leon Battista Alberti
2559:
2552:Leon Battista Alberti
2506:Andrea del Castagno,
2505:
2411:
2390:His masterpiece, the
2385:Piero della Francesca
2368:Adoration of the Magi
2333:
2282:Examples include the
2259:
2246:
2181:terrecotte invetriate
2176:cloister-arched vault
2142:
2128:Andrea del Verrocchio
2118:(1446β1450), through
1983:
1740:
1687:
1666:Le Moyen Γge gothique
1648:
1573:
1532:Leon Battista Alberti
1499:Adoration of the Magi
1476:Adoration of the Magi
1469:
1428:
1318:
1149:
1089:
585:Florence's Baptistery
527:
483:Piazza della Signoria
455:Piero the Unfortunate
364:
281:(early 15th century).
272:
169:
157:
132:
109:Andrea del Verrocchio
98:Leon Battista Alberti
9737:Northern Renaissance
9297:Toman, Rolf (2005).
8929:(in French). Temps.
8808:(in Italian). Milan.
7082:β Volume 81 β 2014).
7054:, 2003, pp. 378β397
6572:"Fiche du catalogue"
6149:on 19 September 2018
5579:KΓΌnker Auktion 137.
5354:, and a dichotomous
5325:The creation of the
5255:Venetian Renaissance
5055:Giuliano da Sangallo
4935:Vertumnus and Pomona
4932:In 1521, he painted
4825:in the refectory of
4818:pittore senza errori
4525:Small Cowper Madonna
4457:Alternating between
4437:Small Cowper Madonna
4078:pazzia bestialissima
4034:with a depiction of
4010:in Milan, while the
3877:Period of "geniuses"
3809:Domenico Ghirlandaio
3461:ambasceria artistica
3457:Domenico Ghirlandaio
3423:Domenico Ghirlandaio
3417:Domenico Ghirlandaio
3196:Domenico Ghirlandaio
3109:Hercules and Antaeus
3035:Giuliano da Sangallo
2999:The Education of Pan
2947:The Education of Pan
2932:Pico della Mirandola
2894:legnaiuoli di tarsie
2888:maestri intagliatori
2872:Domenico Ghirlandaio
2462:The fresco cycle in
2453:Barbadori Altarpiece
2441:Madonna of Tarquinia
2414:Barbadori Altarpiece
2372:International Gothic
2334:Domenico Veneziano,
2152:San Miniato al Monte
2145:San Miniato al Monte
2084:San Miniato al Monte
1934:St. Peter's Basilica
1902:Gian Galeazzo Sforza
1887:St. Peter's Basilica
1802:The three panels of
1705:international Gothic
1701:Masolino da Panicale
1680:Masolino da Panicale
1566:Intermediary artists
1518:, remained popular.
1406:International Gothic
1380:Masaccio's followers
1274:Masolino da Panicale
1103:Filippo Brunelleschi
1090:View of the dome of
1082:Filippo Brunelleschi
924:Four Crowned Martyrs
874:Four Crowned Martyrs
805:Santa Croce Crucifix
683:Filippo Brunelleschi
607:Filippo Brunelleschi
570:International Gothic
440:Domenico Ghirlandaio
423:ambascerie culturali
223:International Gothic
211:Filippo Brunelleschi
113:Filippo Brunelleschi
60:Republic of Florence
9690:Bergamo and Brescia
9682:Italian Renaissance
9460:Renaissance studies
8992:. London: Collins.
8973:. London: Collins.
8916:Collective (1993).
8702:, pp. 247β248)
7776:"Leonardo da Vinci"
7445:"Sepolcro Rucellai"
6693:"Fra Filippo Lippi"
6658:, pp. 246β252)
6474:, pp. 100β107)
6459:Castellitoscani.com
6441:Castellitoscani.com
6290:, pp. 187β188)
6247:(in Italian). 2002.
6182:, pp. 177β180)
6170:, pp. 189β198)
5809:Ridolfi, R (1974).
5725:, pp. 256β257)
5240:Italian Renaissance
5000:Volterra Deposition
4979:Volterra Deposition
4923:sacra conversazione
4843:Francis I of France
4559:Bridgewater Madonna
4498:sacra conversazione
4467:Baglioni Altarpiece
4443:Bridgewater Madonna
4391:Piccolomini Library
3715:Santa Maria Novella
3556:Girolamo Savonarola
3518:Savonarola's crisis
3500:Santa Maria Novella
3472:Alesso Baldovinetti
3136:Battle of the Nudes
3105:Pollaiuolo brothers
3088:Battle of the Nudes
2973:Alfonso V of Aragon
2868:Benedetto da Maiano
2587:Santa Maria Novella
2516:Andrea del Castagno
2498:Andrea del Castagno
2492:Andrea del Castagno
2412:Fra Filippo Lippi,
2381:Alesso Baldovinetti
2377:Andrea del Castagno
2197:Bernardo Rossellino
2154:, a celebration of
2112:Bernardo Rossellino
1576:The Story of Joseph
1552:De re aedificatoria
1490:Gentile da Fabriano
1488:, who commissioned
1471:Gentile da Fabriano
1462:Home of innovations
1343:Santa Maria Novella
1330:Santa Maria Novella
1291:Madonna of Humility
1128:Gothic architecture
1108:Florentine Republic
987:Luca della Robbia,
787:Santa Maria Novella
785:(c. 1410β15),
764:(c. 1406β08),
638:, Ghiberti (1401),
587:, sponsored by the
505:Cosimo I of Tuscany
451:Girolamo Savonarola
239:Girolamo Savonarola
160:Santa Maria Novella
144:Museo Poldi Pezzoli
23:
9808:Spanish Golden Age
9448:Northern Mannerism
9346:Florence RevisitΓ©e
9011:. London: Collins.
5687:Machiavel (1996).
5413:, Duke of Nemours.
5314:life of the Virgin
5179:'s design for the
5173:Laurentian Library
5094:
5029:Laurentian Library
5013:French Renaissance
4984:
4976:Rosso Fiorentino,
4898:
4776:
4768:Andrea del Sarto,
4707:
4634:
4375:
4194:Palazzo dei Priori
4180:
4051:encaustic painting
3912:
3899:
3805:
3719:
3664:Calumny of Apelles
3616:Lucian of Samosata
3607:Calumny of Apelles
3441:
3382:Dama col mazzolino
3360:
3329:The Birth of Venus
3267:The Birth of Venus
3224:
3166:
3093:
3027:
2989:Apollo and Daphnis
2968:Raccolta-aragonese
2952:
2928:Cristoforo Landino
2861:
2856:Apollo and Daphnis
2773:
2745:Penitent Magdalene
2730:Penitent Magdalene
2678:Penitent Magdalene
2665:
2591:Rucellai Sepulchre
2562:
2513:
2478:Domenico Veneziano
2417:
2343:Domenico Veneziano
2339:
2326:Domenico Veneziano
2277:Domenico Veneziano
2262:
2254:
2148:
1991:
1953:Castello Sforzesco
1920:Europe and beyond.
1894:Castello Sforzesco
1746:
1703:navigated between
1698:
1690:The Feast of Herod
1642:The art historian
1584:
1574:Lorenzo Ghiberti,
1481:
1438:
1333:
1245:, Brancacci Chapel
1154:
1100:
1096:Giotto's Campanile
1092:Florence Cathedral
886:In the bas-relief
541:
414:Lorenzo de' Medici
399:the Church council
376:During the 1430s,
374:
283:
265:Historical context
235:Lorenzo de' Medici
178:
164:
152:
21:
9898:
9897:
9818:
9817:
9791:Iberian peninsula
9558:Italian sculpture
9327:I tempi dell'arte
9238:978-2-335-10212-3
8858:978-2-7116-0680-1
8745:978-2-010-06274-2
8638:978-88-09-02167-9
8461:"Baccio d'Agnolo"
8133:978-88-370-6432-7
8091:978-88-370-6434-1
7963:"Filippino Lippi"
7926:(in French). ZdF.
7674:978-2-06-713945-9
7642:Chiarini, Marco.
7443:Pintore, Angela.
7256:Filarete (1464).
7034:978-1-85669-371-4
7027:. Laurence King.
7007:978-2-85229-144-7
6953:978-0-500-23677-2
6676:. Canal AcadΓ©mie.
