Italian Renaissance painting

3123: 3104: 1960: 756: 1412: 235: 185: 1323: 2382: 1880: 2184: 1585: 20: 1897: 3085: 3142: 409: 983: 886: 1075: 1397: 541: 1674: 825: 2261: 1087: 679: 2505: 1238: 1127:. Each panel shows some strongly classicising motifs indicating the direction that art and philosophy were moving, at that time. Ghiberti used the naked figure of Isaac to create a small sculpture in the Classical style. The figure kneels on a tomb decorated with acanthus scrolls that are also a reference to the art of Ancient Rome. In Brunelleschi's panel, one of the additional figures included in the scene is reminiscent of a well-known Roman bronze figure of a boy pulling a thorn from his foot. Brunelleschi's creation is challenging in its dynamic intensity. Less elegant than Ghiberti's, it is more about human drama and impending tragedy. 2823: 2637: 2911:(1480–1556), one of the most important High Renaissance painters in Venice, also spent time in other areas of Northern Italy as, perhaps due to his greater focus on realist detail and on line than rather than colour compared to the Venetian school, he was not much appreciated in Venice. While he painted a variety of subjects, he was an excellent portrait painter who had a superior ability to see into the soul of his subjects and to portray a depth of feeling in the painting. He usually included other objects in the background or foreground of the portrait to portray the subject's character. 1154: 1734:, demonstrates his superior ability at handling linear perspective and light. The composition of the small painting is framed by a late Gothic arch, through which is viewed an interior, domestic on one side and ecclesiastic on the other, in the centre of which the saint sits in a wooden corral surrounded by his possessions while his lion prowls in the shadows on the floor. The way the light streams in through every door and window casting both natural and reflected light across the architecture and all the objects would have excited 2541:, but lived a decade longer than the first two and almost three decades longer than the latter. He was painting right up until his death and his works illustrate several influences. His early works show the influence of Mantegna with incisive lines and clearly delineated colours, while after Messina's stay in Venice in 1475 to 1476 his works adopted a Flemish-like realism and luminous colours, which shows he was highly successful at adopting the techniques of oil painting brought by Messina. He was first the teacher of 2740: 2176:". But it was first and foremost as a painter that he was admired in his own time, and as a painter, he drew on the knowledge he gained from his other interests. Leonardo was a scientific observer. He learned by looking at things. He studied and drew the flowers of the fields, the eddies of the river, the form of the rocks and mountains, the way light reflected from foliage and sparkled in a jewel. In particular, he studied the human form, dissecting thirty or more unclaimed 8835: 2789:, 1516–1518, also features diagonal lines (shaped by the cherubs located around the Virgin), which carries the triumphant message of the painting upward into the upper levels of the Church of Frari in Venice on whose altar it stands. This work was the first to have visual suggestion of movement; all of Titian's works have a new dynamism in the movements of people compared to the static elements of other High Renaissance painters. The 2252:–1519); the monumental three-dimensional quality of the group and the calculated effects of dynamism and tension in the composition made it a model that inspired Classicists and the Mannerists in equal measure. Apart from the direct impact of the works themselves, Leonardo's studies of light, anatomy, landscape, and human expression were disseminated in part through his generosity to a retinue of students. 2905:, 1517. His figures show a greater individuality than earlier High Renaissance works while losing none of the nobility. In the 1520s, he remained faithful to the ideals of the High Renaissance, such as in paintings’ compositions, and with the faces of his figures usually being calm and often beautiful, showing none of the torment of his Mannerist contemporaries, some of whom were his pupils. 2378:'s (1483–1520) name is synonymous with the High Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost 30 and died at the age of 37 just one year after Leonardo. It cannot be said that he as greatly advanced the state of painting as did his two famous contemporaries. Rather, his work was the culmination of all the developments of the High Renaissance. 51:, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas. 2767:

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

1928:. Whereas both tempera and fresco lent themselves to the depiction of pattern, neither presented a successful way to represent natural textures realistically. The highly flexibly medium of oils, which could be made opaque or transparent, and allowed alteration and additions for days after it had been laid down, opened a new world of possibility to Italian artists. 2027:. The remaining 12 pictures indicate the virtuosity that these artists had attained, and the obvious cooperation between individuals who normally employed very different styles and skills. The paintings gave full range to their capabilities as they included a great number of figures of men, women and children and characters ranging from guiding angels to enraged 1717:, in Milan in early 1456 and likely learned the techniques of oil painting, including painting almost microscopic detail and minute gradations of light, directly from Christus. As well, his works' calmer expressions on peoples' faces and calmness in the works' overall composition also appears to be a Netherlandish influence. Antonello went to 2854:, 1526–1530, in Parma Cathedral. One art scholar states that in the latter, Correggio creates a “dazzling illusion: the architecture of the dome seems to dissolve and the form seems to explode through the building drawing the viewer up into the swirling vortex of saints and angels who rush upwards to accompany the Virgin in to heaven.” 1305:, demonstrated his mastery over linear perspective and also over the science of light. Another painting exists, a cityscape, by an unknown artist, perhaps Piero della Francesca, that demonstrates the sort of experiment that Brunelleschi had been making. From this time linear perspective was understood and regularly employed, such as by 2144:, Frederick Hartt states that 1520 to 1530 was a transition period between the High Renaissance and Mannerism. The High Renaissance was dominated by three painters: Leonardo da Vinci, Michelangelo and Raphael; while Giovanni Bellini, Giorgione and Titian were the leaders of Venetian High Renaissance painting, with 1645:, talking, greeting a younger son and his tutor on their return from Rome, preparing for a hunt and other such scenes that make no obvious reference to matters historic, literary, philosophic or religious. They are remarkable for simply being about family life. The one concession is the scattering of jolly winged 2308:, and their leader Peter as first Bishop of Rome, that make that bridge. But Michelangelo's scheme went the opposite direction. The theme of Michelangelo's ceiling is not God's grand plan for humanity's salvation. The theme is about humanity's disgrace. It is about why humanity and the faith needed Jesus. 2238:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

646:, as were important local religious festivals. History and historic characters were often depicted in a way that reflected on current events or on the lives of current people. Portraits were often painted of contemporaries in the guise of characters from history or literature. The writings of 559:

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

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

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

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

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

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

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

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

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

2660:, often achieved by tonalism, to define the shapes of figures and landscapes and to create an atmosphere wherein all components of the painting are unified. Some believe he may have been taught this by Leonardo da Vinci, who is said to have visited Venice in 1501. In his 1368:. Both here and on the four heads of prophets that he painted around the inner clock face in the cathedral, he used strongly contrasting tones, suggesting that each figure was being lit by a natural light source, as if the source was an actual window in the cathedral. 2857:

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

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

2293:. Michelangelo soon devised an entirely different scheme, far more complex both in design and in iconography. The scale of the work, which he executed single handed except for manual assistance, was titanic and took nearly five years to complete. 1789:, which focused on humanity as the centre of the natural universe, on each person's personal relationship with God, and on fraternal or "platonic" love as being the closest that a person could get to emulating or understanding the love of God. 2323:, it really looks as if God himself had designed the figure, rather than Michelangelo. But despite the beauty of the individual figures, Michelangelo has not glorified the human state, and he certainly has not presented the Humanist ideal of 1581:. He also worked on the high altar and created a series of bronze panels in which he achieved a remarkable illusion of depth, with perspective in the architectural settings and apparent roundness of the human form all in very shallow relief. 264:

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

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

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

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

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

1203:, painted on the side of the arch into the chapel, are renowned for their realistic depiction of the human form and of human emotion. They contrast with the gentle and pretty figures painted by Masolino on the opposite side of 251:

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

2327:. In fact, the ancestors of Christ, which he painted around the upper section of the wall, demonstrate all the worst aspects of family relationships, displaying dysfunction in as many different forms as there are families. 1107:

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

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

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

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

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

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

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

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

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

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

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

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

82:(1520–1600). The dates for these periods represent the overall trend in Italian painting and do not cover all painters as the lives of individual artists and their personal styles overlapped these periods. 1052:

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

2358:, painted on the altar wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist style, with generally elongated bodies, which took over from the High Renaissance style between 1520 and 1530. 1659:

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

2970:'s knowledge of the works of both Titian and Raphael is apparent in his portraits. The direct influences of Leonardo and Raphael upon their own pupils was to effect generations of artists including 611:

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

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

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

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

777:(1266–1337), by tradition a shepherd boy from the hills north of Florence, became Cimabue's apprentice and emerged as the most outstanding painter of his time. Giotto, possibly influenced by 1489:

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

2612:(1505). It is a masterful composition which uses tonalism and extends the real architecture of the building into the illusionistic architecture of the painting, making the niche a sort of 2579:, the enthroned figure of the Virgin is accompanied by saints, who stand in defined spaces, separated physically in the form of a polyptych or defined by painted architectural boundaries. 1839:, a meticulous and accurate draughtsman and one of the finest portrait painters of his age, executed two cycles of frescoes for Medici associates in two of Florence's larger churches, the 3444: 66:, and in particular of Renaissance painting, although later in the era Rome and Venice assumed increasing importance in painting. A detailed background is given in the companion articles 948:

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

285:. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting, which manifested itself as early as the 1420s in the paintings of 1033:

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

3902:, but it is an older, grey-haired man, while Sodoma was in his 30s. Moreover, it strongly resembles several self-portraits of Perugino, who would have been about 60 at the time. 3168: 729:. Their commissions were mostly religious paintings, several of them being very large altarpieces showing the Madonna and Child. These two painters, with their contemporaries, 2899:(1486–1530), a Florentine, drew upon both Michelangelo and Raphael in his work, but went far beyond them in the portrayal of facial expressions and gestures, as evidenced in 475:. Apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the 5618: 513:

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

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

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

2035:. Because of the scale of the figures that the artists agreed upon, in each picture, the landscape and sky take up the whole upper half of the scene. Sometimes, as in 2234:(1483–1486) (the earliest complete work fully of his hand), he used light and shade with such subtlety that, for want of a better word, it became known as Leonardo's 979:, also in Padua. Giusto's work relies on formalised gestures, where Altichiero relates the incidents surrounding Christ's death with great human drama and intensity. 8677: 2454:

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

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

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

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

5677: 5743: 2842:, in northern Italy. He invented the open heaven filled with floating figures church dome, which became a hallmark of the 17th-century Baroque period, with his 2796:

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

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

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

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

1871:. In the Tornabuoni Chapel is another portrait of Poliziano, accompanied by the other influential members of the Platonic Academy including Marsilio Ficino. 7302: 1796:

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

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

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

2838:(1489–1534), who never visited Rome, but must have seen the works of the Raphael, Michelangelo and Titian, worked in a personal High Renaissance style in 3314: 3067:, were founded, and it was specifically to collect the works of the Italian Renaissance that some of the world's best known art collections, such as the 319:

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

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

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

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

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

5688: 2212:, but only Leonardo's was destined to be reproduced countless times in wood, alabaster, plaster, lithograph, tapestry, crochet, and table-carpets. 1965: 591:, artists turned to Classical themes, particularly to fulfill commissions for the decoration of the homes of wealthy patrons, the best known being 74:. Italian Renaissance painting is most often divided into four periods: the Proto-Renaissance (1300–1425), the Early Renaissance (1425–1495), the 5773: 1048:, many of which, being altarpieces in tempera, show the Gothic love of elaboration, gold leaf and brilliant colour. It is in his frescoes at his 5695: 2982:

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

2553:, wherein paint is applied in superimposed layers creating a soft diffused effect so figures and landscapes become more unified in atmosphere. 2119:

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

5710: 5704: 5691: 2866:(causing objects to look shorter because they are angled to the viewer) to create perspective is described as perhaps the most skillful ever. 1730: 1678: 1356:, a hundred years later, experimented with the dramatic effect of light in some of his almost monochrome frescoes. He did a number of these in 311:

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

8179: 2208:, became the benchmark for religious narrative painting for the next half millennium. Many other Renaissance artists painted versions of the 47:

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

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

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

2679:, colour modulation almost entirely replaces line creating an artistic vision in which humankind and nature are combined. Some consider the 1174:

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

5604: 5098: 3179: 2095:(contrast between light and dark), in a single unifying style which expressed total compositional order, balance and harmony. According to 1286:

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

904:, which in northern European churches frequently occupies a sculptural space above the west door, but in Italian churches such as Giotto's 865:, are examples of naturalistic painting of the period, often ascribed to Giotto himself, but more probably the work of artists surrounding 5732: 5731: 7665: 5708: 5689: 5292: 1061:. They are starkly simple, restrained in colour and intense in mood as the artist sought to make spiritual revelations a visual reality. 5709: 1497:, and expressions of great piety and sweetness to the Madonna. They were to set a standard to be emulated by other artists of Florence. 8172: 5736: 2057: 1112:, the oldest remaining church in the city. The competitors were each to design a bronze panel of similar shape and size, representing 5720: 5655: 5645: 2880:

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

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

5706: 5681: 5680: 5663: 5659: 5651: 5649: 5646: 2572:, also produced numerous small Madonnas in rich glowing colour, usually of more intense tonality than his Florentine counterpart. 1328: 1301: 5727: 5705: 5368: 5275: 1725:, including Giovanni Bellini, one of the most significant painters of the High Renaissance in Northern Italy, during that visit. 488: 5739: 5738: 5725: 5718: 5707: 5697: 5685: 5676: 5669: 5665: 5660: 8454: 6989: 6423: 5385: 5238: 2697:, illustrates another innovation of Giorgione—adjusting the directions and positions of the figures, such as the lance held by 1766:

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

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

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

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

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

1311: 7741: 6101: 5737: 5733: 5638: 4812: 2974:

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

7809: 6660: 5740: 5716: 5712: 5702: 5668: 5667: 5661: 4761: 4621: 4607: 3986: 2413:, an excellent painter and a superb technician. His first signed and dated painting, executed at the age of 21, is the 755: 417: 6129: 5647: 7888: 7883: 6728: 6219: 5221: 5128: 5057: 5043: 5029: 5008: 4994: 4980: 4959: 4945: 4931: 4917: 4903: 4882: 4868: 4854: 4829: 4789: 4775: 4712: 4698: 4684: 4670: 4656: 4593: 4579: 3706: 3682: 2785: 2745: 2558: 2354: 1419: 1360:("green earth"), enlivening his compositions with touches of vermilion. The best known is his equestrian portrait of 5724: 5715: 5701: 5694: 2126:

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

6146: 5696: 5467: 5216: 5091: 2995: 2798: 2205: 6894: 1516:. The custom was continued by Botticelli, who produced a series of Madonnas over a period of twenty years for the 1044:

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

8314: 7787: 6078: 5994: 5722: 5664: 5654: 5578: 5186: 2419: 998: 862: 597: 193: 5700: 2431:, outstanding portraits with two popes and a famous writer among them, and, while Michelangelo was painting the 165:. The Mannerist period, dealt with in a separate article, included the latter works of Michelangelo, as well as 8869: 8067: 7616: 7475: 7239: 6259: 6095: 5804: 5759: 5542: 5302: 4747: 4733: 4642: 3658: 3458:

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

1650: 1618: 5684: 5682: 5671: 367:, formed an ethos that supported and encouraged many lesser artists to achieve work of extraordinary quality. 7156: 6909: 5726: 5644: 5537: 5527: 5297: 5253: 5211: 3653:(series "Artistic Centers of the Italian Renaissance"), pp. 148–150, 2005, Cambridge University Press, 2005, 2583:

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

2215:

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

2131: 1713:. Recent evidence indicates that Antonello was likely in contact with Van Eyck's most accomplished follower, 1446:

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

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

1918: 1192: 1162: 2130:, although some say the High Renaissance ended about 1525 or in 1527 with the Sack of Rome by the army of 1728:

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

8199: 7900: 6566: 5532: 5084: 3141: 2564: 1578: 976: 7853: 5714: 5703: 5698: 3457: 256:. The following is a summary of points dealt with more fully in the main articles that are cited above. 8496: 8112: 7935: 7309: 6923: 6899: 6452: 6411: 6124: 5728: 5390: 5150: 2725: 2189: 2140:, started in 1495 and completed in 1498, as being the first work of the High Renaissance. In his book, 2136: 1756: 6847: 1569:, who had the good fortune to be in his teen years at the time in which the great Florentine sculptor 498: 7695: 7574: 7530: 6938: 6581: 6549: 6447: 5933: 5711: 3041: 5692: 8459: 8442: 8097: 7940: 7925: 7736: 7606: 7480: 7272: 7227: 7188: 7129: 7100: 6500: 5866: 5841: 5751: 5729: 5627: 5171: 3068: 3063:

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

2828: 2706:, the naked woman feeding a baby and the clothed man, and a flash of lightning, perhaps represents 1683: 1288: 697: 225: 71: 7636: 7596: 5674: 5639: 8620: 7957: 7797: 7552: 7161: 7107: 6711: 6554: 6469: 6396: 6335: 5585: 5568: 5477: 5395: 2693: 2668: 2642: 2605: 2589: 2514: 1817: 1617:

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

1605: 1232: 1207:. The painting of the Brancacci Chapel was left incomplete when Masaccio died at 26 in 1428. The 421:, demonstrates the preoccupation with the development of linear perspective, in a secular subject 7729: 7547: 7039: 5721: 5717: 3084: 2951:, and move steadily towards the great outpouring of imagination and painterly virtuosity of the 1139:, the doors were to have an enormous influence on the development of Florentine pictorial art. 1005:

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

530: 184: 8838: 8731: 8379: 8329: 8289: 8252: 8152: 7792: 7112: 7090: 6950: 5918: 5493: 5348: 5324: 5287: 5196: 3579:

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

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

960: 933: 604: 408: 347:

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

306: 3662: 2822: 1584: 713:

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

343:

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

19: 8369: 8344: 8309: 8279: 8245: 8167: 7945: 7920: 7535: 7414: 7319: 5878: 5800: 5563: 5472: 5417: 5341: 5248: 2580: 2296:

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

2023:

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

1921: 1735: 1435: 1371: 1296: 1258: 945: 682: 444: 426: 356: 335:

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

114: 6797: 8874: 8491: 8072: 7841: 7746: 7540: 7470: 7386: 7260: 7063: 6889: 6689: 6379: 6214: 6119: 6053: 5984: 5903: 5893: 5883: 5573: 5432: 5422: 5412: 5358: 5265: 5115: 4570: 3636:; Harry N. Abrams Incorporated, New York, 1985, pg. 601; Wundrum pg. 147; Marilyn Stokstad 3300: 2940: 2927:

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

2698: 2662: 2656:

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

2538: 2345: 2266: 1992: 1948: 1933: 1887: 1864: 1836: 1822: 1797: 1770: 1752: 1706: 1638: 1622: 1254: 1124: 1058: 1026: 642: 588: 565: 340: 278: 270: 238: 229: 126: 3776:

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

3719:, 2020, eds. Fiona McGaughey, Jani McCutcheon, Edward Elgar Publishing, ISBN 9781788971478 1029:

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

8: 8714: 8299: 8215: 8184: 8062: 8025: 7826: 7712: 7559: 7232: 6918: 6904: 6510: 6433: 6311: 6231: 6209: 5498: 5440: 5377: 5314: 5155: 3053: 2594: 2428: 2230: 1980:

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

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

1709:

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

1665:

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

1211:

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

967:, follows the theme of humanity's Creation, Downfall, and Salvation, also having a rare 8756: 8364: 8304: 8047: 7969: 7905: 7719: 7680: 7523: 7424: 7351: 7178: 6965: 6740: 6614: 6544: 6406: 6401: 6178: 5943: 5908: 5503: 5450: 5445: 5405: 5270: 5143: 2474:

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

1634: 1513: 1365: 1262: 1250: 1136: 1014: 804: 613: 526: 439: 8814: 7995: 7675: 3109: 1987:

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

1655: 1267: 8484: 8437: 8407: 8267: 8137: 8052: 8042: 7707: 7690: 7564: 7183: 7146: 7117: 7070: 6933: 6879: 6869: 6859: 6750: 6428: 6340: 6330: 6317: 6306: 5969: 5898: 5873: 5829: 5460: 5455: 5400: 5319: 5309: 5282: 5260: 5176: 5053: 5039: 5025: 5004: 4990: 4976: 4955: 4941: 4927: 4913: 4899: 4878: 4864: 4850: 4825: 4802: 4785: 4771: 4757: 4743: 4729: 4708: 4694: 4680: 4666: 4652: 4638: 4617: 4603: 4589: 4575: 3982: 3688: 3678: 3654: 3045: 2979: 2928: 2777: 2710:

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

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

1694: 1525: 1505: 1482: 1462: 1380: 1349: 1216: 1030: 885: 851: 544: 360: 188: 134: 118: 48: 6721: 6141: 2975: 2776:, 1519–1526, he moves the Madonna from the centre, instead placing her at the upper 2043:, there are additional small narratives taking place in the landscape, in this case 640:

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

8820: 8766: 8724: 8427: 8220: 7858: 7765: 7643: 7356: 7339: 7297: 7292: 7287: 7205: 7151: 6874: 6819: 6716: 6684: 6655: 6534: 6527: 6522: 6495: 6357: 6352: 6029: 5790: 5558: 5133: 3001: 2952: 2936: 2896: 2885: 2763: 2562:(1501), wherein the Doge shows a calmness Bellini likely learned from Messina, and 2526: 2508: 2446: 2440: 2388: 2340: 2149: 1977: 1868: 1808:

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

1722: 1698: 1642: 1609: 1596:

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

1396: 1187: 1148: 1120: 964: 941: 905: 866: 795: 778: 744: 622: 503: 312: 158: 146: 130: 75: 8548: 2281:(1475–1564) to agree to continue the decorative scheme of the Sistine Chapel. The 629:. Increasingly, still lifes and decorative scenes from life were painted, such as 572:. Portraiture was to become a major subject for High Renaissance painters such as 8741: 8598: 8573: 8523: 8447: 8272: 8262: 8157: 8142: 8122: 8005: 7915: 7878: 7863: 7611: 7518: 7460: 7282: 7277: 7034: 7003: 6955: 6645: 6576: 6561: 6389: 6367: 6288: 6236: 6226: 6198: 6151: 6134: 6058: 5999: 5989: 5928: 5228: 3712: 3128: 3025: 2932: 2802:, 1548, an equestrian picture in a symphony of purples, and the portrait of Doge 2534: 2530: 2504: 2488: 2305: 2290: 1996: 1988: 1840: 1774: 1714: 1574: 1562: 1212: 1131: 1006: 714: 701: 618: 569: 379: 67: 6625: 2875:, 1531–1532, Correggio painted a strong contrast between the luminous figure of 2814:

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

2183: 1867:, and Lorenzo's three sons with their tutor, the Humanist poet and philosopher, 8803: 8771: 8719: 8667: 8650: 8640: 8568: 8230: 8107: 8077: 7974: 7962: 7836: 7770: 7702: 7569: 7465: 7168: 6864: 6804: 6745: 6609: 6539: 6246: 6168: 6085: 5938: 3295: 3017: 2963: 2876: 2871: 2863: 2772: 2393: 2274: 2063: 1981: 1973: 1828: 1601: 1530: 1447: 1316: 1034: 986: 901: 809: 730: 514: 493: 464: 375: 8384: 6253: 5596: 2304:

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

429:. These works were often of large scale and were frequently cycles painted in 8853: 8704: 8672: 8533: 8528: 8511: 8339: 8334: 8319: 8294: 8284: 8235: 7895: 7873: 7804: 7670: 7499: 7402: 7378: 7361: 7329: 7314: 7095: 7085: 7080: 6984: 6733: 6694: 6633: 6459: 6416: 6185: 6114: 6046: 5888: 5782: 4798:

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

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Among those who painted devotional Madonnas during the Early Renaissance are

1361: 1353: 1283: 662: 652: 634: 522: 518: 412: 290: 110: 8189: 7334: 6996: 3692: 678: 8783: 8736: 8692: 8682: 8645: 8615: 8578: 8553: 8543: 8506: 8349: 8132: 8000: 7724: 7653: 7450: 7373: 7124: 7075: 6979: 6960: 6928: 6825: 6765: 6760: 6505: 6325: 6163: 6021: 6004: 5964: 5959: 5913: 5851: 3049: 3013: 2920: 2707: 2625: 2609: 2467: 2371: 2316: 2278: 1710: 1535: 1501: 1455: 1345: 1220: 1198: 1045: 843: 364: 274: 170: 138: 106: 90: 8778: 6639: 2666:, 1505, the use of line and colour modulation are equally balanced but in 2315:

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

1641:, dated about 1470. The walls are frescoed with scenes of the life of the 1017:, complete with the dome which was not built until the following century. 323:

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

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

2636: 2621: 2286: 2209: 2096: 2091: 1813: 1431: 909: 824: 344: 332: 215: 63: 3430:

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

2770:

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

1879: 1086: 8746: 8558: 8518: 8464: 8432: 8324: 8162: 8117: 8010: 7816: 7626: 7494: 7215: 7017: 6809: 6650: 6438: 6204: 6109: 6073: 6063: 6041: 5856: 5846: 5834: 5786: 3566:

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

3174: 3029: 2959: 2859: 2463: 2168: 2066:, and centrally placed an octagonal building that might be a Christian 2036: 2016: 1943: 1540: 1509: 968: 956: 592: 540: 456: 455:

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

425:

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

391: 178: 122: 98: 85:

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

2289:

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

1896: 1454:. The open lower storey of the building was enclosed and dedicated as 1253:

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

1074: 8808: 8798: 8761: 8593: 8583: 8563: 8389: 8359: 8092: 8015: 7434: 7220: 7057: 6814: 6515: 6464: 6362: 6173: 5979: 5950: 5138: 3899: 2967: 2948: 2835: 2811: 2650: 2542: 2217: 2145: 2101: 2071: 2067: 2032: 1925: 1570: 1551: 982: 767: 657: 468: 452: 383: 320: 282: 154: 79: 5781: 3674:

Color and meaning : practice and theory in Renaissance painting

1237: 247:, shows the introduction of patron's families into religious cycles. 8788: 8709: 8657: 8588: 8501: 8422: 8374: 8240: 8225: 8082: 8020: 7952: 7846: 7831: 7505: 7419: 7409: 7397: 7141: 6604: 6301: 6241: 3581:

The Italian Renaissance: Architecture, Sculpture, Painting, Drawing

3021: 3009: 3005: 2584: 2471: 2410: 2335: 2312: 2173: 2164: 2052: 1793: 1778: 1702: 1521: 1493:, was to give great naturalism to the babies that they modelled as 1474: 1332:

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

1306: 1179: 1175: 1157: 928:, now in a fragmentary state at the Museum of Santa Croce, and the 581: 580:

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

552: 448: 352: 336: 316: 286: 266: 174: 166: 150: 102: 55: 4740:

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

2007:

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

1812:, symbol of innocent love, or even, by extension, a symbol of the 1265:

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

8127: 7930: 7868: 7685: 7584: 7324: 7051: 6884: 6490: 6090: 5974: 3640:, Third Edition, Pearson Education Inc., New Jersey, 2008. pg 659 3412:

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

3037: 2971: 2944: 2569: 2375: 2331: 2177: 2127: 2085: 2028: 1947:

expressions ranging from adoration to wonder to incomprehension.