6530:978-88-16-40406-9
6422:978-88-572-2811-2
6370:978-1-326-32982-2
6059:978-2-010-06274-2
6028:978-2-010-06274-2
5938:978-2-010-06274-2
5844:Pallazo-medeci.it
5795:978-88-7742-422-8
5635:978-88-8498-298-8
5565:978-1-4051-7846-4
5520:978-88-16-40406-9
5467:978-2-86847-992-1
5335:Cosimo de' Medici
5306:Madonna and Child
5260:Roman Renaissance
5117:Tomb of Julius II
4674:In architecture,
4636:During the early
4626:Piero di Cosimo,
4484:Death of Meleager
4370:Madonna del Prato
4351:Battle of Cascina
4300:Madonna of Bruges
4267:Battle of Cascina
4226:Madonna of Bruges
4092:Lisa del Giocondo
4043:Battle of Cascina
3929:Leonardo da Vinci
3918:held the post of
3896:Leonardo da Vinci
3886:Peter Paul Rubens
3825:San Marco convent
3726:Fra Filippo Lippi
3705:Filippino Lippi,
3599:Sandro Botticelli
3568:Pope Alexander VI
3496:Tornabuoni Chapel
3445:Sandro Botticelli
3355:Ginevra de' Benci
3344:Leonardo da Vinci
3227:Sandro Botticelli
3208:Sandro Botticelli
3184:Sandro Botticelli
3177:Leonardo da Vinci
3121:(c. 1475) in the
2959:Cosimo de' Medici
2706:Cosimo de' Medici
2659:, panel from the
2576:Giovanni Rucellai
2434:, he returned to
2420:Fra Filippo Lippi
2398:Fra Filippo Lippi
2306:Cosimo de' Medici
2186:Luca della Robbia
2156:James of Portugal
2088:Luca della Robbia
2003:Cosimo de' Medici
1914:Leonardo da Vinci
1754:Cosimo de' Medici
1718:Castiglione Olona
1694:Castiglione Olona
1633:Gates of Paradise
1580:Gates of Paradise
1578:, panel from the
1449:Trivulzio Madonna
1434:Trivulzio Madonna
1421:Fra Filippo Lippi
1386:Fra Filippo Lippi
1373:early Renaissance
1028:Luca della Robbia
822:Giotto's crucifix
716:Luca della Robbia
614:Hellenistic style
553:centred monofocal
501:Siege of Florence
479:Pope Alexander VI
436:Sandro Botticelli
378:Cosimo de' Medici
247:Leonardo da Vinci
207:Coluccio Salutati
127:
126:
78:Leonardo da Vinci
34:Sandro Botticelli
9928:
9863:Cloak and dagger
9678:
9677:
9548:Italian painting
9438:High Renaissance
9405:
9398:
9391:
9382:
9381:
9377:
9358:
9349:
9340:
9321:
9312:
9293:
9274:
9265:
9259:
9251:
9242:
9221:
9202:
9183:
9174:
9165:
9146:
9127:
9108:
9106:
9104:
9083:
9081:
9079:
9058:
9039:
9030:
9021:
9012:
9003:
8984:
8965:
8963:
8961:
8940:
8921:
8912:
8903:
8901:
8899:
8871:
8862:
8841:
8832:
8823:
8817:
8809:
8800:
8794:
8786:
8777:
8768:
8749:
8730:
8703:
8697:
8688:
8681:
8675:
8669:
8660:
8654:
8643:
8642:
8622:
8609:
8603:
8582:
8576:
8567:
8561:
8550:
8549:
8542:
8536:
8530:
8524:
8518:
8507:
8501:
8488:
8482:
8469:
8468:
8457:
8451:
8450:
8442:
8436:
8435:
8427:
8421:
8420:
8409:
8403:
8402:
8384:
8378:
8377:
8366:
8360:
8354:
8345:
8339:
8333:
8327:
8316:
8315:
8297:
8291:
8285:
8279:
8273:
8267:
8266:
8264:
8262:
8235:
8226:
8220:
8211:
8205:
8199:
8193:
8187:
8181:
8172:
8166:
8155:
8149:
8138:
8137:
8119:
8113:
8107:
8096:
8095:
8077:
8071:
8065:
8054:
8053:
8045:
8039:
8033:
8024:
8018:
8009:
8008:
7990:
7984:
7977:
7971:
7970:
7959:
7953:
7952:
7934:
7928:
7927:
7919:
7913:
7907:
7896:
7895:
7877:
7871:
7865:
7856:
7855:
7837:
7831:
7830:
7819:
7813:
7807:
7801:
7795:
7784:
7783:
7771:
7756:
7750:
7741:
7735:
7729:
7723:
7710:
7704:
7698:
7692:
7679:
7678:
7658:
7652:
7651:
7639:
7630:
7624:
7615:
7609:
7600:
7594:
7579:
7578:
7557:
7548:
7542:
7529:
7528:
7520:
7514:
7508:
7499:
7493:
7476:
7470:
7461:
7460:
7458:
7456:
7440:
7434:
7428:
7422:
7421:
7413:
7407:
7401:
7390:
7389:
7377:
7368:
7362:
7353:
7347:
7334:
7328:
7317:
7311:
7302:
7301:
7287:
7281:
7275:
7262:
7261:
7253:
7247:
7246:
7244:
7242:
7222:
7216:
7210:
7197:
7196:
7194:
7192:
7172:
7163:
7162:
7154:
7148:
7142:
7136:
7135:
7127:
7121:
7120:
7110:
7104:
7103:
7092:
7083:
7068:
7062:
7045:
7039:
7038:
7018:
7012:
7011:
6991:
6985:
6984:
6964:
6958:
6957:
6939:
6933:
6932:
6912:
6906:
6905:
6887:
6881:
6880:
6872:
6866:
6865:
6863:
6861:
6841:
6835:
6834:
6814:
6808:
6802:
6796:
6795:
6784:
6773:
6767:
6756:
6755:
6753:
6751:
6724:
6718:
6712:
6701:
6700:
6689:
6678:
6677:
6665:
6659:
6653:
6642:
6641:
6629:
6623:
6622:
6610:
6604:
6598:
6592:
6586:
6580:
6579:
6568:
6562:
6561:
6541:
6535:
6534:
6514:
6505:
6504:
6484:
6475:
6469:
6463:
6462:
6451:
6445:
6444:
6433:
6427:
6426:
6408:
6402:
6401:
6381:
6375:
6374:
6354:
6343:
6342:
6324:
6318:
6312:
6306:
6305:
6297:
6291:
6285:
6274:
6273:
6255:
6249:
6248:
6237:
6231:
6224:
6218:
6212:
6201:
6200:
6189:
6183:
6177:
6171:
6165:
6159:
6158:
6156:
6154:
6145:. Archived from
6135:
6129:
6128:
6110:
6104:
6103:
6091:
6085:
6079:
6064:
6063:
6044:
6033:
6032:
6013:
5998:
5997:
5977:
5971:
5970:
5952:
5943:
5942:
5916:
5885:
5879:
5873:
5872:
5854:
5848:
5847:
5836:
5830:
5829:
5821:
5815:
5814:
5806:
5800:
5799:
5779:
5773:
5772:
5764:
5758:
5757:
5749:
5743:
5742:
5732:
5726:
5720:
5703:
5702:
5684:
5678:
5677:
5661:
5655:
5654:
5646:
5640:
5639:
5619:
5613:
5612:
5596:
5587:
5586:
5576:
5570:
5569:
5549:
5543:
5542:
5531:
5525:
5524:
5504:
5498:
5497:
5495:
5493:
5478:
5472:
5471:
5451:
5436:
5433:
5427:
5420:
5414:
5395:
5389:
5386:
5380:
5374:
5368:
5365:
5359:
5348:
5342:
5323:
5317:
5310:Nativity of Mary
5298:
5292:
5285:
5220:
5215:
5214:
5213:
5206:
5201:
5200:
5067:Andrea Sansovino
5047:Andrea del Sarto
5043:Jacopo Sansovino
4987:Rosso Fiorentino
4968:Rosso Fiorentino
4962:Rosso Fiorentino
4925:
4917:Pucci Altarpiece
4906:Andrea del Sarto
4866:Palatine Gallery
4820:
4806:
4799:Rosso Fiorentino
4780:Andrea del Sarto
4760:Andrea del Sarto
4754:Andrea del Sarto
4702:Fra Bartolomeo,
4658:Andrea Sansovino
4604:
4587:
4570:
4553:
4536:
4519:
4504:Andrea del Sarto
4395:Giovanna Feltria
4345:
4328:
4311:
4294:
4279:
4222:Ashmolean Museum
4153:
4136:
4118:
4080:
3988:National Gallery
3925:
3835:Roman sarcophagi
3765:
3742:
3736:
3676:
3658:
3646:
3623:
3544:Piero de' Medici
3393:Royal Collection
3323:
3305:
3287:
3192:Lorenzo di Credi
3131:Villa La Gallina
2896:
2890:
2740:
2725:
2595:Palazzo Rucellai
2585:, the facade of
2583:Palazzo Rucellai
2560:Palazzo Rucellai
2546:Ferrarese school
2430:After a stay in
2174:pavement to the
2124:Carlo Marsuppini
1964:
1951:Filarete Tower,
1948:
1929:
1850:
1834:
1815:
1669:
1660:Henri Focillon,
1609:Lorenzo Ghiberti
1604:Lorenzo Ghiberti
1598:Lorenzo Ghiberti
1516:Lorenzo Ghiberti
1302:Brancacci Chapel
1236:
1222:Brancacci Chapel
1213:
1191:
1124:classical orders
1004:
984:
954:
936:
921:Nanni di Banco,
918:
855:Lorenzo Ghiberti
776:
755:
724:Brancacci Chapel
713:
650:
632:
603:Lorenzo Ghiberti
599:Binding of Isaac
596:
589:Arte di Calimala
425:
418:Pazzi conspiracy
393:
368:, fresco in the
357:Medici seigneury
275:Torre di Arnolfo
243:High Renaissance
209:, among others.