1545: 1466: 1451: 1049: 925: 889: 739: 718: 573: 460: 142: 94: 59: 23: 7046: 2549:

but was later influenced by Giorgione, most notably in adopting

2152:

being other significant painters of the High Renaissance style.

1450:, set in an elaborately designed and lavishly wrought canopy by 8751: 8610: 8102: 8032: 7601: 7513: 7368: 6599: 3169:

Lives of the Most Excellent Painters, Sculptors, and Architects

3090: 3033: 2966:, although Tintoretto is considered by many to be a Mannerist. 2924: 2881: 2752: 2613: 2546: 2483: 2406: 2320: 2204:, painted from 1495 to 1498 in the refectory of the Convent of 2107: 1924:

and possibly earlier, artists were introduced to the medium of

1763: 1718: 1626: 1517: 1470: 1341: 1119:

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

783: 774: 759: 722: 626: 577: 561: 472: 430: 387: 371: 348: 202: 198: 162: 86: 5637: 5076: 4614:

The Italian Renaissance Altarpiece: Between Icon and Narrative

3816:

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

3755:

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

2891: 1633:

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

1524:, whose Madonnas and saints are known for their sweetness and 1153: 900:

A common theme in the decoration of Medieval churches was the

6835: 4182:

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

3759:, Crescent Books, New York, 1991, pg. 129; Jacob Burchhardt, 2947:

adapted by later painters to form a disparate style known as

2839: 2739: 2617: 2470:, and is a reference to the latter's painting of the Prophet 2455: 2285:

was constructed in such a way that there were twelve sloping

1782: 1646: 1566: 1528:, for whom a number of small attributed Madonnas such as the 1494: 1054: 952: 799: 726: 708: 647: 507: 37: 4074:

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

2914: 2806:, ruler of Venice, perhaps Titian's most powerful portrait. 8687: 7489: 4726:

Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian

4389:

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

2717: 2180:

from a hospital in order to understand muscles and sinews.

1741: 1561:

One of the most influential painters of northern Italy was

1538:, who was primarily a sculptor, was persuaded to paint the 937: 914: 2848:, 1520–1524, in Parma's San Giovanni Evangelista, and the 2723:

Until recent years, it had appeared certain that with the

8678:

Art in the Protestant Reformation and Counter-Reformation

3594:

History of Italian Art: Painting, Sculpture, Architecture

3445:

Restoration Of Mantegna’S San Zeno Altarpiece In Florence

1809: 846:

achieved the first large painting of a night scene in an

3077:

The continuing influence of Italian Renaissance painting

1577:, still visible on its plinth in the square outside the 4822:

Classic Art: An Introduction to the Italian Renaissance

370:

A similar heritage of artistic achievement occurred in

4910:

Paolo Uccello, Domenico Veneziano, Andrea del Castagno

3401:

Paolo Uccello, Domenico Veneziano, Andrea del Castagno

2417:, which immediately reveals its origins in Perugino's 2163:(1452–1519) spent his formative years training in the 2142:

A History of Art: Painting, Sculpture and Architecture

1649:, who hold up plaques and garlands and clamber on the 1556: 1548:, they are among his most popular and numerous works. 1352:

demonstrated how light could be used to create drama.

2575:

Traditionally, in the painting of altarpieces of the

2466:

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

2482:("The Madonna of the Beautiful Garden"), now in the 2015:

were adjacent on the wall behind the altar, with an

1226: 4574:(1568), 1965 edition, trans. George Bull, Penguin, 3634:

A History of Art: Painting, Sculpture, Architecture

3583:, Konemann, Cologne, 1995. Pg. 308; Wundrum Pg. 147 3315:

Italian Renaissance painting, development of themes

1080:

Ghiberti: competition entry for the Baptistry doors

4705:Harrap's Illustrated Dictionary of Art and Artists 4663:Painting and Experience in Fifteenth Century Italy 3778:Lives of Modern Painters, Sculptors and Architects 3245:Painting and Experience in Fifteenth Century Italy 2529:(1430–1516) was born within a year of his brother 2319:, of such beauty that according to the biographer 1917:From about 1450, with the arrival in Italy of the 1552:Early Renaissance painting in other parts of Italy 2862:at the start of the next century. His mastery of 1245:shows his experiments with perspective and light. 993:, 1333, Uffizi, is International Gothic in style. 517:, 1327, in Siena and, of the early 15th century, 315:and Islamic scholars. The advent of movable type 8851: 4110:Zuffi pg. 103; Stokstad pg. 682; Raunch pg. 388) 3946:Stokstad pg. 655; Wundram pg. 120; Hartt pg. 563 2884:period. Correggio prefigured many components of 2134:, or about 1530. Many cite Leonardo da Vinci's 2031:and the devil himself. Each painting required a 1781:philosopher, and facilitated his translation of 273:brought about the first archaeological study of 5626: 4371:Hartt pg. 639; Raunch pg. 383; Stokstad pg. 681 4119:Raunch pg. 388; Hartt pg. 647; Stokstad pg. 682 4065:Hartt pg. 645; Raunch pg. 388; Stokstad pg. 682 3977:Olivari, Mariolina (2007). "Giovanni Bellini". 3448:, Arcadja, (2008-06-23), (accessed: 2012-07-13) 2986:makers, extending into the early 20th century. 2089:(softening the transition between colours) and 1130:Ghiberti won the competition. His first set of 802:set a new standard for narrative pictures. His 2691:, when compared to Giovanni Bellini's similar 963:. Giusto's masterpiece, the decoration of the 5767: 5612: 5092: 4677:The Fifteenth Century: The Prospect of Europe 3258:The Fifteenth Century, the Prospect of Europe 2277:succeeded in getting the Florentine sculptor 1942:the Portinari donors. In the foreground is a 1064: 951:Two important fresco painters were active in 896:(detail), c. 1350, Museum of Santa Croce 673: 254:Italian society during the Renaissance period 101:. The Early Renaissance style was started by 4691:The Renaissance: An Illustrated Encyclopedia 3972: 3970: 3470:The Renaissance, an Illustrated Encyclopedia 2077: 1383:was to carry forward Piero's work on light. 1011:Allegory of the Active and Triumphant Church 4014:Wundrum Pag. 147 and Pg.121; Hartt, Pg. 645 2892:Other significant High Renaissance painters 1374:carried his study of light further. In the 880: 5774: 5760: 5619: 5605: 5099: 5085: 3551: 3366: 3364: 3362: 3360: 3133:Baron Heathfield, Lord Warden of Gibraltar 2731:Giorgione painted the entire female body. 2458:, whom Raphael has famously modelled upon 2343:, his portrait of Michelangelo himself in 1205:Adam and Eve receiving the forbidden fruit 908:it is painted on the inner west wall. The 836: 812:, Florence, in the same room as Cimabue's 709:Traditions of 13th-century Tuscan painting 133:. The High Renaissance period was that of 3967: 3711:. Retrieved June 18, 2015.; described in 3677:. Cambridge: Cambridge University Press. 3442:Elena Lanzanova, trans. Giorgina Arcuri, 3328:Sarel Eimerl, The World of Giotto, (1967) 3313:All three are reproduced and compared at 2915:Influence of Italian Renaissance painting 1746: 1336: 296: 4824:. Ithaca, NY: Cornell University Press. 4819: 3667:The Modes of Coloring in the Cinquecento 3547: 3545: 3543: 3324: 3322: 3223: 2821: 2738: 2635: 2503: 2380: 2259: 2182: 1976:replaced the derelict old chapel at the 1958: 1742:Progression towards the High Renaissance 1672: 1583: 1321: 1236: 1152: 981: 884: 854:of the Church of Santa Croce, Florence. 823: 754: 677: 539: 407: 233: 183: 18: 4794: 4602:(1999) University of California Press, 4032: 3976: 3357: 3221: 3219: 3217: 3215: 3213: 3211: 3209: 3207: 3205: 3203: 3185: 1668: 1020: 489:The Allegory of Good and Bad Government 8852: 8455:Contemporary Indigenous Australian art 3855: 3853: 3707:"Four Canonical Painting Modes by APA" 3592:Frederick Hartt and David G. Wilkins, 3516: 3514: 2604:, in several of his later altarpieces 2600:Bellini used this same form, known as 997:In Florence, at the Spanish Chapel of 404:Themes in Italian Renaissance painting 6475:Art of the late 16th century in Milan 5755: 5600: 5080: 4968:, (1980) Specimen/Scala, ISBN unknown 4756:(1971) Scala Publications, Florence, 3898:Some sources identify this figure as 3540: 3438: 3436: 3426: 3424: 3422: 3420: 3418: 3382: 3380: 3319: 3289: 3052:painters of the 19th century such as 2396:to decorate a suite now known as the 1598:Lives of Saints James and Christopher 443:or the life of a saint, particularly 303:History of science in the Renaissance 62:is renowned as the birthplace of the 4936:Peter Murray and Pier Luigi Vecchi, 4637:(1992) Hugh Lauter Levin/Macmillan, 4586:A History of Italian Renaissance Art 3789:Kugler; Honour and Flemming, pg. 466 3670: 3239: 3237: 3229:A History of Italian Renaissance Art 3200: 2242:The Virgin and Child with Saint Anne 2155: 1912: 1697:, bringing with him a collection of 1653:pierced balustrade that surrounds a 869:. A late painting by Cimabue in the 4891:, (1988) G. Deganello, ISBN unknown 3850: 3511: 3180:Timeline of Italian artists to 1800 2587:had used it as the setting for his 2499: 2435:, a series of wall frescoes in the 2420:Christ giving the Keys to St. Peter 2058:Christ Giving the Keys to St. Peter 1954: 1557:Andrea Mantegna in Padua and Mantua 1312:Christ Giving the Keys to St. Peter 1142: 1057:, many of them being scenes of the 1013:is remarkable for its depiction of 13: 7810:Vienna School of Fantastic Realism 6661:Neoclassical architecture in Milan 5020:Gabriel Bartz and Eberhard König, 4651:(1970) Harcourt, Brace and World, 3872:Gabriel Bartz and Eberhard König, 3623:Wundrum pg. 147; Hartt and Wilkins 3614:Wundrum pg. 148; Hartt and Wilkins 3433: 3415: 3377: 2762:–1576) trained in the workshop of 1999:. This fresco cycle was to depict 1402:Andrea and Giovanni della Robbia: 666:were important sources of themes. 14: 8886: 7884:American Figurative Expressionism 6220:International Gothic art in Italy 5129:Greek scholars in the Renaissance 4896:Masaccio and the Brancacci Chapel 4630:(1968) Abrams Press, ISBN unknown 3388:Masaccio and the Brancacci Chapel 3234: 2845:Vision of St. John the Evangelist 2559:Portrait of Doge Leonardo Loredan 2492:, used as a design for countless 1227:Development of linear perspective 8834: 8833: 7393:Neue Künstlervereinigung München 4665:(1974) Oxford University Press, 4545: 4536: 4527: 4518: 4509: 4500: 4491: 4482: 4473: 4464: 4455: 4446: 4437: 4428: 4419: 4410: 4401: 4392: 4383: 4374: 4200:Stokstad pg. 684; Raunch pg. 392 3717:Research Handbook on Art and Law 3140: 3121: 3102: 3083: 2799:Equestrian Portrait of Charles V 2311:Superficially, the ceiling is a 2206:Santa Maria delle Grazie (Milan) 1895: 1878: 1410: 1395: 1085: 1073: 378:family, their influential inlaw 8315:Tunisian collaborative painting 7788:International Typographic Style 5106: 4889:Frescoes by Giusto de' Menabuoi 4557: 4443:Wundram pg. 174; Janson pg. 516 4365: 4356: 4347: 4338: 4329: 4320: 4317:Hartt pg. 649; Stokstad pg. 685 4311: 4308:Wundram pg. 176; Raunch pg. 393 4302: 4293: 4284: 4275: 4266: 4257: 4248: 4239: 4230: 4221: 4212: 4203: 4194: 4185: 4176: 4167: 4158: 4149: 4140: 4131: 4122: 4113: 4104: 4095: 4086: 4077: 4068: 4059: 4050: 4047:Stokstad pg. 682; Hartt pg. 646 4041: 4026: 4017: 4008: 3995: 3958: 3949: 3940: 3937:Wundram pg. 120; Ruanch pg. 366 3931: 3918: 3905: 3892: 3879: 3866: 3841: 3828: 3819: 3810: 3801: 3792: 3783: 3770: 3749: 3740: 3731: 3722: 3699: 3643: 3626: 3617: 3608: 3599: 3586: 3573: 3560: 3527: 3502: 3493: 3484: 3475: 3462: 3451: 3406: 3393: 3344: 3339:Frescoes by Giusto de' Menabuoi 3331: 2255: 2003:on one side of the chapel, and 1966:Christ Giving the Keys to Peter 1931:In 1483 the huge altarpiece of 1621:, created for the abbot of the 1182:, Slovenly Tom and Little Tom. 1025:During the later 14th century, 940:by an unknown painter, perhaps 863:Basilica of St. Francis, Assisi 8068:The Caribbean Artists Movement 5017:, (1962) Phaidon, ISBN unknown 4728:(2004) Yale University Press, 4719:Florence: The City and its Art 4616:(2021) Yale University Press, 4470:Raunch pg. 383; Janson pg. 518 4218:Hartt pg. 647; Wundram pg. 176 4155:Zuffi pg. 102; Raunch pg. 388) 4083:Zuffi pg. 102; Wundram pg. 148 4003:One Thousand Years of Painting 3757:The Illustrated History of Art 3307: 3276: 3263: 3250: 3191: 1934:the Adoration of the Shepherds 1386: 1348:in his nocturnal scene in the 1344:used tonality to create form. 1243:The Presentation of the Virgin 770:, foreshadows the Renaissance. 105:and then further developed by 1: 6424:Dutch and Flemish Renaissance 5073:, (1969) Hamlyn, ISBN unknown 4628:Renaissance and Mannerist Art 4551:Zuffi pg. 127; Raunch pg. 399 4461:Raunch pg. 383; Zuffi pg. 133 4407:Raunch pg. 383; Hartt pg. 638 4362:Hartt pg. 638; Raunch pg. 383 4236:Raunch pg. 393; Zuffi pg. 128 4137:Hartt pg. 647; Raunch pg. 388 3508:Hartt pg. 563; Raunch pg. 361 3499:Raunch pg. 361; Hartt pg. 563 3372:Renaissance and Mannerist Art 2756: 2673: 2334:, who was given a preview by 2246: 2222: 2132:Charles V, Holy Roman Emperor 2041:The Purification of the Leper 2005:Stories of the Life of Christ 1135:also the burgeoning skill of 848:Annunciation to the Shepherds 830:Annunciation to the Shepherds 690: 605:Ceiling of the Sistine Chapel 529:and its companion portraying 259: 209: 8860:Italian Renaissance painters 8539:Modern European ink painting 7911:Bay Area Figurative Movement 5330:Platonism in the Renaissance 5234:Early Netherlandish painting 5066:, (1990) Scala. ISBN unknown 5036:Raphael, the Life and Legacy 4971:Angela Ottino della Chiesa, 4849:, (1979) Thames and Hudson, 4768:The National Gallery, London 4272:Raunch pg. 393; Stokstad 684 4191:Hartt pg. 647; Zuffi pg. 128 4128:Hartt pg. 648; Luffi pg. 103 3913:Raphael, the Life and Legacy 3552:Giacometti, Massimo (1986). 2817: 2631: 2620:, making them brighter than 2001:Stories of the Life of Moses 244:The Birth of the Virgin Mary 45:Italian Renaissance painting 7: 8200:Artificial intelligence art 5628:Timeline of Italian artists 5050:Raphael, his Life and Works 4839: 4820:Wolfflin, Heinrich (1980). 4795:Sciacca, Christine (2012). 4092:Wundram pg. 145 and pg. 165 4033:Olivari, Mariolina (1990). 3926:Raphael, his Life and Works 3863:, Sydney University, (1982) 3568:Masterpieces of Western Art 3161: 2608:for the Venetian church of 2568:(1500–1502). Bellini, like 2352:Michelangelo's later work, 1102: 29:The Betrothal of the Virgin 10: 8891: 8113:Post-painterly abstraction 7936:Situationist International 7310:Pennsylvania Impressionism 5239:Dutch and Flemish painting 5182:Central and Eastern Europe 5151:Outline of the Renaissance 4926:, (1985) Scala/Riverside, 4912:, (1991) Scala/Riverside, 4898:, (1990) Scala/Riverside, 4863:, (1991) Scala/Riverside, 4721:(1971) Scala, ISBN unknown 4679:(1979) Thames and Hudson, 4588:(1970) Thames and Hudson, 4562: 3861:The Vision of Michelangelo 2361: 1757:Art patronage of Julius II 1750: 1443:were named in her honour. 