94:Lorenzo Ghiberti
31:
24:
20:
9936:
9935:
9931:
9930:
9929:
9927:
9926:
9925:
9916:Renaissance art
9901:
9900:
9899:
9894:
9851:
9814:
9786:
9731:
9667:
9580:Northern Europe
9464:
9414:
9409:
9374:
9364:Il Quattrocento
9337:
9309:
9290:
9253:
9252:
9239:
9218:
9199:
9162:
9143:
9124:
9114:Renaissance Art
9102:
9100:
9077:
9075:
9055:
9009:The Renaissance
9000:
8981:
8959:
8957:
8937:
8897:
8895:
8859:
8811:
8810:
8788:
8787:
8765:
8746:
8727:
8711:
8706:
8698:
8691:
8682:
8678:
8670:
8663:
8655:
8646:
8639:
8623:
8612:
8604:
8585:
8577:
8570:
8562:
8553:
8544:
8543:
8539:
8531:
8527:
8519:
8510:
8502:
8491:
8483:
8472:
8459:
8458:
8454:
8443:
8439:
8428:
8424:
8411:
8410:
8406:
8399:
8385:
8381:
8370:Panofsky, Erwin
8367:
8363:
8355:
8348:
8340:
8336:
8328:
8319:
8312:
8298:
8294:
8286:
8282:
8274:
8270:
8260:
8258:
8236:
8229:
8221:
8214:
8206:
8202:
8194:
8190:
8182:
8175:
8167:
8158:
8150:
8141:
8134:
8120:
8116:
8108:
8099:
8092:
8078:
8074:
8066:
8057:
8046:
8042:
8034:
8027:
8019:
8012:
8005:
7991:
7987:
7978:
7974:
7961:
7960:
7956:
7949:
7935:
7931:
7920:
7916:
7908:
7899:
7892:
7878:
7874:
7866:
7859:
7852:
7838:
7834:
7821:
7820:
7816:
7808:
7804:
7796:
7787:
7772:
7759:
7751:
7744:
7736:
7732:
7724:
7713:
7705:
7701:
7693:
7682:
7675:
7659:
7655:
7640:
7633:
7625:
7618:
7610:
7603:
7595:
7582:
7575:
7558:
7551:
7543:
7532:
7521:
7517:
7509:
7502:
7494:
7479:
7471:
7464:
7454:
7452:
7441:
7437:
7429:
7425:
7414:
7410:
7402:
7393:
7378:
7371:
7363:
7356:
7348:
7337:
7329:
7320:
7312:
7305:
7288:
7284:
7276:
7265:
7254:
7250:
7240:
7238:
7223:
7219:
7211:
7200:
7190:
7188:
7173:
7166:
7155:
7151:
7143:
7139:
7128:
7124:
7111:
7107:
7094:
7093:
7086:
7069:
7065:
7050:, Volume 1, by
7046:
7042:
7035:
7019:
7015:
7008:
6992:
6988:
6981:
6965:
6961:
6954:
6940:
6936:
6929:
6913:
6909:
6902:
6890:AA.VV. (2000).
6888:
6884:
6873:
6869:
6859:
6857:
6842:
6838:
6831:
6815:
6811:
6803:
6799:
6786:
6785:
6776:
6768:
6759:
6749:
6747:
6725:
6721:
6713:
6704:
6691:
6690:
6681:
6666:
6662:
6654:
6645:
6630:
6626:
6611:
6607:
6599:
6595:
6587:
6583:
6570:
6569:
6565:
6558:
6542:
6538:
6531:
6515:
6508:
6501:
6485:
6478:
6470:
6466:
6453:
6452:
6448:
6435:
6434:
6430:
6423:
6409:
6405:
6398:
6382:
6378:
6371:
6355:
6346:
6339:
6325:
6321:
6313:
6309:
6298:
6294:
6286:
6277:
6270:
6256:
6252:
6239:
6238:
6234:
6225:
6221:
6213:
6204:
6191:
6190:
6186:
6178:
6174:
6166:
6162:
6152:
6150:
6137:
6136:
6132:
6125:
6111:
6107:
6092:
6088:
6080:
6067:
6060:
6045:
6036:
6029:
6014:
6001:
5994:
5978:
5974:
5967:
5953:
5946:
5939:
5917:
5888:
5880:
5876:
5869:
5855:
5851:
5838:
5837:
5833:
5822:
5818:
5807:
5803:
5796:
5780:
5776:
5765:
5761:
5750:
5746:
5733:
5729:
5721:
5706:
5699:
5685:
5681:
5662:
5658:
5647:
5643:
5636:
5620:
5616:
5597:
5590:
5577:
5573:
5566:
5550:
5546:
5533:
5532:
5528:
5521:
5505:
5501:
5491:
5489:
5480:
5479:
5475:
5468:
5452:
5448:
5444:
5439:
5434:
5430:
5421:
5417:
5396:
5392:
5387:
5383:
5375:
5371:
5366:
5362:
5349:
5345:
5331:Marsilio Ficino
5324:
5320:
5299:
5295:
5286:
5282:
5278:
5235:Renaissance art
5216:
5211:
5209:
5204:The arts portal
5202:
5195:
5192:
5031:
5025:Sagrestia Nuova
5023:Main articles:
5021:
4995:Piero di Cosimo
4991:Filippino Lippi
4970:
4964:
4911:Joseph in Egypt
4902:Jacopo Pontormo
4884:
4878:
4762:
4756:
4726:
4720:
4696:
4684:Baccio d'Agnolo
4651:Cosimo Rosselli
4647:Piero di Cosimo
4620:
4613:
4605:
4596:
4588:
4579:
4571:
4562:
4554:
4545:
4537:
4528:
4520:
4361:
4354:
4346:
4337:
4329:
4320:
4312:
4303:
4295:
4286:
4280:
4185:Arte della Lana
4167:
4160:
4154:
4145:
4137:
4128:
4119:
4055:Pliny the Elder
4032:Palazzo Vecchio
3978:
3977:
3976:
3972:
3966:
3949:Ludovico Sforza
3945:
3879:
3853:Raffaele Riario
3845:, and the lost
3843:Giovanni Pisano
3791:
3785:
3722:Filippino Lippi
3699:
3697:Filippino Lippi
3693:
3691:Filippino Lippi
3686:
3677:
3668:
3659:
3650:
3647:
3596:
3594:Late Botticelli
3520:
3512:Filippino Lippi
3488:Sassetti Chapel
3449:Cosimo Rosselli
3437:Sassetti Chapel
3425:
3419:
3346:
3340:
3333:
3324:
3315:
3306:
3297:
3288:
3210:
3204:
3154:
3148:
3079:
3073:
3065:barrel vaulting
3016:
2994:Luca Signorelli
2942:Luca Signorelli
2924:Marsilio Ficino
2851:Pietro Perugino
2844:
2758:
2751:
2741:
2732:
2726:
2649:
2568:
2554:
2500:
2494:
2464:Prato Cathedral
2406:
2400:
2345:
2328:
2241:
2235:
2126:(1450β1450) to
2096:Marsilio Ficino
2065:Benozzo Gozzoli
2051:
1999:
1978:
1971:
1965:
1956:
1949:
1940:
1930:
1875:
1869:
1862:
1853:Paolo Uccello,
1851:
1842:
1837:Paolo Uccello,
1835:
1826:
1818:Paolo Uccello,
1816:
1783:
1777:
1735:
1729:
1682:
1676:
1670:
1659:
1611:, Masolino and
1606:
1600:
1568:
1528:
1464:
1423:
1398:
1382:
1306:Filippino Lippi
1298:Pisa Altarpiece
1250:
1249:
1248:
1247:
1246:
1237:
1229:
1228:
1214:
1203:
1198:
1084:
1078:
1016:
1015:
1014:
1013:
1012:
1005:
997:
996:
985:
974:
964:
955:
946:
937:
928:
919:
907:vanishing point
869:Roman portraits
847:
841:
829:Luciano Bellosi
793:
792:
791:
790:
789:
777:
769:
768:
756:
745:
740:
732:Filippino Lippi
722:stories in the
667:
660:
658:Bargello Museum
651:
642:
640:Bargello Museum
633:
618:Giovanni Pisano
566:
564:Pioneers (1401)
558:vanishing point
537:Pisa Altarpiece
522:
520:Characteristics
513:
511:Guild influence
444:Pietro Perugino
366:Benozzo Gozzoli
359:
306:. In 1404, the
288:
279:Palazzo Vecchio
267:
43:
17:
12:
11:
5:
9934:
9924:
9923:
9918:
9913:
9896:
9895:
9893:
9892:
9887:
9886:
9885:
9880:
9875:
9865:
9859:
9857:
9853:
9852:
9850:
9849:
9844:
9839:
9834:
9828:
9826:
9820:
9819:
9816:
9815:
9813:
9812:
9811:
9810:
9800:
9794:
9792:
9788:
9787:
9785:
9784:
9779:
9774:
9769:
9768:
9767:
9762:
9752:
9747:
9741:
9739:
9733:
9732:
9730:
9729:
9724:
9719:
9714:
9713:
9712:
9702:
9697:
9692:
9686:
9684:
9675:
9669:
9668:
9666:
9665:
9660:
9655:
9650:
9649:
9648:
9638:
9637:
9636:
9626:
9621:
9616:
9611:
9610:
9609:
9604:
9599:
9589:
9584:
9583:
9582:
9577:
9567:
9562:
9561:
9560:
9555:
9550:
9545:
9540:
9530:
9529:
9528:
9523:
9518:
9513:
9508:
9503:
9498:
9493:
9488:
9483:
9472:
9470:
9466:
9465:
9463:
9462:
9457:
9452:
9451:
9450:
9440:
9435:
9430:
9424:
9422:
9416:
9415:
9408:
9407:
9400:
9393:
9385:
9379:
9378:
9372:
9359:
9350:
9341:
9335:
9322:
9313:
9307:
9294:
9288:
9275:
9266:
9243:
9237:
9222:
9216:
9203:
9197:
9184:
9175:
9166:
9160:
9147:
9142:978-2706711275
9141:
9128:
9122:
9109:
9084:
9059:
9053:
9040:
9031:
9027:La Renaissance
9022:
9013:
9004:
8998:
8985:
8979:
8966:
8941:
8935:
8922:
8913:
8904:
8881:Revue de l'Art
8872:
8863:
8857:
8842:
8833:
8824:
8801:
8778:
8769:
8763:
8750:
8744:
8731:
8725:
8710:
8707:
8705:
8704:
8689:
8676:
8674:, p. 246)
8661:
8659:, p. 113)
8644:
8637:
8610:
8608:, p. 112)
8583:
8581:, p. 245)
8568:
8566:, p. 111)
8551:
8537:
8535:, p. 242)
8525:
8523:, p. 240)
8508:
8506:, p. 239)
8489:
8487:, p. 238)
8470:
8452:
8437:
8422:
8404:
8397:
8379:
8361:
8359:, p. 192)
8346:
8344:, p. 191)
8334:
8332:, p. 190)
8317:
8310:
8292:
8290:, p. 189)
8280:
8278:, p. 188)
8268:
8244:Revue de l'Art
8227:
8225:, p. 187)
8212:
8210:, p. 186)
8200:
8198:, p. 316)
8188:
8186:, p. 185)
8173:
8156:
8154:, p. 183)
8139:
8132:
8114:
8112:, p. 184)
8097:
8090:
8072:
8070:, p. 155)
8055:
8040:
8038:, p. 154)
8025:
8010:
8003:
7985:
7983:, Hazan, 2000.