1302:The Flagellation of Christ 1230: 1146: 1065:Early Renaissance painting 1009:in particular. His fresco 955:in the late 14th century, 913:images of the torments of 674:Proto-Renaissance painting 451:paintings on the theme of 401: 326: 300: 223: 213: 8829: 8633: 8398: 8208: 7988: 7780: 7764: 7696:California Scene Painting 7575:California Scene Painting 7531:Figurative Constructivism 7443: 7248: 7027: 7016: 6846: 6783: 6676: 6592: 6582:Poussinists and Rubenists 6483: 6287: 6020: 5820: 5811: 5798: 5634: 5551: 5518: 5486: 5431: 5376: 5367: 5164: 5114: 4626:R.E. Wolf and R. Millen, 4542:Raunch 398; Zuffi pg. 127 4533:Zuffi pg. 126; Raunch 398 3728:Stokstad, pg. 659 and 662 3370:R.E. Wolf and R. Millen, 2734: 2462:. The brooding figure of 2078:High Renaissance painting 2046:The Temptations of Christ 1851:. In these cycles of the 1843:at Santa Trinita and the 1166:for the Brancacci Chapel. 750: 492:, and religious, such as 397: 331:The establishment of the 277:remains by the architect 8794:Prehistoric European art 8443:Contemporary African art 7926:Gendai Bijutsu Kondankai 7854:Generación de la Ruptura 7481:Universal Constructivism 7273:California Impressionism 7228:American Barbizon school 5003:, (1986) Harmony Books, 4966:Il Palazzo di Schifanoia 3979:Pittori del Rinascimento 3798:Stokstad pg. 662; Lanzi. 3671:Hall, Marcia B. (1992). 3570:, Tashen, 2007. Page 147 3097:, Venetian, 16th century 3069:National Gallery, London 2851:Assumption of the Virgin 2829:Assumption of the Virgin 2791:Assumption of the Virgin 2786:Assumption of the Virgin 2746:Assumption of the Virgin 2021:Assumption of the Virgin 1888:The Portinari Altarpiece 1861:Life of John the Baptist 1818:Pierfrancesco de' Medici 1684:National Gallery, London 1579:Basilica of Sant'Antonio 1379:mathematical certainty. 1289:The Battle of San Romano 1201:being expelled from Eden 977:Basilica of Sant'Antonio 881:Mortality and redemption 698:National Gallery, London 459:, which were painted in 418:The Battle of San Romano 226:Renaissance architecture 72:Renaissance architecture 8621:Walking Artists Network 7958:Letterist International 7798:Washington Color School 6712:Arts in the Philippines 4887:Mgr. Giovanni Foffani, 4784:(1974) Michael Joseph, 4782:Lorenzo the Magnificent 3836:Encyclopædia Britannica 3834:"Leonardo da Vinci" in 3765:Handbook of Art History 3522:Lorenzo the Magnificent 3337:Mgr. Giovanni Foffani, 3152:Chef de l'Hôtel Chatham 2694:San Zaccaria Altarpiece 2515:San Zaccaria Altarpiece 2486:. His larger work, the 2415:Betrothal of the Virgin 1904:The Sassetti Altarpiece 1857:Life of the Virgin Mary 1731:St. Jerome in His Study 1679:St. Jerome in His Study 1606:church of the Eremitani 1604:in the transept of the 1326:Piero della Francesca: 1299:, in paintings such as 1233:Perspective (graphical) 875:Madonna and St. Francis 837:Giotto's contemporaries 794:that he painted in the 447:. There were also many 8732:Illuminated manuscript 8380:The Designers Republic 8330:Neue Slowenische Kunst 8253:Pattern and Decoration 8153:Institutional critique 7793:Abstract expressionism 6773:Latin American Baroque 6729:Colonial Asian Baroque 4801:. Getty Publications. 4780:Hugh Ross Williamson, 4598:Graham-Dixon, Andrew, 4005:, Electa, Milan, 2001. 3520:Hugh Ross Williamson, 2991:Sistine Chapel ceiling 2902:Madonna of the Harpies 2832: 2749: 2713:The Three Philosophers 2646: 2518: 2452:Stanza della Segnatura 2433:Sistine Chapel ceiling 2401: 2283:Sistine Chapel ceiling 2270: 2193: 1969: 1747:Patronage and Humanism 1686: 1593: 1337:Understanding of light 1333: 1246: 1167: 1114:the Sacrifice of Isaac 994: 934:Camposanto Monumentale 897: 833: 792:the Life of the Virgin 771: 705: 556: 551:, showing a Classical 422: 307:Renaissance technology 297:Science and technology 248: 206: 157:, the latter works of 41: 8870:Renaissance paintings 8370:Artist-run initiative 8345:Young British Artists 8310:New European Painting 8246:Moscow Conceptualists 8168:Feminist art movement 7946:Ukrainian underground 7921:Gutai Art Association 7320:Ten American Painters 6824:Western influence in 5801:List of art movements 5564:Medieval renaissances 5342:Scientific Revolution 5013:Ludwig Goldschieder, 4938:Piero della Francesca 4924:Piero della Francesca 4922:Alessandro Angelini, 4861:Duccio di Buoninsegna 4707:(1990) Harrap Books, 3885:Ludwig Goldschieder, 2825: 2742: 2639: 2581:Piero della Francesca 2533:, his brother-in-law 2507: 2384: 2263: 2186: 2009:The Nativity of Jesus 1962: 1922:Rogier van der Weyden 1751:Further information: 1736:Piero della Francesca 1676: 1587: 1372:Piero della Francesca 1325: 1297:Piero della Francesca 1282:According to Vasari, 1240: 1172:the Life of St. Peter 1156: 1094:The Gates of Paradise 985: 946:Buonamico Buffalmacco 888: 857:The paintings in the 832:(detail), Santa Croce 827: 814:Santa Trinita Madonna 758: 683:Duccio di Buoninsegna 681: 543: 445:St. Francis of Assisi 411: 374:through the talented 357:Piero della Francesca 237: 224:Further information: 187: 115:Piero della Francesca 22: 8180:Saqqakhaneh movement 8073:Chicano art movement 7941:Soviet Nonconformist 7747:Boston Expressionism 7730:Abstraction-Création 7548:Arbeitsrat für Kunst 7541:Cologne Progressives 7261:Art Nouveau in Milan 7064:Anglo-Japanese style 7040:National romanticism 6470:Fontainebleau School 6380:Northern Renaissance 6215:International Gothic 5433:Northern Renaissance 5052:, (1985) Chartwell, 4999:Massimo Giacometti, 4877:, (1967) Time/Life, 4649:Art Through the Ages 4633:Keith Christiansen, 4571:Lives of the Artists 3352:Art through the Ages 3301:Lives of the Artists 3269:Keith Christiansen, 3186:Notes and references 2941:Antonello da Messina 2716:, may represent the 2689:Castelfranco Madonna 2663:Castelfranco Madonna 2602:Sacred Conversations 2539:Antonello da Messina 2346:The School of Athens 2267:The Creation of Adam 1993:Domenico Ghirlandaio 1949:Domenico Ghirlandaio 1865:Lorenzo il Magnifico 1837:Domenico Ghirlandaio 1785:and his teaching of 1753:Renaissance humanism 1707:Antonello da Messina 1669:Antonello da Messina 1639:Ducal palace, Mantua 1623:Basilica of San Zeno 1534:have survived. Even 1027:International Gothic 1021:International Gothic 894:The Triumph of Death 643:Battle of San Romano 566:Domenico Ghirlandaio 555:for a private patron 531:Niccolò da Tolentino 239:Domenico Ghirlandaio 230:Renaissance humanism 127:Domenico Ghirlandaio 8865:Italian Renaissance 8715:Hierarchy of genres 8280:Saint Soleil School 8216:Post-conceptual art 8185:The Stars Art Group 8063:Black Arts Movement 8026:Neo-Dada Organizers 7827:Lyrical abstraction 7560:Australian tonalism 7233:California Tonalism 6905:Hudson River School 6708:Colonial Asian art 6448:English Renaissance 6397:Ghent–Bruges school 6385:Early Netherlandish 6297:Italian Renaissance 6210:Gothic art in Milan 5386:Bergamo and Brescia 5378:Italian Renaissance 5156:Renaissance studies 5062:Mariolina Olivari, 5048:Jean-Pierre Cuzin, 5024:, (1998) Könemann, 4908:Annarita Paolieri, 4875:The World of Giotto 4661:Michael Baxandall, 4612:Ekserdjian, David, 3981:. Florence: Scala. 3924:Jean-Pierre Cuzin, 3763:1841; Franz Kugler 3665:; also the chapter 3399:Annarita Paolieri, 3243:Michael Baxandall, 3093:: Portrait of Doge 3054:Jacques-Louis David 2628:in the foreground. 2595:Santa Maria Novella 2480:La Belle Jardinière 2450:(1509–1511) in the 2231:Virgin of the Rocks 2187:Leonardo da Vinci: 2105:and what she calls 1885:Hugo van der Goes: 1849:Santa Maria Novella 1802:Classical mythology 1787:Platonic philosophy 1691:Alfonso V of Aragon 1662:sacra conversazione 1619:San Zeno altarpiece 1615:University of Padua 1491:Andrea della Robbia 1441:Santa Maria Novella 1277:Santa Maria Novella 1110:Florence Baptistery 1039:Gentile da Fabriano 999:Santa Maria Novella 961:Giusto de' Menabuoi 735:Coppo di Marcovaldo 587:With the growth of 535:Andrea del Castagno 484:Ambrogio Lorenzetti 220:Italian Renaissance 34:Pinacoteca di Brera 8757:Landscape painting 8365:New Leipzig School 8305:Neo-conceptual art 8053:Art & Language 8048:Capitalist realism 7970:Florida Highwaymen 7906:Hard-edge painting 7720:Streamline Moderne 7681:Harlem Renaissance 7524:Novecento Italiano 7352:Deutscher Werkbund 7179:Post-Impressionism 6741:Latin American art 6545:Guild of Romanists 6407:German Renaissance 6402:Northern Mannerism 5504:Spanish Golden Age 5144:Northern Mannerism 5001:The Sistine Chapel 4975:, (1967) Penguin, 4940:, (1967) Penguin, 4859:Cecilia Jannella, 4742:(1999) Routledge, 3554:The Sistine Chapel 3114:Philip IV of Spain 2919:The lives of both 2833: 2750: 2647: 2519: 2402: 2392:, commissioned by 2355:The Last Judgement 2271: 2194: 1970: 1853:Life of St Francis 1687: 1635:Camera degli Sposi 1594: 1590:The Gonzaga family 1514:Davide Ghirlandaio 1461:Depictions of the 1366:Florence Cathedral 1334: 1263:Florence Cathedral 1251:linear perspective 1247: 1168: 1137:linear perspective 1015:Florence Cathedral 1003:Andrea di Bonaiuto 995: 924:by Giotto's pupil 920:These include the 898: 873:at Assisi, of the 834: 805:Ognissanti Madonna 788:the Life of Christ 772: 706: 614:Camera degli Sposi 557: 527:Florence Cathedral 440:Life of the Virgin 435:the Life of Christ 423: 249: 207: 194:The Birth of Venus 42: 8847: 8846: 8629: 8628: 8485:Corporate Memphis 8438:Classical Realism 8408:Amazonian pop art 8300:Appropriation art 8268:Neo-expressionism 8138:Environmental art 8043:Nouvelle tendance 7760: 7759: 7708:Socialist realism 7565:Dresden Secession 7184:Neo-Impressionism 7147:Decadent movement 7118:Heidelberg School 7012: 7011: 6910:American luminism 6895:Düsseldorf School 6890:Shoreham Ancients 6880:Nazarene movement 6870:Danish Golden Age 6751:Indochristian art 6429:Antwerp Mannerism 6318:Pittura infamante 6312:Florentine School 6307:Proto-Renaissance 5749: 5748: 5594: 5593: 5514: 5513: 5487:Iberian peninsula 5254:Italian sculpture 4989:, (1975) Abrams, 4987:Leonardo da Vinci 4973:Leonardo da Vinci 4954:, (1984) Abrams, 4950:Umberto Baldini, 4894:Ornella Casazza, 4808:978-1-60606-126-8 4584:Frederick Hartt, 3661:, 9780521624459, 3649:Hall, Marcia B., 3632:Frederick Hartt, 3533:Umberto Baldini, 3386:Ornella Casazza, 3227:Frederick Hartt, 2996:The Last Judgment 2980:Martin Schongauer 2577:Madonna and Child 2565:Baptism of Christ 2523:Venetian painting 2460:Leonardo da Vinci 2443:nearby, of which 2368:Leonardo da Vinci 2156:Leonardo da Vinci 1939:Hugo van der Goes 1913:Flemish influence 1845:Tornabuoni Chapel 1800:. The figures of 1771:Cosimo de' Medici 1723:Venetian painters 1701:and setting up a 1699:Flemish paintings 1526:Leonardo da Vinci 1506:Fra Filippo Lippi 1485:, famous for his 1483:Luca della Robbia 1463:Madonna and Child 1434:, revered by the 1420:Madonna and Child 1404:Madonna and Child 1381:Leonardo da Vinci 1350:Baroncelli Chapel 1315:(1481–82) in the 1271:niche around the 1217:Leonardo da Vinci 1163:The Tribute Money 852:Baroncelli Chapel 818:Ruccellai Madonna 687:Madonna and Child 545:Sandro Botticelli 496:'s fresco of the 477:Madonna and Child 361:Leonardo da Vinci 341:Cosimo de' Medici 189:Sandro Botticelli 135:Leonardo da Vinci 119:Sandro Botticelli 78:(1495–1520), and 49:Italian Peninsula 8882: 8837: 8836: 8821:Western painting 8767:Modern sculpture 8725:History painting 8428:Art intervention 8221:Installation art 8038:Nouveau réalisme 7778: 7777: 7752:Leningrad School 7644:Mexican muralism 7617:Grosvenor School 7357:American Realism 7340:Der Blaue Reiter 7298:Berlin Secession 7293:Vienna Secession 7288:Munich Secession 7206:Pont-Aven School 7025: 7024: 6875:Troubadour style 6853:(c. 1770 – 1862) 6820:Qing handicrafts 6786:Western elements 6717:Letras y figuras 6690:African-American 6685:African diaspora 6656:Directoire style 6567:Heptanese school 6550:Dutch Golden Age 6535:Stroganov School 6528:Lutheran Baroque 6523:Louis XIII style 6496:Baroque in Milan 6358:Bolognese School 6353:High Renaissance 6336:Forlivese School 6331:Ferrarese School 6054:Migration Period 5818: 5817: 5776: 5769: 5762: 5753: 5752: 5621: 5614: 5607: 5598: 5597: 5559:Cloak and dagger 5374: 5373: 5244:Italian painting 5134:High Renaissance 5101: 5094: 5087: 5078: 5077: 5064:Giovanni Bellini 5034:David Thompson, 4985:Jack Wasserman, 4964:Ranieri Varese, 4835: 4816: 4811:. Archived from 4766:Michael Wilson, 4693:(1979) Octopus, 4675:Margaret Aston, 4635:Italian Painting 4568:Giorgio Vasari, 4552: 4549: 4543: 4540: 4534: 4531: 4525: 4522: 4516: 4513: 4507: 4504: 4498: 4495: 4489: 4486: 4480: 4477: 4471: 4468: 4462: 4459: 4453: 4450: 4444: 4441: 4435: 4432: 4426: 4423: 4417: 4414: 4408: 4405: 4399: 4396: 4390: 4387: 4381: 4380:Stokstad pg. 681 4378: 4372: 4369: 4363: 4360: 4354: 4351: 4345: 4342: 4336: 4333: 4327: 4324: 4318: 4315: 4309: 4306: 4300: 4297: 4291: 4288: 4282: 4279: 4273: 4270: 4264: 4263:(Wundram pg. 176 4261: 4255: 4254:Stokstad pg. 684 4252: 4246: 4243: 4237: 4234: 4228: 4225: 4219: 4216: 4210: 4207: 4201: 4198: 4192: 4189: 4183: 4180: 4174: 4171: 4165: 4162: 4156: 4153: 4147: 4144: 4138: 4135: 4129: 4126: 4120: 4117: 4111: 4108: 4102: 4099: 4093: 4090: 4084: 4081: 4075: 4072: 4066: 4063: 4057: 4056:Stokstad pg. 682 4054: 4048: 4045: 4039: 4038: 4035:Giovanni Bellini 4030: 4024: 4021: 4015: 4012: 4006: 3999: 3993: 3992: 3974: 3965: 3962: 3956: 3953: 3947: 3944: 3938: 3935: 3929: 3922: 3916: 3911:David Thompson, 3909: 3903: 3896: 3890: 3883: 3877: 3870: 3864: 3857: 3848: 3845: 3839: 3832: 3826: 3823: 3817: 3814: 3808: 3805: 3799: 3796: 3790: 3787: 3781: 3774: 3768: 3753: 3747: 3744: 3738: 3737:Wundrum pg. 145 3735: 3729: 3726: 3720: 3710: 3703: 3697: 3696: 3647: 3641: 3630: 3624: 3621: 3615: 3612: 3606: 3603: 3597: 3590: 3584: 3577: 3571: 3564: 3558: 3557: 3549: 3538: 3531: 3525: 3518: 3509: 3506: 3500: 3497: 3491: 3488: 3482: 3479: 3473: 3466: 3460: 3455: 3449: 3440: 3431: 3428: 3413: 3410: 3404: 3397: 3391: 3384: 3375: 3368: 3355: 3348: 3342: 3335: 3329: 3326: 3317: 3311: 3305: 3293: 3287: 3280: 3274: 3271:Italian Painting 3267: 3261: 3256:Margaret Aston, 3254: 3248: 3241: 3232: 3225: 3198: 3195: 3144: 3125: 3106: 3087: 3002:Andrea del Sarto 2937:Giovanni Bellini 2897:Andrea del Sarto 2886:Baroque painting 2764:Giovanni Bellini 2761: 2758: 2678: 2675: 2527:Giovanni Bellini 2509:Giovanni Bellini 2500:Giovanni Bellini 2447:School of Athens 2441:Apostolic Palace 2389:School of Athens 2251: 2248: 2227: 2224: 2150:Andrea del Sarto 2111:can be added to 2064:triumphal arches 2013:Finding of Moses 1955:Papal commission 1899: 1882: 1869:Agnolo Poliziano 1777:as his resident 1773:had established 1703:Humanist Academy 1610:Scrovegni Chapel 1487:cantoria gallery 1414: 1399: 1329:The Flagellation 1188:Brancacci Chapel 1149:Brancacci Chapel 1143:Brancacci Chapel 1121:Lorenzo Ghiberti 1089: 1077: 991:The Annunciation 965:Padua Baptistery 942:Francesco Traini 930:Triumph of Death 922:Triumph of Death 906:Scrovegni Chapel 867:Pietro Cavallini 796:Scrovegni Chapel 779:Pietro Cavallini 745:Pietro Cavallini 721:of Florence and 695: 692: 621:painted for the 568:'s cycle in the 504:Palazzo Pubblico 355:, Brunelleschi, 159:Giovanni Bellini 147:Andrea del Sarto 131:Giovanni Bellini 76:High Renaissance 8890: 8889: 8885: 8884: 8883: 8881: 8880: 8879: 8850: 8849: 8848: 8843: 8825: 8742:Interactive art 8625: 8599:SoFlo Superflat 8524:Kitsch movement 8448:Africanfuturism 8400: 8394: 8273:Transavantgarde 8204: 8158:Light and Space 8143:Performance art 8123:Psychedelic art 8006:Nueva Presencia 7996:Otra Figuración 7984: 7916:Les Plasticiens 7901:New York School 7879:Action painting 7864:Metcalf Chateau 7773: 7768: 7756: 7676:Cercle et Carré 7612:New Objectivity 7519:Return to order 7461:School of Paris 7439: 7283:School of Paris 7244: 7130:Arts and Crafts 7035:Neo-romanticism 7020: 7008: 7004:Etching revival 6956:Barbizon school 6900:Pre-Raphaelites 6852: 6849: 6842: 6785: 6779: 6672: 6646:Louis XVI style 6588: 6577:Louis XIV style 6540:Animal painting 6501:Flemish Baroque 6479: 6390:World landscape 6341:Venetian School 6283: 6270:Majorcan school 6237:Novgorod School 6227:Lucchese School 6199:Opus Anglicanum 6191:Norman-Sicilian 6135:Italo-Byzantine 6035:Early Christian 6016: 6000:Pompeian Styles 5813: 5807: 5794: 5780: 5750: 5745: 5744: 5742: 5630: 5625: 5595: 5590: 5547: 5510: 5482: 5427: 5363: 5276:Northern Europe 5160: 5110: 5105: 4842: 4832: 4809: 4752:Luciano Berti, 4738:Arnold Hauser, 4717:Luciano Berti, 4647:Helen Gardner, 4565: 4560: 4555: 4550: 4546: 4541: 4537: 4532: 4528: 4524:Wundrum pg. 724 4523: 4519: 4514: 4510: 4505: 4501: 4497:Wundram pg. 166 4496: 4492: 4487: 4483: 4478: 4474: 4469: 4465: 4460: 4456: 4451: 4447: 4442: 4438: 4433: 4429: 4424: 4420: 4416:Wundram pg. 174 4415: 4411: 4406: 4402: 4397: 4393: 4388: 4384: 4379: 4375: 4370: 4366: 4361: 4357: 4352: 4348: 4343: 4339: 4334: 4330: 4325: 4321: 4316: 4312: 4307: 4303: 4299:Wundram pg. 152 4298: 4294: 4289: 4285: 4281:Wundram pg. 154 4280: 4276: 4271: 4267: 4262: 4258: 4253: 4249: 4244: 4240: 4235: 4231: 4226: 4222: 4217: 4213: 4208: 4204: 4199: 4195: 4190: 4186: 4181: 4177: 4172: 4168: 4163: 4159: 4154: 4150: 4145: 4141: 4136: 4132: 4127: 4123: 4118: 4114: 4109: 4105: 4100: 4096: 4091: 4087: 4082: 4078: 4073: 4069: 4064: 4060: 4055: 4051: 4046: 4042: 4031: 4027: 4022: 4018: 4013: 4009: 4000: 3996: 3989: 3975: 3968: 3963: 3959: 3954: 3950: 3945: 3941: 3936: 3932: 3923: 3919: 3910: 3906: 3897: 3893: 3884: 3880: 3871: 3867: 3858: 3851: 3846: 3842: 3833: 3829: 3825:Wundram pg. 148 3824: 3820: 3815: 3811: 3806: 3802: 3797: 3793: 3788: 3784: 3775: 3771: 3754: 3750: 3746:Wundrum pg. 147 3745: 3741: 3736: 3732: 3727: 3723: 3705: 3704: 3700: 3685: 3648: 3644: 3631: 3627: 3622: 3618: 3613: 3609: 3604: 3600: 3591: 3587: 3578: 3574: 3565: 3561: 3550: 3541: 3532: 3528: 3519: 3512: 3507: 3503: 3498: 3494: 3490:Raunch pg. 361) 3489: 3485: 3480: 3476: 3467: 3463: 3456: 3452: 3441: 3434: 3429: 3416: 3411: 3407: 3398: 3394: 3385: 3378: 3369: 3358: 3350:Helen Gardner, 3349: 3345: 3336: 3332: 3327: 3320: 3312: 3308: 3294: 3290: 3281: 3277: 3268: 3264: 3255: 3251: 3242: 3235: 3226: 3201: 3196: 3192: 3188: 3164: 3159: 3158: 3157: 3156: 3155: 3145: 3137: 3136: 3129:Joshua Reynolds 3126: 3118: 3117: 3110:Diego Velázquez 3107: 3099: 3098: 3088: 3079: 3078: 3071:, were formed. 2989:Michelangelo's 2917: 2894: 2820: 2759: 2737: 2684:the painting. 2676: 2634: 2502: 2489:Sistine Madonna 2364: 2306:twelve apostles 2291:Twelve Apostles 2258: 2249: 2225: 2190:The Last Supper 2174:Renaissance man 2158: 2137:The Last Supper 2080: 1997:Cosimo Rosselli 1989:Pietro Perugino 1957: 1919:Flemish painter 1915: 1910: 1909: 1908: 1907: 1906: 1900: 1892: 1891: 1883: 1841:Sassetti Chapel 1775:Marsilio Ficino 1759: 1749: 1744: 1715:Petrus Christus 1695:ruler of Naples 1671: 1563:Andrea Mantegna 1559: 1554: 1436:Catholic Church 1428: 1427: 1426: 1425: 1424: 1417:Filippo Lippi: 1415: 1407: 1406: 1400: 1389: 1364:on the wall of 1339: 1241:Paolo Uccello: 1235: 1229: 1213:Filippino Lippi 1151: 1145: 1132:Baptistry doors 1105: 1100: 1099: 1098: 1097: 1096: 1090: 1082: 1081: 1078: 1067: 1023: 1007:Dominican Order 883: 839: 764:The Lamentation 753: 715:Italo-Byzantine 711: 702:Italo-Byzantine 693: 676: 637:of about 1490. 570:Sassetti Chapel 427:Catholic Church 406: 400: 329: 309: 301:Main articles: 299: 262: 232: 222: 214:Main articles: 212: 68:Renaissance art 17: 12: 11: 5: 8888: 8878: 8877: 8872: 8867: 8862: 8845: 8844: 8842: 8841: 8830: 8827: 8826: 8824: 8823: 8818: 8811: 8806: 8801: 8796: 8791: 8786: 8781: 8776: 8775: 8774: 8772:Late modernism 8769: 8759: 8754: 8749: 8744: 8739: 8734: 8729: 8728: 8727: 8722: 8720:Genre painting 8712: 8707: 8702: 8697: 8696: 8695: 8690: 8685: 8680: 8670: 8668:Ballets Russes 8665: 8660: 8655: 8654: 8653: 8651:Asemic writing 8643: 8641:History of art 8637: 8635: 8634:Related topics 8631: 8630: 8627: 8626: 8624: 8623: 8618: 8613: 8608: 8607: 8606: 8601: 8591: 8586: 8581: 8576: 8571: 8569:Relational art 8566: 8561: 8556: 8551: 8546: 8541: 8536: 8531: 8526: 8521: 8516: 8515: 8514: 8504: 8499: 8494: 8492:Hypermodernism 8489: 8488: 8487: 8477: 8472: 8467: 8462: 8457: 8452: 8451: 8450: 8440: 8435: 8430: 8425: 8420: 8415: 8410: 8404: 8402: 8396: 8395: 8393: 8392: 8387: 8382: 8377: 8372: 8367: 8362: 8357: 8352: 8347: 8342: 8337: 8332: 8327: 8322: 8317: 8312: 8307: 8302: 8297: 8292: 8287: 8282: 8277: 8276: 8275: 8265: 8260: 8255: 8250: 8249: 8248: 8238: 8233: 8231:Postminimalism 8228: 8223: 8218: 8212: 8210: 8206: 8205: 8203: 8202: 8197: 8192: 8187: 8182: 8177: 8176: 8175: 8165: 8160: 8155: 8150: 8145: 8140: 8135: 8130: 8125: 8120: 8115: 8110: 8108:Generative art 8105: 8100: 8095: 8090: 8085: 8080: 8078:Conceptual art 8075: 8070: 8065: 8060: 8055: 8050: 8045: 8040: 8035: 8030: 8029: 8028: 8018: 8013: 8008: 8003: 7998: 7992: 7990: 7986: 7985: 7983: 7982: 7977: 7975:Cybernetic art 7972: 7967: 7966: 7965: 7963:Ultra-Lettrist 7960: 7950: 7949: 7948: 7938: 7933: 7928: 7923: 7918: 7913: 7908: 7903: 7898: 7893: 7892: 7891: 7881: 7876: 7871: 7866: 7861: 7856: 7851: 7850: 7849: 7844: 7839: 7837:Arte Informale 7834: 7824: 7819: 7814: 7813: 7812: 7802: 7801: 7800: 7790: 7784: 7782: 7775: 7774:(1945–present) 7762: 7761: 7758: 7757: 7755: 7754: 7749: 7744: 7739: 7734: 7733: 7732: 7722: 7717: 7716: 7715: 7710: 7703:Heroic realism 7700: 7699: 7698: 7688: 7683: 7678: 7673: 7668: 7663: 7656: 7651: 7646: 7641: 7640: 7639: 7637:Latin American 7634: 7624: 7619: 7614: 7609: 7607:Group of Seven 7604: 7599: 7594: 7589: 7588: 7587: 7577: 7572: 7570:Social realism 7567: 7562: 7557: 7556: 7555: 7553:November Group 7545: 7544: 7543: 7538: 7528: 7527: 7526: 7516: 7511: 7510: 7509: 7497: 7492: 7487: 7486: 7485: 7484: 7483: 7476:Latin American 7471:Constructivism 7468: 7466:Crystal Cubism 7463: 7458: 7453: 7447: 7445: 7441: 7440: 