7972:
7954:
7947:
7929:
7914:
7912:, p. 153)
7897:
7890:
7872:
7870:, p. 152)
7857:
7850:
7832:
7814:
7812:, p. 148)
7802:
7800:, p. 146)
7785:
7757:
7755:, p. 141)
7742:
7740:, p. 140)
7730:
7728:, p. 139)
7711:
7709:, p. 176)
7699:
7697:, p. 138)
7680:
7673:
7653:
7631:
7629:, p. 137)
7616:
7614:, p. 128)
7601:
7599:, p. 136)
7580:
7573:
7549:
7547:, p. 145)
7530:
7515:
7513:, p. 135)
7500:
7477:
7475:, p. 134)
7462:
7435:
7423:
7408:
7391:
7369:
7354:
7335:
7318:
7303:
7282:
7263:
7248:
7217:
7198:
7164:
7149:
7137:
7122:
7105:
7084:
7063:
7052:Dillian Gordon
7040:
7033:
7013:
7006:
6986:
6980:978-2335102123
6979:
6959:
6952:
6934:
6927:
6907:
6900:
6882:
6867:
6836:
6829:
6809:
6797:
6774:
6757:
6733:Revue de l'art
6719:
6702:
6679:
6660:
6643:
6624:
6605:
6593:
6581:
6563:
6556:
6536:
6529:
6506:
6500:978-2707174185
6499:
6476:
6464:
6446:
6428:
6421:
6403:
6396:
6390:. p. 22.
6376:
6369:
6344:
6338:978-2806261939
6337:
6319:
6307:
6292:
6275:
6268:
6250:
6232:
6219:
6202:
6184:
6172:
6160:
6130:
6123:
6105:
6086:
6065:
6058:
6034:
6027:
5999:
5993:978-2100747702
5992:
5972:
5965:
5944:
5937:
5886:
5874:
5867:
5849:
5831:
5816:
5801:
5794:
5774:
5759:
5744:
5727:
5704:
5697:
5679:
5656:
5641:
5634:
5614:
5588:
5585:. p. 204.
5571:
5564:
5544:
5526:
5519:
5499:
5473:
5466:
5445:
5443:
5440:
5438:
5437:
5428:
5415:
5390:
5381:
5369:
5360:
5343:
5318:
5293:
5279:
5277:
5274:
5273:
5272:
5267:
5265:Sienese School
5262:
5257:
5252:
5247:
5242:
5237:
5232:
5222:
5221:
5207:
5191:
5188:
5165:Medici Madonna
5020:
5017:
4966:Main article:
4963:
4960:
4956:Giorgio Vasari
4952:Albrecht DΓΌrer
4880:Main article:
4877:
4874:
4864:(1530) in the
4758:Main article:
4755:
4752:
4724:Fra Bartolomeo
4722:Main article:
4719:
4718:Fra Bartolomeo
4716:
4695:
4692:
4660:and his pupil
4656:In sculpture,
4645:Among them is
4619:
4616:
4615:
4614:
4606:
4599:
4597:
4593:The Deposition
4589:
4582:
4580:
4572:
4565:
4563:
4555:
4548:
4546:
4538:
4531:
4529:
4521:
4514:
4508:Fra Bartolomeo
4472:The Deposition
4360:
4357:
4356:
4355:
4347:
4340:
4338:
4331:Michelangelo,
4330:
4323:
4321:
4314:Michelangelo,
4313:
4306:
4304:
4297:Michelangelo,
4296:
4289:
4287:
4281:
4274:
4173:Michelangelo,
4166:
4163:
4162:
4161:
4155:
4148:
4146:
4138:
4131:
4129:
4120:
4113:
3973:
3969:Giorgio Vasari
3963:
3962:
3961:
3944:
3941:
3916:Piero Soderini
3878:
3875:
3848:Sleeping Cupid
3817:Peruzzi Chapel
3797:Michelangelo,
3787:Main article:
3784:
3781:
3749:Mary Magdalene
3695:Main article:
3692:
3689:
3688:
3687:
3678:
3671:
3669:
3660:
3653:
3651:
3648:
3641:
3595:
3592:
3584:Fra Bartolomeo
3564:excommunicated
3532:King of Naples
3519:
3516:
3465:Pope Sixtus IV
3421:Main article:
3418:
3415:
3397:Windsor Castle
3358:(c. 1475)
3342:Main article:
3339:
3336:
3335:
3334:
3332:(c. 1485)
3325:
3318:
3316:
3307:
3300:
3298:
3289:
3282:
3222:(c. 1483β1485)
3206:Main article:
3203:
3200:
3150:Main article:
3147:
3144:
3099:were those of
3075:Main article:
3072:
3069:
3015:
3012:
2899:Sistine Chapel
2866:In sculpture,
2859:(c. 1480β1490)
2843:
2840:
2827:
2826:
2807:
2757:
2754:
2753:
2752:
2742:
2735:
2733:
2727:
2720:
2671:returned from
2648:
2645:
2564:Main article:
2553:
2550:
2496:Main article:
2493:
2490:
2424:Lorenzo Monaco
2402:Main article:
2399:
2396:
2383:and the young
2341:Main article:
2327:
2324:
2304:, financed by
2247:Fra Angelico,
2237:Main article:
2234:
2231:
2116:Leonardo Bruni
2073:Palazzo Medici
2050:
2047:
2036:Giorgio Vasari
2019:Palazzo Medici
1998:
1995:
1977:
1974:
1973:
1972:
1966:
1959:
1957:
1950:
1943:
1941:
1931:
1924:
1908:. Later, when
1883:Pope Eugene IV
1871:Main article:
1868:
1865:
1864:
1863:
1852:
1845:
1843:
1836:
1829:
1827:
1817:
1810:
1808:
1786:Giorgio Vasari
1779:Main article:
1776:
1773:
1731:Main article:
1728:
1725:
1678:Main article:
1675:
1672:
1662:Art d'occident
1657:
1644:Henri Focillon
1623:south door by
1602:Main article:
1599:
1596:
1588:Treaty of Lodi
1567:
1564:
1527:
1524:
1512:Lorenzo Monaco
1463:
1460:
1422:
1419:
1402:Lorenzo Monaco
1397:
1394:
1381:
1378:
1238:
1231:
1230:
1215:
1208:
1207:
1206:
1205:
1204:
1202:
1199:
1197:
1194:
1080:Main article:
1077:
1074:
1006:
999:
998:
986:
979:
978:
977:
976:
975:
973:
967:
966:
965:
956:
949:
947:
938:
931:
929:
920:
913:
843:Main article:
840:
837:
835:and Masaccio.
833:Nanni di Banco
801:Giorgio Vasari
778:
771:
770:
757:
750:
749:
748:
747:
746:
744:
743:Two crucifixes
741:
739:
736:
666:
663:
662:
661:
652:
645:
643:
634:
627:
565:
562:
521:
518:
512:
509:
468:Fra Bartolomeo
428:Sistine Chapel
407:Eastern schism
358:
355:
287:
284:
266:
263:
170:Michelangelo,
125:
124:
67:
63:
62:
57:
53:
52:
49:
45:
44:
32:
15:
9:
6:
4:
3:
2:
9933:
9922:
9919:
9917:
9914:
9912:
9909:
9908:
9906:
9891:
9888:
9884:
9881:
9879:
9876:
9874:
9871:
9870:
9869:
9866:
9864:
9861:
9860:
9858:
9854:
9848:
9845:
9843:
9840:
9838:
9835:
9833:
9830:
9829:
9827:
9825:
9821:
9809:
9806:
9805:
9804:
9801:
9799:
9796:
9795:
9793:
9789:
9783:
9780:
9778:
9775:
9773:
9772:Low Countries
9770:
9766:
9763:
9761:
9758:
9757:
9756:
9753:
9751:
9748:
9746:
9743:
9742:
9740:
9738:
9734:
9728:
9725:
9723:
9720:
9718:
9715:
9711:
9708:
9707:
9706:
9703:
9701:
9698:
9696:
9693:
9691:
9688:
9687:
9685:
9683:
9679:
9676:
9674:
9670:
9664:
9661:
9659:
9656:
9654:
9651:
9647:
9644:
9643:
9642:
9639:
9635:
9632:
9631:
9630:
9627:
9625:
9622:
9620:
9617:
9615:
9612:
9608:
9605:
9603:
9600:
9598:
9595:
9594:
9593:
9590:
9588:
9585:
9581:
9578:
9576:
9573:
9572:
9571:
9568:
9566:
9563:
9559:
9556:
9554:
9551:
9549:
9546:
9544:
9541:
9539:
9536:
9535:
9534:
9531:
9527:
9524:
9522:
9519:
9517:
9514:
9512:
9509:
9507:
9504:
9502:
9499:
9497:
9496:Italian domes
9494:
9492:
9489:
9487:
9484:
9482:
9479:
9478:
9477:
9474:
9473:
9471:
9467:
9461:
9458:
9456:
9453:
9449:
9446:
9445:
9444:
9441:
9439:
9436:
9434:
9431:
9429:
9426:
9425:
9423:
9421:
9417:
9413:
9406:
9401:
9399:
9394:
9392:
9387:
9386:
9383:
9375:
9369:
9365:
9360:
9356:
9351:
9347:
9342:
9338:
9336:88-451-7212-0
9332:
9328:
9323:
9319:
9314:
9310:
9304:
9300:
9295:
9291:
9289:2-87939-089-3
9285:
9281:
9276:
9272:
9267:
9263:
9257:
9249:
9244:
9240:
9234:
9230:
9229:
9223:
9219:
9217:88-8117-099-X
9213:
9209:
9204:
9200:
9198:2-7535-0196-3
9194:
9190:
9185:
9181:
9176:
9172:
9167:
9163:
9161:88-8117-028-0
9157:
9153:
9148:
9144:
9138:
9134:
9129:
9125:
9123:0-550-10121-7
9119:
9115:
9110:
9098:
9095:(in French).