7438: 7437: 7432: 7427: 7422: 7417: 7412: 7407: 7406: 7405: 7395: 7390: 7383: 7382: 7381: 7376: 7366: 7365: 7364: 7354: 7349: 7344: 7343: 7342: 7337: 7327: 7322: 7317: 7312: 7307: 7306: 7305: 7300: 7295: 7290: 7280: 7275: 7270: 7265: 7264: 7263: 7252: 7250: 7246: 7245: 7243: 7242: 7237: 7236: 7235: 7225: 7224: 7223: 7218: 7213: 7208: 7203: 7198: 7193: 7192: 7191: 7176: 7171: 7169:Volcano School 7166: 7165: 7164: 7159: 7149: 7144: 7139: 7138: 7137: 7127: 7122: 7121: 7120: 7115: 7110: 7105: 7104: 7103: 7098: 7083: 7078: 7073: 7068: 7067: 7066: 7054: 7049: 7044: 7043: 7042: 7031: 7029: 7022: 7014: 7013: 7010: 7009: 7007: 7006: 7001: 7000: 6999: 6994: 6993: 6992: 6977: 6976: 6975: 6974: 6973: 6963: 6958: 6948: 6943: 6942: 6941: 6931: 6926: 6924:Norwich School 6921: 6916: 6915: 6914: 6913: 6912: 6902: 6897: 6892: 6887: 6882: 6877: 6872: 6867: 6865:Fairy painting 6856: 6854: 6844: 6843: 6841: 6840: 6839: 6838: 6833: 6822: 6817: 6812: 6807: 6802: 6801: 6800: 6789: 6787: 6781: 6780: 6778: 6777: 6776: 6775: 6770: 6769: 6768: 6763: 6758: 6756:Chilote School 6748: 6746:Casta painting 6738: 6737: 6736: 6731: 6726: 6725: 6724: 6722:Tipos del País 6719: 6706: 6705: 6704: 6703: 6702: 6692: 6680: 6678: 6674: 6673: 6671: 6670: 6665: 6664: 6663: 6658: 6653: 6648: 6643: 6631: 6630: 6629: 6622: 6617: 6612: 6610:Louis XV style 6607: 6596: 6594: 6590: 6589: 6587: 6586: 6585: 6584: 6579: 6569: 6564: 6559: 6558: 6557: 6547: 6542: 6537: 6532: 6531: 6530: 6525: 6520: 6519: 6518: 6513: 6503: 6498: 6487: 6485: 6481: 6480: 6478: 6477: 6472: 6467: 6462: 6457: 6456: 6455: 6445: 6444: 6443: 6442: 6441: 6436: 6431: 6421: 6420: 6419: 6414: 6412:Cologne School 6404: 6399: 6394: 6393: 6392: 6377: 6376: 6375: 6374: 6373: 6365: 6360: 6355: 6345: 6344: 6343: 6338: 6333: 6323: 6322: 6321: 6314: 6309: 6293: 6291: 6285: 6284: 6282: 6281: 6280: 6279: 6272: 6267: 6265:Italian school 6256: 6251: 6250: 6249: 6247:Sienese School 6239: 6234: 6229: 6224: 6223: 6222: 6217: 6212: 6202: 6195: 6194: 6193: 6183: 6182: 6181: 6176: 6166: 6161: 6160: 6159: 6157:Pre-Romanesque 6154: 6149: 6139: 6138: 6137: 6132: 6127: 6122: 6112: 6107: 6106: 6105: 6093: 6088: 6086:Donor portrait 6083: 6082: 6081: 6076: 6071: 6066: 6061: 6051: 6050: 6049: 6039: 6038: 6037: 6026: 6024: 6018: 6017: 6015: 6014: 6013: 6012: 6007: 6002: 5997: 5995:Julio-Claudian 5992: 5987: 5977: 5972: 5967: 5962: 5957: 5956: 5955: 5954: 5953: 5948: 5947: 5946: 5944:Greco-Buddhist 5936: 5926: 5921: 5916: 5911: 5906: 5901: 5896: 5891: 5886: 5884:Protogeometric 5881: 5871: 5870: 5869: 5864: 5859: 5854: 5844: 5839: 5838: 5837: 5826: 5824: 5815: 5809: 5808: 5799: 5796: 5795: 5779: 5778: 5771: 5764: 5756: 5747: 5746: 5636: 5635: 5632: 5631: 5624: 5623: 5616: 5609: 5601: 5592: 5591: 5589: 5588: 5583: 5582: 5581: 5576: 5571: 5561: 5555: 5553: 5549: 5548: 5546: 5545: 5540: 5535: 5530: 5524: 5522: 5516: 5515: 5512: 5511: 5509: 5508: 5507: 5506: 5496: 5490: 5488: 5484: 5483: 5481: 5480: 5475: 5470: 5465: 5464: 5463: 5458: 5448: 5443: 5437: 5435: 5429: 5428: 5426: 5425: 5420: 5415: 5410: 5409: 5408: 5398: 5393: 5388: 5382: 5380: 5371: 5365: 5364: 5362: 5361: 5356: 5351: 5346: 5345: 5344: 5334: 5333: 5332: 5322: 5317: 5312: 5307: 5306: 5305: 5300: 5295: 5285: 5280: 5279: 5278: 5273: 5263: 5258: 5257: 5256: 5251: 5246: 5241: 5236: 5226: 5225: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5189: 5184: 5179: 5168: 5166: 5162: 5161: 5159: 5158: 5153: 5148: 5147: 5146: 5136: 5131: 5126: 5120: 5118: 5112: 5111: 5104: 5103: 5096: 5089: 5081: 5075: 5074: 5067: 5060: 5046: 5038:, (1983) BBC, 5032: 5018: 5011: 4997: 4983: 4969: 4962: 4948: 4934: 4920: 4906: 4892: 4885: 4873:Sarel Eimerl, 4871: 4857: 4841: 4838: 4837: 4836: 4830: 4817: 4815:on 2012-09-20. 4807: 4792: 4778: 4770:(1977) Scala, 4764: 4762:978-1870248815 4750: 4736: 4722: 4715: 4703:Diana Davies, 4701: 4687: 4673: 4659: 4645: 4631: 4624: 4622:978-0300253641 4610: 4608:978-0520223752 4596: 4582: 4564: 4561: 4559: 4556: 4554: 4553: 4544: 4535: 4526: 4517: 4508: 4499: 4490: 4488:Raunch pg. 341 4481: 4479:Raunch pg. 341 4472: 4463: 4454: 4445: 4436: 4427: 4418: 4409: 4400: 4398:Raunch pg. 383 4391: 4382: 4373: 4364: 4355: 4346: 4337: 4328: 4326:Raunch pg. 400 4319: 4310: 4301: 4292: 4283: 4274: 4265: 4256: 4247: 4245:Raunch pg. 396 4238: 4229: 4227:Raunch pg. 392 4220: 4211: 4202: 4193: 4184: 4175: 4166: 4164:Raunch pg. 388 4157: 4148: 4139: 4130: 4121: 4112: 4103: 4101:Raunch pg. 392 4094: 4085: 4076: 4067: 4058: 4049: 4040: 4025: 4023:Raunch pg. 361 4016: 4007: 4001:Stefano Zuffi 3994: 3988:978-8881170999 3987: 3966: 3964:Raunch pg. 392 3957: 3955:Raunch pg. 388 3948: 3939: 3930: 3917: 3904: 3891: 3878: 3865: 3849: 3840: 3827: 3818: 3809: 3807:Raunch pg. 310 3800: 3791: 3782: 3769: 3748: 3739: 3730: 3721: 3698: 3683: 3642: 3625: 3616: 3607: 3605:Raunch pg. 309 3598: 3585: 3572: 3559: 3539: 3526: 3510: 3501: 3492: 3483: 3481:Raunch pg. 361 3474: 3461: 3450: 3432: 3414: 3405: 3392: 3376: 3356: 3343: 3330: 3318: 3306: 3296:Giorgio Vasari 3288: 3275: 3262: 3249: 3233: 3199: 3189: 3187: 3184: 3183: 3182: 3177: 3172: 3163: 3160: 3154:, 20th century 3146: 3139: 3138: 3135:, 18th century 3127: 3120: 3119: 3116:, 17th century 3108: 3101: 3100: 3089: 3082: 3081: 3080: 3076: 3075: 3074: 3073: 2976:Albrecht Dürer 2916: 2913: 2893: 2890: 2872:Jupiter and Io 2864:foreshortening 2819: 2816: 2773:Pesaro Madonna 2736: 2733: 2726:Sleeping Venus 2633: 2630: 2501: 2498: 2400:in the Vatican 2394:Pope Julius II 2363: 2360: 2275:Pope Julius II 2264:Michelangelo: 2257: 2254: 2157: 2154: 2079: 2076: 2025:Last Judgement 1982:Sistine Chapel 1974:Pope Sixtus IV 1956: 1953: 1914: 1911: 1901: 1894: 1893: 1884: 1877: 1876: 1875: 1874: 1873: 1829:Birth of Venus 1769:In the 1460s, 1748: 1745: 1743: 1740: 1670: 1667: 1643:Gonzaga family 1602:Ovetari Chapel 1558: 1555: 1553: 1550: 1531:Benois Madonna 1448:Bernardo Daddi 1416: 1409: 1408: 1401: 1394: 1393: 1392: 1391: 1390: 1388: 1385: 1338: 1335: 1317:Sistine Chapel 1275:he painted at 1231:Main article: 1228: 1225: 1147:Main article: 1144: 1141: 1104: 1101: 1091: 1084: 1083: 1079: 1072: 1071: 1070: 1069: 1068: 1066: 1063: 1035:Simone Martini 1022: 1019: 987:Simone Martini 902:Last Judgement 882: 879: 838: 835: 828:Taddeo Gaddi: 810:Uffizi Gallery 752: 749: 731:Guido of Siena 710: 707: 675: 672: 598:Birth of Venus 515:Simone Martini 494:Simone Martini 402:Main article: 399: 396: 328: 325: 298: 295: 261: 258: 211: 208: 15: 9: 6: 4: 3: 2: 8887: 8876: 8873: 8871: 8868: 8866: 8863: 8861: 8858: 8857: 8855: 8840: 8832: 8831: 8828: 8822: 8819: 8817: 8816: 8812: 8810: 8807: 8805: 8802: 8800: 8797: 8795: 8792: 8790: 8787: 8785: 8782: 8780: 8777: 8773: 8770: 8768: 8765: 8764: 8763: 8760: 8758: 8755: 8753: 8750: 8748: 8745: 8743: 8740: 8738: 8735: 8733: 8730: 8726: 8723: 8721: 8718: 8717: 8716: 8713: 8711: 8708: 8706: 8705:Fantastic art 8703: 8701: 8698: 8694: 8691: 8689: 8686: 8684: 8681: 8679: 8676: 8675: 8674: 8673:Christian art 8671: 8669: 8666: 8664: 8661: 8659: 8656: 8652: 8649: 8648: 8647: 8644: 8642: 8639: 8638: 8636: 8632: 8622: 8619: 8617: 8614: 8612: 8609: 8605: 8602: 8600: 8597: 8596: 8595: 8592: 8590: 8587: 8585: 8582: 8580: 8577: 8575: 8574:Skeuomorphism 8572: 8570: 8567: 8565: 8562: 8560: 8557: 8555: 8552: 8550: 8547: 8545: 8542: 8540: 8537: 8535: 8534:Massurrealism 8532: 8530: 8529:Lightpainting 8527: 8525: 8522: 8520: 8517: 8513: 8512:Post-Internet 8510: 8509: 8508: 8505: 8503: 8500: 8498: 8495: 8493: 8490: 8486: 8483: 8482: 8481: 8478: 8476: 8473: 8471: 8468: 8466: 8463: 8461: 8458: 8456: 8453: 8449: 8446: 8445: 8444: 8441: 8439: 8436: 8434: 8431: 8429: 8426: 8424: 8421: 8419: 8416: 8414: 8411: 8409: 8406: 8405: 8403: 8397: 8391: 8388: 8386: 8385:Grunge design 8383: 8381: 8378: 8376: 8373: 8371: 8368: 8366: 8363: 8361: 8358: 8356: 8353: 8351: 8348: 8346: 8343: 8341: 8340:Retrofuturism 8338: 8336: 8335:Scratch video 8333: 8331: 8328: 8326: 8323: 8321: 8320:Memphis Group 8318: 8316: 8313: 8311: 8308: 8306: 8303: 8301: 8298: 8296: 8295:Telematic art 8293: 8291: 8288: 8286: 8285:Guerrilla art 8283: 8281: 8278: 8274: 8271: 8270: 8269: 8266: 8264: 8261: 8259: 8256: 8254: 8251: 8247: 8244: 8243: 8242: 8239: 8237: 8236:Endurance art 8234: 8232: 8229: 8227: 8224: 8222: 8219: 8217: 8214: 8213: 8211: 8207: 8201: 8198: 8196: 8193: 8191: 8188: 8186: 8183: 8181: 8178: 8174: 8171: 8170: 8169: 8166: 8164: 8161: 8159: 8156: 8154: 8151: 8149: 8146: 8144: 8141: 8139: 8136: 8134: 8131: 8129: 8126: 8124: 8121: 8119: 8116: 8114: 8111: 8109: 8106: 8104: 8101: 8099: 8096: 8094: 8091: 8089: 8086: 8084: 8081: 8079: 8076: 8074: 8071: 8069: 8066: 8064: 8061: 8059: 8056: 8054: 8051: 8049: 8046: 8044: 8041: 8039: 8036: 8034: 8031: 8027: 8024: 8023: 8022: 8019: 8017: 8014: 8012: 8009: 8007: 8004: 8002: 7999: 7997: 7994: 7993: 7991: 7987: 7981: 7978: 7976: 7973: 7971: 7968: 7964: 7961: 7959: 7956: 7955: 7954: 7951: 7947: 7944: 7943: 7942: 7939: 7937: 7934: 7932: 7929: 7927: 7924: 7922: 7919: 7917: 7914: 7912: 7909: 7907: 7904: 7902: 7899: 7897: 7896:New media art 7894: 7890: 7887: 7886: 7885: 7882: 7880: 7877: 7875: 7874:Nanyang Style 7872: 7870: 7867: 7865: 7862: 7860: 7857: 7855: 7852: 7848: 7845: 7843: 7840: 7838: 7835: 7833: 7830: 7829: 7828: 7825: 7823: 7820: 7818: 7815: 7811: 7808: 7807: 7806: 7805:Visionary art 7803: 7799: 7796: 7795: 7794: 7791: 7789: 7786: 7785: 7783: 7779: 7776: 7772: 7767: 7763: 7753: 7750: 7748: 7745: 7743: 7740: 7738: 7735: 7731: 7728: 7727: 7726: 7723: 7721: 7718: 7714: 7711: 7709: 7706: 7705: 7704: 7701: 7697: 7694: 7693: 7692: 7689: 7687: 7684: 7682: 7679: 7677: 7674: 7672: 7671:Scuola Romana 7669: 7667: 7664: 7662: 7661: 7657: 7655: 7652: 7650: 7647: 7645: 7642: 7638: 7635: 7633: 7630: 7629: 7628: 7625: 7623: 7620: 7618: 7615: 7613: 7610: 7608: 7605: 7603: 7600: 7598: 7597:Anthropophagy 7595: 7593: 7590: 7586: 7583: 7582: 7581: 7580:Functionalism 7578: 7576: 7573: 7571: 7568: 7566: 7563: 7561: 7558: 7554: 7551: 7550: 7549: 7546: 7542: 7539: 7537: 7534: 7533: 7532: 7529: 7525: 7522: 7521: 7520: 7517: 7515: 7512: 7508: 7507: 7503: 7502: 7501: 7500:Neoplasticism 7498: 7496: 7493: 7491: 7488: 7482: 7479: 7478: 7477: 7474: 7473: 7472: 7469: 7467: 7464: 7462: 7459: 7457: 7454: 7452: 7449: 7448: 7446: 7442: 7436: 7433: 7431: 7428: 7426: 7423: 7421: 7418: 7416: 7413: 7411: 7408: 7404: 7403:Cubo-Futurism 7401: 7400: 7399: 7396: 7394: 7391: 7389: 7388: 7384: 7380: 7377: 7375: 7372: 7371: 7370: 7367: 7363: 7362:Ashcan School 7360: 7359: 7358: 7355: 7353: 7350: 7348: 7345: 7341: 7338: 7336: 7333: 7332: 7331: 7330:Expressionism 7328: 7326: 7323: 7321: 7318: 7316: 7315:Mir iskusstva 7313: 7311: 7308: 7304: 7301: 7299: 7296: 7294: 7291: 7289: 7286: 7285: 7284: 7281: 7279: 7276: 7274: 7271: 7269: 7266: 7262: 7259: 7258: 7257: 7254: 7253: 7251: 7247: 7241: 7238: 7234: 7231: 7230: 7229: 7226: 7222: 7219: 7217: 7214: 7212: 7209: 7207: 7204: 7202: 7199: 7197: 7194: 7190: 7187: 7186: 7185: 7182: 7181: 7180: 7177: 7175: 7172: 7170: 7167: 7163: 7160: 7158: 7155: 7154: 7153: 