9094:
9090:
9085:
9073:
9070:(in French).
9069:
9065:
9060:
9056:
9054:88-09-03675-1
9050:
9046:
9041:
9037:
9032:
9028:
9023:
9019:
9014:
9010:
9005:
9001:
8999:0-7126-9884-1
8995:
8991:
8986:
8982:
8980:0-00-211262-0
8976:
8972:
8967:
8955:
8952:(in French).
8951:
8947:
8942:
8938:
8936:2-84274-200-1
8932:
8928:
8923:
8919:
8914:
8910:
8905:
8894:
8890:
8886:
8883:(in French).
8882:
8878:
8873:
8869:
8864:
8860:
8854:
8850:
8849:
8843:
8839:
8834:
8830:
8825:
8821:
8815:
8807:
8802:
8798:
8792:
8784:
8779:
8775:
8770:
8766:
8764:2-08-011602-9
8760:
8756:
8751:
8747:
8741:
8737:
8732:
8728:
8726:2-07-011278-0
8722:
8718:
8713:
8712:
8701:
8696:
8694:
8686:
8680:
8673:
8668:
8666:
8658:
8653:
8651:
8649:
8640:
8634:
8630:
8629:
8621:
8619:
8617:
8615:
8607:
8602:
8600:
8598:
8596:
8594:
8592:
8590:
8588:
8580:
8575:
8573:
8565:
8560:
8558:
8556:
8547:
8541:
8534:
8529:
8522:
8517:
8515:
8513:
8505:
8500:
8498:
8496:
8494:
8486:
8481:
8479:
8477:
8475:
8467:(in Italian).
8466:
8462:
8456:
8449:(in Italian).
8448:
8441:
8434:(in Italian).
8433:
8426:
8419:(in Italian).
8418:
8414:
8408:
8400:
8398:0-8371-5609-2
8394:
8390:
8383:
8375:
8371:
8365:
8358:
8353:
8351:
8343:
8338:
8331:
8326:
8324:
8322:
8313:
8311:88-8117-099-X
8307:
8303:
8296:
8289:
8284:
8277:
8272:
8257:
8253:
8249:
8246:(in French).
8245:
8241:
8234:
8232:
8224:
8219:
8217:
8209:
8204:
8197:
8192:
8185:
8180:
8178:
8171:, p. 28)
8170:
8169:Magnano (2007
8165:
8163:
8161:
8153:
8148:
8146:
8144:
8135:
8129:
8125:
8118:
8111:
8106:
8104:
8102:
8093:
8087:
8083:
8076:
8069:
8064:
8062:
8060:
8051:
8044:
8037:
8032:
8030:
8023:, p. 14)
8022:
8017:
8015:
8006:
8004:88-8200-017-6
8000:
7996:
7989:
7982:
7976:
7969:(in Italian).
7968:
7964:
7958:
7950:
7944:
7940:
7933:
7925:
7918:
7911:
7906:
7904:
7902:
7893:
7891:88-8200-017-6
7887:
7883:
7876:
7869:
7864:
7862:
7853:
7851:3-8290-4558-1
7847:
7843:
7836:
7829:(in Italian).
7828:
7824:
7818:
7811:
7806:
7799:
7794:
7792:
7790:
7782:(in Italian).
7781:
7777:
7770:
7768:
7766:
7764:
7762:
7754:
7749:
7747:
7739:
7734:
7727:
7722:
7720:
7718:
7716:
7708:
7703:
7696:
7691:
7689:
7687:
7685:
7676:
7670:
7666:
7665:
7657:
7649:
7645:
7638:
7636:
7628:
7623:
7621:
7613:
7608:
7606:
7598:
7593:
7591:
7589:
7587:
7585:
7576:
7574:88-8117-099-X
7570:
7566:
7563:
7556:
7554:
7546:
7541:
7539:
7537:
7535:
7526:
7519:
7512:
7507:
7505:
7498:, p. 80)
7497:
7492:
7490:
7488:
7486:
7484:
7482:
7474:
7469:
7467:
7450:
7446:
7439:
7433:, p. 76)
7432:
7427:
7419:
7412:
7406:, p. 75)
7405:
7400:
7398:
7396:
7388:(in Italian).
7387:
7383:
7376:
7374:
7367:, p. 74)
7366:
7361:
7359:
7352:, p. 73)
7351:
7346:
7344:
7342:
7340:
7333:, p. 72)
7332:
7327:
7325:
7323:
7316:, p. 70)
7315:
7310:
7308:
7299:
7296:
7292:
7286:
7280:, p. 78)
7279:
7274:
7272:
7270:
7268:
7259:
7252:
7236:
7233:(in French).
7232:
7228:
7221:
7215:, p. 69)
7214:
7209:
7207:
7205:
7203:
7186:
7183:(in French).
7182:
7178:
7171:
7169:
7161:(in Italian).
7160:
7153:
7147:, p. 68)
7146:
7141:
7133:
7126:
7118:
7115:
7109:
7102:(in Italian).
7101:
7097:
7091:
7089:
7081:
7080:
7075:
7074:
7067:
7061:
7060:1-85709-293-7
7057:
7053:
7049:
7044:
7036:
7030:
7026:
7025:
7017:
7009:
7003:
6999:
6998:
6990:
6982:
6976:
6972:
6971:
6963:
6955:
6949:
6945:
6938:
6930:
6924:
6920:
6919:
6911:
6903:
6901:88-85957-58-7
6897:
6893:
6886:
6878:
6871:
6855:
6852:(in French).
6851:
6847:
6840:
6832:
6826:
6822:
6821:
6813:
6807:, p. 58)
6806:
6801:
6794:(in Italian).
6793:
6789:
6783:
6781:
6779:
6772:, p. 45)
6771:
6766:
6764:
6762:
6746:
6742:
6738:
6735:(in French).
6734:
6730:
6723:
6717:, p. 47)
6716:
6711:
6709:
6707:
6699:(in Italian).
6698:
6694:
6688:
6686:
6684:
6675:
6671:
6664:
6657:
6652:
6650:
6648:
6640:(in Italian).
6639:
6635:
6628:
6621:(in Italian).
6620:
6616:
6609:
6603:, p. 40)
6602:
6597:
6591:, p. 39)
6590:
6585:
6578:(in Italian).
6577:
6573:
6567:
6559:
6553:
6549:
6548:
6540:
6532:
6526:
6522:
6521:
6513:
6511:
6502:
6496:
6492:
6491:
6483:
6481:
6473:
6468:
6461:(in Italian).
6460:
6456:
6450:
6443:(in Italian).
6442:
6438:
6432:
6424:
6418:
6414:
6407:
6399:
6393:
6389:
6388:
6380:
6372:
6366:
6362:
6361:
6353:
6351:
6349:
6340:
6334:
6330:
6323:
6317:, p. 32)
6316:
6311:
6303:
6296:
6289:
6284:
6282:
6280:
6271:
6269:88-7743-147-4
6265:
6261:
6254:
6246:
6242:
6236:
6229:
6223:
6217:, p. 30)
6216:
6211:
6209:
6207:
6199:(in Italian).
6198:
6197:Gliscritti.it
6194:
6188:
6181:
6176:
6169:
6164:
6148:
6144:
6140:
6134:
6126:
6124:88-8117-308-5
6120:
6116:
6109:
6102:(in Italian).
6101:
6097:
6090:
6084:, p. 15)
6083:
6078:
6076:
6074:
6072:
6070:
6061:
6055:
6051:
6043:
6041:
6039:
6030:
6024:
6020:
6012:
6010:
6008:
6006:
6004:
5995:
5989:
5985:
5984:
5976:
5968:
5966:88-09-03315-9
5962:
5958:
5951:
5949:
5940:
5934:
5930:
5926:
5922:
5915:
5913:
5911:
5909:
5907:
5905:
5903:
5901:
5899:
5897:
5895:
5893:
5891:
5884:, p. 24)
5883:
5878:
5870:
5868:2-08-012259-2
5864:
5860:
5853:
5845:
5841:
5835:
5827:
5820:
5812:
5805:
5797:
5791:
5787:
5786:
5778:
5770:
5763:
5755:
5748:
5740:
5739:
5731:
5724:
5719:
5717:
5715:
5713:
5711:
5709:
5700:
5698:2-221-06556-5
5694:
5690:
5683:
5676:(2): 345β347.
5675:
5671:
5667:
5660:
5652:
5645:
5637:
5631:
5627:
5626:
5618:
5611:(2): 345β347.
5610:
5606:
5602:
5595:
5593:
5584:
5583:
5575:
5567:
5561:
5557:
5556:
5548:
5540:
5536:
5530:
5522:
5516:
5512:
5511:
5503:
5488:. 5 June 2012
5487:
5483:
5477:
5469:
5463:
5459:
5458:
5450:
5446:
5432:
5425:
5419:
5412:
5408:
5405:, his nephew
5404:
5400:
5394:
5385:
5378:
5373:
5364:
5357:
5353:
5347:
5340:
5336:
5332:
5328:
5322:
5315:
5311:
5307:
5303:
5297:
5290:
5284:
5280:
5271:
5268:
5266:
5263:
5261:
5258:
5256:
5253:
5251:
5248:
5246:
5243:
5241:
5238:
5236:
5233:
5231:
5227:
5224:
5223:
5219:
5208:
5205:
5199:
5194:
5187:
5184:
5182:
5178:
5174:
5169:
5167:
5166:
5161:
5160:
5155:
5154:
5149:
5148:
5143:
5142:
5135:
5133:
5129:
5124:
5122:
5118:
5113:
5109:
5107:
5103:
5099:
5092:, San Lorenzo
5091:
5087:
5083:
5078:
5074:
5072:
5068:
5064:
5060:
5056:
5052:
5048:
5044:
5040:
5036:
5030:
5026:
5016:
5014:
5010:
5006:
5002:
5001:
4996:
4992:
4988:
4981:
4980:
4974:
4969:
4959:
4957:
4953:
4949:
4945:
4941:
4937:
4936:
4930:
4927:
4924:
4919:
4918:
4913:
4912:
4907:
4903:
4895:
4894:
4888:
4883:
4873:
4871:
4870:Palazzo Pitti
4867:
4863:
4862:
4856:
4854:
4853:
4848:
4847:Fontainebleau
4844:
4839:
4837:
4836:
4830:
4828:
4824:
4819:
4812:
4810:
4805:
4800:
4796:
4792:
4788:
4783:
4781:
4773:
4772:
4766:
4761:
4751:
4747:
4745:
4744:
4739:
4735:
4730:
4725:
4715:
4713:
4705:
4700:
4691:
4689:
4685:
4681:
4677:
4672:
4670:
4665:
4663:
4659:
4654:
4652:
4648:
4643:
4641:
4640:
4631:
4630:
4624:
4618:Other artists
4612:
4611:
4603:
4598:
4595:
4594:
4586:
4581:
4578:
4577:
4569:
4564:
4561:
4560:
4552:
4547:
4544:
4543:
4542:Tempi Madonna
4535:
4530:
4527:
4526:
4518:
4513:
4512:
4511:
4509:
4505:
4500:
4499:
4494:
4493:
4487:
4485:
4480:
4479:
4474:
4473:
4468:
4464:
4460:
4455:
4453:
4449:
4445:
4444:
4439:
4438:
4433:
4432:
4427:
4423:
4422:
4421:Tempi Madonna
4417:
4416:
4415:Pazzi Madonna
4411:
4406:
4402:
4400:
4396:
4392:
4389:decorate the
4388:
4384:
4380:
4372:
4371:
4365:
4353:
4352:
4344:
4339:
4336:
4335:
4327:
4322:
4319:
4318:
4310:
4305:
4302:
4301:
4293:
4288:
4285:
4278:
4273:
4272:
4271:
4269:
4268:
4262:
4260:
4256:
4255:
4250:
4249:
4244:
4243:
4238:
4233:
4231:
4227:
4223:
4219:
4214:
4212:
4208:
4204:
4203:
4202:Saint Matthew
4197:
4195:
4191:
4187:
4186:
4178:
4177:
4171:
4159:
4152:
4147:
4144:
4143:
4135:
4130:
4126:
4125:
4117:
4112:
4111:
4110:
4108:
4103:
4101:
4097:
4093:
4089:
4088:
4082:
4079:
4073:
4068:
4066:
4062:
4061:
4056:
4052:
4047:
4046:
4044:
4039:
4038:
4033:
4029:
4024:
4022:
4021:
4015:
4014:
4009:
4008:
4003:
3999:
3998:
3993:
3989:
3985:
3984:
3970:
3960:
3958:
3954:
3950:
3940:
3938:
3934:
3930:
3924:
3923:
3917:
3910:
3909:
3903:
3897:
3893:
3892:
3887:
3883:
3874:
3871:
3869:
3868:
3863:
3862:
3856:
3854:
3850:
3849:
3844:
3840:
3836:
3832:
3831:
3826:
3821:
3818:
3814:
3810:
3802:
3801:
3795:
3790:
3780:
3778:
3774:
3769:
3768:Carafa Chapel
3764:
3763:
3756:
3755:in Florence.
3754:
3750:
3746:
3741:
3735:
3729:
3727:
3723:
3716:
3712:
3708:
3703:
3698:
3684:
3683:
3675:
3670:
3666:
3665:
3657:
3652:
3645:
3640:
3639:
3638:
3636:
3635:
3630:
3625:
3622:
3617:
3613:
3609:
3608:
3602:
3600:
3591:
3589:
3585:
3579:
3577:
3573:
3569:
3565:
3561:
3557:
3553:
3549:
3545:
3541:
3537:
3533:
3529:
3525:
3515:
3513:
3509:
3503:
3501:
3497:
3493:
3492:Santa Trinita
3489:
3485:
3479:
3477:
3473:
3468:
3466:
3462:
3458:
3454:
3450:
3446:
3438:
3434:
3429:
3424:
3414:
3412:
3411:
3406:
3405:
3400:
3398:
3394:
3390:
3389:
3384:
3383:
3376:
3374:
3373:
3368:
3367:
3357:
3356:
3350:
3345:
3331:
3330:
3322:
3317:
3313:
3312:
3304:
3299:
3295:
3294:
3286:
3281:
3280:
3279:
3275:
3273:
3269:
3268:
3263:
3262:
3257:
3255:
3254:
3248:
3246:
3242:
3238:
3237:Filippo Lippi
3234:
3233:
3228:
3221:
3220:
3214:
3209:
3199:
3197:
3193:
3189:
3185:
3180:
3178:
3174:
3173:
3163:
3158:
3153:
3143:
3140:
3139:(1471β1472).
3138:
3137:
3132:
3128:
3127:Dancing Nudes
3124:
3120:
3119:
3112:
3110:
3106:
3102:
3098:
3090:
3089:
3083:
3078:
3068:
3066:
3061:
3059:
3055:
3052:
3047:
3045:
3040:
3036:
3032:
3025:
3020:
3011:
3009:
3008:Medici family
3005:
3001:
3000:
2995:
2991:
2990:
2985:
2980:
2976:
2974:
2970:
2969:
2964:
2960:
2956:
2949:
2948:
2943:
2939:
2935:
2933:
2929:
2925:
2921:
2920:
2914:
2910:
2908:
2904:
2900:
2895:
2889:
2884:
2880:
2879:Benedetto Dei
2877:Around 1472,
2875:
2873:
2869:
2864:
2858:
2857:
2852:
2848:
2839:
2837:
2833:
2824:
2820:
2816:
2812:
2808:
2804:
2803:
2802:
2800:
2796:
2794:
2793:
2787:
2785:
2784:
2779:
2771:
2767:
2762:
2750:
2749:Santa Trinita
2746:
2739:
2734:
2731:
2724:
2719:
2718:
2717:
2715:
2711:
2707:
2703:
2699:
2694:
2692:
2688:
2684:
2680:
2679:
2674:
2670:
2662:
2658:
2653:
2644:
2642:
2638:
2635:Even for the
2633:
2631:
2627:
2623:
2619:
2615:
2611:
2606:
2604:
2600:
2596:
2592:
2588:
2584:
2579:
2577:
2573:
2570:In Florence,
2567:
2558:
2549:
2547:
2543:
2542:
2536:
2534:
2530:
2529:
2524:
2519:
2517:
2511:
2510:
2504:
2499:
2489:
2487:
2483:
2479:
2473:
2471:
2470:
2465:
2460:
2458:
2454:
2449:
2447:
2443:
2442:
2437:
2433:
2428:
2425:
2421:
2415:
2410:
2405:
2404:Filippo Lippi
2395:
2393:
2388:
2386:
2382:
2378:
2373:
2369:
2365:
2361:
2357:
2352:
2350:
2344:
2337:
2332:
2323:
2320:
2319:
2313:
2311:
2310:Saint Dominic
2307:
2303:
2298:
2295:
2291:
2287:
2286:
2280:
2278:
2273:
2270:
2266:
2258:
2252:
2251:
2245:
2240:
2230:
2228:
2224:
2220:
2216:
2211:
2207:
2203:
2198:
2194:
2189:
2187:
2183:
2182:
2177:
2173:
2169:
2165:
2161:
2157:
2153:
2146:
2141:
2137:
2135:
2134:
2129:
2125:
2121:
2117:
2113:
2108:
2104:
2099:
2097:
2093:
2090:to build his
2089:
2085:
2081:
2076:
2074:
2070:
2066:
2061:
2058:
2056:
2046:
2044:
2039:
2037:
2033:
2032:
2027:
2022:
2020:
2016:
2012:
2008:
2004:
1994:
1989:
1988:
1982:
1970:
1963:
1958:
1954:
1947:
1942:
1939:
1935:
1928:
1923:
1922:
1921:
1917:
1915:
1911:
1907:
1903:
1899:
1895:
1890:
1888:
1884:
1880:
1874:
1860:
1858:
1849:
1844:
1840:
1833:
1828:
1824:
1822:
1814:
1809:
1807:
1806:
1801:
1800:
1799:
1797:
1796:Paolo Uccello
1793:
1792:
1787:
1782:
1781:Paolo Uccello
1775:Paolo Uccello
1772:
1770:
1766:
1761:
1759:
1755:
1750:
1744:
1739:
1734:
1724:
1721:
1719:
1715:
1711:
1706:
1702:
1695:
1691:
1686:
1681:
1667:
1663:
1656:
1654:
1647:
1645:
1640:
1638:
1634:
1630:
1626:
1625:Andrea Pisano
1622:
1618:
1614:
1610:
1605:
1595:
1591:
1589:
1581:
1577:
1572:
1563:
1560:
1559:
1554:
1553:
1548:
1547:
1541:
1539:
1538:
1533:
1523:
1519:
1517:
1513:
1508:
1506:
1501:
1500:
1495:
1494:Santa Trinita
1491:
1487:
1486:Palla Strozzi
1478:
1477:
1472:
1468:
1459:
1456:
1454:
1450:
1445:
1443:
1435:
1431:
1430:Filippo Lippi
1427:
1418:
1416:
1415:Paolo Uccello
1412:
1407:
1403:
1393:
1391:
1387:
1377:
1376:perspective.
1374:
1369:
1367:
1363:
1358:
1356:
1355:
1350:
1349:
1344:
1340:
1339:
1331:
1327:
1326:
1321:
1317:
1313:
1311:
1307:
1303:
1299:
1294:
1292:
1287:
1285:
1281:
1280:
1275:
1271:
1267:
1263:
1259:
1255:
1252:In painting,
1244:
1243:
1235:
1227:
1223:
1219:
1212:
1193:
1190:
1185:
1180:
1178:
1174:
1173:basilica plan
1169:
1167:
1163:
1159:
1152:
1148:
1144:
1141:
1137:
1133:
1129:
1125:
1120:
1118:
1117:
1116:pietra serena
1111:
1109:
1104:
1097:
1093:
1088:
1083:
1073:
1071:
1066:
1064:
1059:
1055:
1050:
1048:
1044:
1040:
1035:
1033:
1029:
1025:
1021:
1010:
1003:
994:
991:(1431β1438),
990:
983:
971:
962:
961:
953:
948:
944:
943:
935:
930:
926:
925:
917:
912:
911:
910:
908:
904:
899:
897:
896:
891:
890:
884:
882:
881:
876:
875:
870:
865:
862:
858:
856:
852:
846:
836:
834:
830:
825:
823:
818:
815:
812:
810:
806:
802:
797:
788:
784:
783:
775:
767:
763:
762:
754:
735:
733:
729:
726:by Masaccio,
725:
721:
717:
712:
707:
702:
700:
696:
692:
688:
684:
681:dominated by
680:
676:
671:
659:
655:
649:
644:
641:
637:
631:
626:
625:
624:
621:
619:
615:
610:
608:
604:
600:
595:
590:
586:
581:
579:
574:
571:
561:
559:
554:
549:
546:
538:
534:
530:
526:
517:
508:
506:
502:
498:
495:In 1527, the
493:
491:
486:
484:
480:
475:
473:
469:
465:
460:
456:
452:
447:
445:
441:
437:
433:
429:
424:
419:
415:
412:The reign of
410:
408:
404:
400:
395:
392:
391:Pater Patriae
387:
383:
379:
371:
367:
363:
354:
352:
351:
346:
342:
338:
334:
330:
326:
322:
317:
315:
311:
310:
305:
301:
297:
296:Ciompi Revolt
293:
280:
276:
271:
262:
260:
256:
252:
248:
244:
240:
236:
230:
226:
224:
220:
216:
212:
208:
204:
200:
195:
191:
187:
183:
175:
174:
168:
161:
156:
149:
145:
142:(1470β1472),
141:
140:
135:
131:
122:
118:
114:
110:
106:
103:
99:
95:
91:
87:
83:
79:
75:
71:
68:
66:Major figures
64:
61:
58:
54:
50:
46:
41:
40:
35:
30:
25:
19:
9883:12th century
9694:
9476:Architecture
9363:
9354:
9345:
9326:
9317:
9298:
9279:
9270:
9247:
9227:
9207:
9188:
9179:
9170:
9151:
9132:
9113:
9101:. Retrieved
9096:
9092:
9076:. Retrieved
9071:
9067:
9044:
9035:
9026:
9017:
9008:
8989:
8970:
8958:. Retrieved
8953:
8949:
8926:
8917:
8908:
8896:. Retrieved
8887:(1): 21β24.
8884:
8880:
8867:
8847:
8837:
8828:
8805:
8782:
8773:
8754:
8735:
8716:
8709:Bibliography
8679:
8628:Michelangelo
8627:
8545:
8540:
8528:
8464:
8455:
8446:
8440:
8431:
8425:
8416:
8407:
8388:
8382:
8373:
8364:
8337:
8301:
8295:
8283:
8271:
8259:. Retrieved
8247:
8243:
8203:
8191:
8123:
8117:
8082:Michelangelo
8081:
8075:
8049:
8043:
7994:
7988:
7980:
7975:
7966:
7957:
7938:
7932:
7923:
7917:
7881:
7875:
7841:
7835:
7826:
7817:
7805:
7779:
7733:
7702:
7663:
7656:
7647:
7565:
7561:
7524:
7518:
7453:. Retrieved
7451:(in Italian)
7448:
7438:
7426:
7417:
7411:
7385:
7298:
7294:
7291:
7285:
7257:
7251:
7239:. Retrieved
7234:
7230:
7220:
7189:. Retrieved
7184:
7180:
7158:
7152:
7140:
7131:
7125:
7117:
7114:
7108:
7099:
7077:
7071:
7066:
7047:
7043:
7023:
7016:
6996:
6989:
6969:
6962:
6943:
6937:
6917:
6910:
6891:
6885:
6876:
6870:
6858:. Retrieved
6853:
6849:
6839:
6819:
6812:
6800:
6791:
6748:. Retrieved
6739:(1): 21β24.
6736:
6732:
6722:
6696:
6669:
6663:
6637:
6627:
6618:
6608:
6596:
6584:
6575:
6566:
6546:
6539:
6519:
6489:
6467:
6458:
6455:"Vicopisano"
6449:
6440:
6431:
6412:
6406:
6386:
6379:
6359:
6328:
6322:
6310:
6301:
6295:
6259:
6253:
6244:
6240:
6235:
6222:
6196:
6187:
6175:
6163:
6151:. Retrieved
6147:the original
6142:
6133:
6114:
6108:
6099:
6089:
6049:
6018:
5982:
5975:
5957:Brunelleschi
5956:
5928:
5924:
5920:
5877:
5858:
5852:
5843:
5834:
5825:
5819:
5810:
5804:
5784:
5777:
5768:
5762:
5753:
5747:
5737:
5730:
5688:
5682:
5673:
5669:
5659:
5650:
5644:
5624:
5617:
5608:
5604:
5581:
5574:
5554:
5547:
5541:: 296. 1870.
5538:
5529:
5509:
5502:
5490:. Retrieved
5486:Lanazione.it
5485:
5476:
5456:
5449:
5431:
5418:
5401:, his uncle
5393:
5384:
5377:Michelangelo
5372:
5363:
5346:
5339:quattrocento
5321:
5309:
5305:
5296:
5283:
5218:Italy portal
5185:
5170:
5163:
5157:
5151:
5145:
5139:
5136:
5132:Sack of Rome
5125:
5114:
5110:
5106:New Sacristy
5095:
5090:New Sacristy
5085:
5081:
5071:Michelangelo
5032:
4998:
4985:
4977:
4933:
4931:
4928:
4915:
4909:
4899:
4891:
4859:
4857:
4850:
4840:
4833:
4831:
4822:
4813:
4791:Franciabigio
4784:
4777:
4769:
4748:
4741:
4737:
4733:
4731:
4727:
4708:
4703:
4673:
4666:
4655:
4644:
4637:
4635:
4627:
4608:
4591:
4574:
4557:
4540:
4523:
4496:
4490:
4488:
4483:
4476:
4470:
4456:
4451:
4441:
4435:
4431:Taddei Tondo
4429:
4426:Michelangelo
4419:
4413:
4407:
4403:
4387:Pinturicchio
4376:
4368:
4349:
4332:
4317:Taddei Tondo
4315:
4298:
4283:
4265:
4263:
4252:
4248:Taddei Tondo
4246:
4240:
4234:
4225:
4217:
4215:
4200:
4198:
4183:
4181:
4174:
4157:
4140:
4122:
4104:
4095:
4085:
4083:
4069:
4064:
4058:
4048:
4041:
4035:
4025:
4018:
4011:
4005:
3995:
3981:
3979:
3946:
3933:Michelangelo
3913:
3906:
3889:
3872:
3865:
3859:
3857:
3846:
3828:
3822:
3806:
3798:
3789:Michelangelo
3772:
3757:
3748:
3744:
3730:
3720:
3706:
3680:
3679:Botticelli,
3662:
3661:Botticelli,
3632:
3626:
3621:Nuda Veritas
3605:
3603:
3597:
3588:Michelangelo
3580:
3539:
3521:
3504:
3483:
3480:
3469:
3460:
3442:
3432:
3408:
3402:
3401:
3386:
3380:
3377:
3370:
3366:Annunciation
3364:
3361:
3353:
3327:
3326:Botticelli,
3309:
3308:Botticelli,
3291:
3290:Botticelli,
3276:
3271:
3265:
3259:
3258:
3251:
3249:
3230:
3225:
3217:
3216:Botticelli,
3181:
3170:
3167:
3161:
3160:Verrocchio,
3141:
3134:
3126:
3116:
3113:
3108:
3096:
3094:
3086:
3062:
3048:
3039:piano nobile
3028:
3014:Architecture
2997:
2987:
2981:
2977:
2966:
2962:
2953:
2945:
2917:
2915:
2911:
2901:in Rome and
2882:
2876:
2865:
2862:
2854:
2828:
2798:
2797:
2790:
2788:
2781:
2778:liberal arts
2774:
2770:Silver Cross
2769:
2744:
2729:
2713:
2695:
2676:
2666:
2660:
2641:golden ratio
2636:
2634:
2607:
2580:
2569:
2539:
2537:
2526:
2520:
2514:
2507:
2474:
2467:
2461:
2450:
2439:
2429:
2418:
2389:
2367:
2353:
2346:
2316:
2314:
2299:
2283:
2281:
2265:Fra Angelico
2263:
2248:
2239:Fra Angelico
2233:Fra Angelico
2206:bullfighting
2202:Neoplatonist
2190:
2179:
2149:
2131:
2106:
2102:
2100:
2077:
2062:
2059:
2052:
2040:
2029:
2023:
2011:Fra Angelico
2000:
1992:
1985:
1918:
1891:
1876:
1854:
1838:
1819:
1803:
1789:
1784:
1762:
1747:
1722:
1699:
1689:
1665:
1661:
1653:architecture
1649:
1641:
1631:called the "
1629:Michelangelo
1607:
1592:
1585:
1575:
1556:
1555:in 1454 and
1550:
1544:
1542:
1535:
1529:
1520:
1509:
1497:
1482:
1474:
1457:
1452:
1448:
1446:
1439:
1433:
1399:
1396:Fra Angelico
1390:Fra Angelico
1383:
1370:
1366:Brunelleschi
1361:
1359:
1354:trompe-l'Εil
1352:
1346:
1338:Holy Trinity
1336:
1334:
1325:Holy Trinity
1323:
1310:Michelangelo
1295:
1290:
1288:
1277:
1258:Brunelleschi
1251:
1240:
1218:Original Sin
1217:
1189:savoir-faire
1181:
1170:
1158:Old Sacristy
1155:
1121:
1114:
1112:
1101:
1076:Architecture
1067:
1051:
1038:
1036:
1023:
1019:
1017:
1008:
988:
972:of the Duomo
969:
958:
942:Saint George
940:
922:
903:a posteriori
902:
900:
893:
887:
885:
880:Saint George
878:
872:
866:
863:
859:
851:Orsanmichele
848:
845:Orsanmichele
839:Orsanmichele
826:
819:
816:
813:
808:
804:
798:
794:
780:
759:
703:
691:Old Sacristy
679:architecture
672:
668:
653:
635:
622:
611:
582:
575:
567:
550:
542:
532:
514:
497:Sack of Rome
494:
487:
476:
464:Michelangelo
448:
411:
396:
375:
348:
347:imposed the
318:
314:Orsanmichele
307:
289:
251:Michelangelo
231:
227:
181:
179:
171:
137:
121:Michelangelo
104:
90:Architecture
89:
82:Michelangelo
69:
48:Years active
37:
18:
9921:Italian art
9890:Reenactment
9873:Carolingian
9506:Plateresque
9428:Renaissance
9412:Renaissance
9250:. Florence.
8465:Treccani.it
8417:Treccani.it
8196:Toman (2005
7967:Treccani.it
7827:Treccani.it
7780:Treccani.it
7707:Fossi (2004
7648:Treccani.it
7612:Toman (2005
7386:Treccani.it
7116:Il Filarete
7100:Treccani.it
6792:Treccani.it
6697:Treccani.it
6656:Toman (2005
6638:Treccani.it
6619:Treccani.it
6472:Toman (2005
6288:Toman (2005
6180:Toman (2005
6168:Toman (2005
6100:Treccani.it
6096:"Donatello"
5723:Toman (2005
5424:Cinquecento
5128:Clement VII
4896:(1526β1528)
4823:Last Supper
4639:Cinquecento
4334:Pitti Tondo
4259:Holy Family
4242:Pitti Tondo
4235:Given the "
4065:Last Supper
4028:Sala Grande
4007:Last Supper
3922:gonaloniere
3839:bas-reliefs
3717:(1487β1502)
3536:Italian War
3443:Along with
3091:(1471β1472)
2909:in Venice.
2815:birth trays
2728:Donatello,
2702:San Lorenzo
2663:(1460β1466)
2655:Donatello,
2610:rose window
2599:rustication
2528:Last Supper
2457:chiaroscuro
2292:, with its
2172:cosmatesque
2160:Greek cross
2122:'s tomb of
2114:'s tomb of
2069:Magi Chapel
1984:Donatello,
1637:perspective
1436:(1430β1432)
1175:with three
1166:pendentives
1007:Donatello,
963:(1416β1417)
957:Donatello,
945:(1415β1417)
939:Donatello,
927:(1411β1414)
766:Santa Croce
758:Donatello,
695:San Lorenzo
545:perspective
370:Magi Chapel
292:Black Death
229:disciples.
176:(1503β1504)
9905:Categories
9847:Structures
9653:Technology
9629:Philosophy
9592:Literature
9511:Portuguese
9373:8837023154
9308:2844590934
8657:Sala (1995
8606:Sala (1995
8564:Sala (1995
8021:Sala (1995
7948:8881170914
6928:2921114771
6830:2900791413
6634:"Masaccio"
6615:"Masaccio"
6557:2858166366
6397:8870094278
6226:following
5442:References
5352:aesthetics
5177:Michelozzo
5035:Pope Leo X
4900:At first,
4890:Pontormo,
4254:Doni Tondo
4237:unfinished
4218:Saint Anne
4139:Leonardo,
4121:Leonardo,
3905:Leonardo,
3888:, copy of
3867:stiacciato
3508:Botticelli
3476:Verrocchio
3352:Leonardo,
3241:Verrocchio
3129:fresco in
3101:Verrocchio
2903:Verrocchio
2823:invetriata
2819:terracotta
2783:De pictura
2687:asceticism
2466:depicting
2446:cartellino
2227:asceticism
2168:serpentine
2133:arcosolium
2080:Michelozzo
1749:Michelozzo
1733:Michelozzo
1727:Michelozzo
1714:Vecchietta
1696:Baptistery
1688:Masolino,
1617:Baptistery
1613:Michelozzo
1546:De pictura
1537:De pictura
1239:Masaccio,
1216:Masolino,
995:, Florence
895:stiacciato
718:, and the
706:crucifixes
173:Doni Tondo
158:Facade of
9842:Humanists
9832:Composers
9673:By region
9553:Sculpture
9501:Palladian
9443:Mannerism
9256:cite book
8814:cite book
8791:cite book
8250:(1): 23.
6437:"Staggia"
6228:Vitruvius
5356:cosmogony
5289:oligarchs
5121:aediculae
5096:In 1519,
4827:San Salvi
4778:Even for
4712:Mannerism
4632:(c. 1480)
4607:Raphael,
4590:Raphael,
4573:Raphael,
4556:Raphael,
4539:Raphael,
4522:Raphael,
4452:Mona Lisa
4410:Donatello
4367:Raphael,
4107:Francis I
4087:Mona Lisa
3908:Mona Lisa
3803:(c. 1492)
3762:grottesco
3740:Palleschi
3724:, son of
3552:Dominican
3546:, son of
3526:in 1494,
3314:(c. 1478)
3311:Primavera
3293:Fortitude
3272:Primavera
3261:Primavera
3232:Fortitude
3125:, in the
2950:(c. 1490)
2708:. In the
2669:Donatello
2661:Compianto
2362:, is the
2302:San Marco
2269:Dominican
2215:virginity
2210:Mithraist
2208:theme of
2026:Donatello
2015:San Marco
1969:Sforzinda
1898:Sforzinda
1861:(c. 1455)
1788:, in his
1758:San Marco
1558:De statua
1549:in 1436,
1505:ekphrasis
1262:Donatello
1072:in 1443.
1047:Psalm 150
1032:Donatello
738:Sculpture
675:Donatello
578:doorcases
535:from the
459:San Marco
300:oligarchy
259:Mannerism
215:Donatello
117:Donatello
105:Sculpture
42:(c. 1478)
39:Primavera
9911:Florence
9878:Ottonian
9798:Portugal
9782:Scotland
9700:Lombardy
9695:Florence
9619:Medicine
9570:Humanism
9526:Venetian
9469:By field
9103:12 April
9078:12 April
8960:12 April
8898:12 April
8372:(1939).
8261:12 April
7455:15 March
7241:12 April
7237:(2): 273
7191:12 April
7187:(2): 272
6877:Ghiberti
6860:12 April
6856:(7): 143
6750:12 April
6387:Florence
5411:Giuliano
5403:Giuliano
5308:and the
5226:Florence
5190:See also
5039:signoria
4882:Pontormo
4876:Pontormo
4795:Pontormo
4676:Giuliano
4434:(in the
4418:(in the
4383:Perugino
4245:and the
3837:and the
3734:Piagnoni
3540:signorie
3453:Perugino
3188:Perugino
3103:and the
3097:botteghe
3058:coffered
3054:tympanum
2984:Perugino
2963:Duecento
2883:Cronache
2799:Botteghe
2618:Pantheon
2484:and the
2436:Florence
2294:predella
2164:porphyry
2107:varietas
2092:studiolo
1967:Plan of
1881:, where
1873:Filarete
1867:Filarete
1712:, where
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