7150: 7148: 7145: 7143: 7140: 7136: 7133: 7132: 7131: 7128: 7126: 7123: 7119: 7116: 7114: 7111: 7109: 7106: 7102: 7101:Boston School 7099: 7097: 7096:Hoosier Group 7094: 7093: 7092: 7089: 7088: 7087: 7086:Impressionism 7084: 7082: 7081:Peredvizhniki 7079: 7077: 7074: 7072: 7071:Beuron School 7069: 7065: 7062: 7061: 7060: 7059: 7055: 7053: 7050: 7048: 7045: 7041: 7038: 7037: 7036: 7033: 7032: 7030: 7026: 7023: 7019: 7015: 7005: 7002: 6998: 6995: 6991: 6988: 6987: 6986: 6985:Munich School 6983: 6982: 6981: 6978: 6972: 6969: 6968: 6967: 6964: 6962: 6959: 6957: 6954: 6953: 6952: 6949: 6947: 6944: 6940: 6937: 6936: 6935: 6932: 6930: 6927: 6925: 6922: 6920: 6917: 6911: 6908: 6907: 6906: 6903: 6901: 6898: 6896: 6893: 6891: 6888: 6886: 6883: 6881: 6878: 6876: 6873: 6871: 6868: 6866: 6863: 6862: 6861: 6858: 6857: 6855: 6851: 6845: 6837: 6834: 6832: 6829: 6828: 6827: 6823: 6821: 6818: 6816: 6813: 6811: 6808: 6806: 6803: 6799: 6796: 6795: 6794: 6791: 6790: 6788: 6784:Art borrowing 6782: 6774: 6771: 6767: 6764: 6762: 6759: 6757: 6754: 6753: 6752: 6749: 6747: 6744: 6743: 6742: 6739: 6735: 6734:Company style 6732: 6730: 6727: 6723: 6720: 6718: 6715: 6714: 6713: 6710: 6709: 6707: 6701: 6698: 6697: 6696: 6693: 6691: 6688: 6687: 6686: 6682: 6681: 6679: 6675: 6669: 6666: 6662: 6659: 6657: 6654: 6652: 6649: 6647: 6644: 6642: 6641: 6637: 6636: 6635: 6634:Neoclassicism 6632: 6628: 6627: 6623: 6621: 6618: 6616: 6613: 6611: 6608: 6606: 6603: 6602: 6601: 6598: 6597: 6595: 6591: 6583: 6580: 6578: 6575: 6574: 6573: 6570: 6568: 6565: 6563: 6560: 6556: 6553: 6552: 6551: 6548: 6546: 6543: 6541: 6538: 6536: 6533: 6529: 6526: 6524: 6521: 6517: 6514: 6512: 6509: 6508: 6507: 6504: 6502: 6499: 6497: 6494: 6493: 6492: 6489: 6488: 6486: 6482: 6476: 6473: 6471: 6468: 6466: 6463: 6461: 6460:Cretan School 6458: 6454: 6451: 6450: 6449: 6446: 6440: 6437: 6435: 6432: 6430: 6427: 6426: 6425: 6422: 6418: 6417:Danube school 6415: 6413: 6410: 6409: 6408: 6405: 6403: 6400: 6398: 6395: 6391: 6388: 6387: 6386: 6383: 6382: 6381: 6378: 6372: 6371: 6366: 6364: 6361: 6359: 6356: 6354: 6351: 6350: 6349: 6346: 6342: 6339: 6337: 6334: 6332: 6329: 6328: 6327: 6324: 6320: 6319: 6315: 6313: 6310: 6308: 6305: 6304: 6303: 6300: 6299: 6298: 6295: 6294: 6292: 6290: 6286: 6278: 6277: 6273: 6271: 6268: 6266: 6263: 6262: 6261: 6257: 6255: 6252: 6248: 6245: 6244: 6243: 6240: 6238: 6235: 6233: 6230: 6228: 6225: 6221: 6218: 6216: 6213: 6211: 6208: 6207: 6206: 6203: 6201: 6200: 6196: 6192: 6189: 6188: 6187: 6184: 6180: 6177: 6175: 6172: 6171: 6170: 6167: 6165: 6162: 6158: 6155: 6153: 6150: 6148: 6145: 6144: 6143: 6140: 6136: 6133: 6131: 6128: 6126: 6123: 6121: 6118: 6117: 6116: 6113: 6111: 6108: 6104: 6103: 6099: 6098: 6097: 6094: 6092: 6089: 6087: 6084: 6080: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6056: 6055: 6052: 6048: 6045: 6044: 6043: 6040: 6036: 6033: 6032: 6031: 6028: 6027: 6025: 6023: 6019: 6011: 6008: 6006: 6003: 6001: 5998: 5996: 5993: 5991: 5988: 5986: 5983: 5982: 5981: 5978: 5976: 5973: 5971: 5968: 5966: 5963: 5961: 5958: 5952: 5949: 5945: 5942: 5941: 5940: 5937: 5935: 5932: 5931: 5930: 5927: 5925: 5922: 5920: 5917: 5915: 5912: 5910: 5907: 5905: 5902: 5900: 5897: 5895: 5894:Orientalizing 5892: 5890: 5887: 5885: 5882: 5880: 5879:Sub-Mycenaean 5877: 5876: 5875: 5872: 5868: 5865: 5863: 5860: 5858: 5855: 5853: 5850: 5849: 5848: 5845: 5843: 5840: 5836: 5833: 5832: 5831: 5828: 5827: 5825: 5823: 5819: 5816: 5810: 5806: 5802: 5797: 5793:art movements 5792: 5788: 5784: 5777: 5772: 5770: 5765: 5763: 5758: 5757: 5754: 5633: 5629: 5622: 5617: 5615: 5610: 5608: 5603: 5602: 5599: 5587: 5584: 5580: 5577: 5575: 5572: 5570: 5567: 5566: 5565: 5562: 5560: 5557: 5556: 5554: 5550: 5544: 5541: 5539: 5536: 5534: 5531: 5529: 5526: 5525: 5523: 5521: 5517: 5505: 5502: 5501: 5500: 5497: 5495: 5492: 5491: 5489: 5485: 5479: 5476: 5474: 5471: 5469: 5468:Low Countries 5466: 5462: 5459: 5457: 5454: 5453: 5452: 5449: 5447: 5444: 5442: 5439: 5438: 5436: 5434: 5430: 5424: 5421: 5419: 5416: 5414: 5411: 5407: 5404: 5403: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5383: 5381: 5379: 5375: 5372: 5370: 5366: 5360: 5357: 5355: 5352: 5350: 5347: 5343: 5340: 5339: 5338: 5335: 5331: 5328: 5327: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5304: 5301: 5299: 5296: 5294: 5291: 5290: 5289: 5286: 5284: 5281: 5277: 5274: 5272: 5269: 5268: 5267: 5264: 5262: 5259: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5231: 5230: 5227: 5223: 5220: 5218: 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5192:Italian domes 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5174: 5173: 5170: 5169: 5167: 5163: 5157: 5154: 5152: 5149: 5145: 5142: 5141: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5121: 5119: 5117: 5113: 5109: 5102: 5097: 5095: 5090: 5088: 5083: 5082: 5079: 5072: 5069:Cecil Gould, 5068: 5065: 5061: 5059: 5058:0-89009-841-7 5055: 5051: 5047: 5045: 5044:0-563-20149-5 5041: 5037: 5033: 5031: 5030:3-8290-0253-X 5027: 5023: 5019: 5016: 5012: 5010: 5009:0-517-56274-X 5006: 5002: 4998: 4996: 4995:0-8109-0262-1 4992: 4988: 4984: 4982: 4981:0-14-008649-8 4978: 4974: 4970: 4967: 4963: 4961: 4960:0-8109-2314-9 4957: 4953: 4949: 4947: 4946:0-14-008647-1 4943: 4939: 4935: 4933: 4932:1-878351-04-4 4929: 4925: 4921: 4919: 4918:1-878351-20-6 4915: 4911: 4907: 4905: 4904:1-878351-11-7 4901: 4897: 4893: 4890: 4886: 4884: 4883:0-900658-15-0 4880: 4876: 4872: 4870: 4869:1-878351-18-4 4866: 4862: 4858: 4856: 4855:0-500-09135-8 4852: 4848: 4844: 4843: 4833: 4831:9780801491931 4827: 4823: 4818: 4814: 4810: 4804: 4800: 4799: 4793: 4791: 4790:0-7181-1204-0 4787: 4783: 4779: 4777: 4776:0-85097-257-4 4773: 4769: 4765: 4763: 4759: 4755: 4751: 4749: 4745: 4741: 4737: 4735: 4731: 4727: 4724:Rona Goffen, 4723: 4720: 4716: 4714: 4713:0-245-54692-8 4710: 4706: 4702: 4700: 4699:0-7064-0857-8 4696: 4692: 4689:Ilan Rachum, 4688: 4686: 4685:0-500-33009-3 4682: 4678: 4674: 4672: 4671:0-19-881329-5 4668: 4664: 4660: 4658: 4657:0-15-503752-8 4654: 4650: 4646: 4644: 4640: 4636: 4632: 4629: 4625: 4623: 4619: 4615: 4611: 4609: 4605: 4601: 4597: 4595: 4594:0-500-23136-2 4591: 4587: 4583: 4581: 4580:0-14-044164-6 4577: 4573: 4572: 4567: 4566: 4548: 4539: 4530: 4521: 4515:Zuffi pg. 116 4512: 4506:Hartt pg. 635 4503: 4494: 4485: 4476: 4467: 4458: 4452:Hartt pg. 639 4449: 4440: 4434:Hartt pg. 383 4431: 4425:Zuffi pg. 132 4422: 4413: 4404: 4395: 4386: 4377: 4368: 4359: 4353:Zuffi pg. 128 4350: 4344:Zuffi pg. 128 4341: 4335:Hartt pg. 650 4332: 4323: 4314: 4305: 4296: 4287: 4278: 4269: 4260: 4251: 4242: 4233: 4224: 4215: 4209:Hartt pg. 647 4206: 4197: 4188: 4179: 4173:Zuffi pg. 102 4170: 4161: 4152: 4146:Zuffi pg. 103 4143: 4134: 4125: 4116: 4107: 4098: 4089: 4080: 4071: 4062: 4053: 4044: 4036: 4029: 4020: 4011: 4004: 3998: 3990: 3984: 3980: 3973: 3971: 3961: 3952: 3943: 3934: 3927: 3921: 3914: 3908: 3901: 3895: 3888: 3882: 3875: 3869: 3862: 3856: 3854: 3844: 3837: 3831: 3822: 3813: 3804: 3795: 3786: 3779: 3773: 3766: 3762: 3758: 3752: 3743: 3734: 3725: 3718: 3714: 3708: 3702: 3694: 3690: 3686: 3684:0-521-39222-5 3680: 3676: 3675: 3668: 3664: 3660: 3656: 3652: 3646: 3639: 3635: 3629: 3620: 3611: 3602: 3595: 3589: 3582: 3576: 3569: 3563: 3555: 3548: 3546: 3544: 3536: 3530: 3523: 3517: 3515: 3505: 3496: 3487: 3478: 3471: 3468:Ilan Rachum, 3465: 3459: 3454: 3447: 3446: 3439: 3437: 3427: 3425: 3423: 3421: 3419: 3409: 3402: 3396: 3389: 3383: 3381: 3373: 3367: 3365: 3363: 3361: 3353: 3347: 3340: 3334: 3325: 3323: 3316: 3310: 3303: 3302: 3297: 3292: 3285: 3279: 3272: 3266: 3259: 3253: 3246: 3240: 3238: 3230: 3224: 3222: 3220: 3218: 3216: 3214: 3212: 3210: 3208: 3206: 3204: 3194: 3190: 3181: 3178: 3176: 3173: 3171: 3170: 3166: 3165: 3153: 3149: 3148:William Orpen 3143: 3134: 3130: 3124: 3115: 3111: 3105: 3096: 3095:Andrea Gritti 3092: 3086: 3072: 3070: 3066: 3065:Royal Academy 3061: 3059: 3055: 3051: 3047: 3043: 3039: 3035: 3031: 3027: 3023: 3019: 3015: 3011: 3007: 3003: 2998: 2997: 2992: 2987: 2985: 2984:stained glass 2981: 2977: 2973: 2969: 2965: 2961: 2956: 2954: 2950: 2946: 2942: 2938: 2934: 2930: 2926: 2922: 2912: 2910: 2909:Lorenzo Lotto 2906: 2904: 2903: 2898: 2889: 2887: 2883: 2878: 2874: 2873: 2867: 2865: 2861: 2855: 2853: 2852: 2847: 2846: 2841: 2837: 2831: 2830: 2824: 2815: 2813: 2807: 2805: 2804:Andrea Gritti 2801: 2800: 2794: 2792: 2788: 2787: 2782: 2779: 2775: 2774: 2768: 2765: 2754: 2748: 2747: 2741: 2732: 2729: 2727: 2721: 2719: 2715: 2714: 2709: 2705: 2700: 2696: 2695: 2690: 2685: 2682: 2671: 2670: 2665: 2664: 2659: 2654: 2652: 2645: 2644: 2638: 2629: 2627: 2623: 2619: 2615: 2611: 2607: 2603: 2598: 2596: 2592: 2591: 2586: 2582: 2578: 2573: 2571: 2567: 2566: 2561: 2560: 2554: 2552: 2548: 2544: 2540: 2536: 2532: 2528: 2524: 2517: 2516: 2510: 2506: 2497: 2495: 2494:stained glass 2491: 2490: 2485: 2481: 2475: 2473: 2469: 2465: 2461: 2457: 2453: 2449: 2448: 2442: 2438: 2437:Raphael Rooms 2434: 2430: 2424: 2422: 2421: 2416: 2412: 2408: 2399: 2398:Raphael Rooms 2395: 2391: 2390: 2383: 2379: 2377: 2373: 2369: 2359: 2357: 2356: 2350: 2348: 2347: 2342: 2337: 2333: 2328: 2326: 2325:platonic love 2322: 2318: 2314: 2309: 2307: 2303: 2302:New Testament 2299: 2298:Old Testament 2294: 2292: 2288: 2284: 2280: 2276: 2269: 2268: 2262: 2253: 2244: 2243: 2237: 2233: 2232: 2220: 2219: 2213: 2211: 2207: 2203: 2200:. Leonardo's 2199: 2192: 2191: 2185: 2181: 2179: 2175: 2170: 2166: 2162: 2153: 2151: 2147: 2143: 2139: 2138: 2133: 2129: 2124: 2120: 2118: 2114: 2110: 2109: 2104: 2103: 2098: 2094: 2093: 2088: 2087: 2075: 2073: 2069: 2065: 2060: 2059: 2054: 2050: 2048: 2047: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2014: 2010: 2006: 2002: 1998: 1994: 1990: 1985: 1983: 1979: 1975: 1968: 1967: 1961: 1952: 1950: 1945: 1940: 1936: 1935: 1929: 1927: 1923: 1920: 1905: 1902:Ghirlandaio: 1898: 1890: 1889: 1881: 1872: 1870: 1866: 1862: 1858: 1854: 1850: 1846: 1842: 1838: 1833: 1831: 1830: 1825: 1824: 1819: 1815: 1811: 1807: 1803: 1799: 1798:enlightenment 1795: 1790: 1788: 1784: 1780: 1776: 1772: 1767: 1765: 1758: 1754: 1739: 1737: 1733: 1732: 1726: 1724: 1720: 1716: 1712: 1708: 1704: 1700: 1696: 1692: 1685: 1681: 1680: 1675: 1666: 1664: 1663: 1658: 1657: 1652: 1651:illusionistic 1648: 1644: 1640: 1636: 1631: 1628: 1624: 1620: 1616: 1611: 1607: 1603: 1599: 1591: 1586: 1582: 1580: 1576: 1572: 1568: 1564: 1549: 1547: 1543: 1542: 1537: 1533: 1532: 1527: 1523: 1519: 1515: 1511: 1507: 1503: 1498: 1496: 1492: 1488: 1484: 1478: 1476: 1472: 1468: 1464: 1459: 1457: 1453: 1449: 1444: 1442: 1437: 1433: 1422: 1421: 1413: 1405: 1398: 1384: 1382: 1377: 1373: 1369: 1367: 1363: 1362:John Hawkwood 1359: 1355: 1354:Paolo Uccello 1351: 1347: 1343: 1331: 1330: 1324: 1320: 1318: 1314: 1313: 1308: 1304: 1303: 1298: 1295:In the 1450s 1293: 1291: 1290: 1285: 1284:Paolo Uccello 1280: 1278: 1274: 1270: 1269: 1264: 1260: 1256: 1252: 1244: 1239: 1234: 1224: 1222: 1218: 1214: 1210: 1209:Tribute Money 1206: 1202: 1200: 1195: 1194: 1193:Tribute Money 1189: 1183: 1181: 1177: 1173: 1165: 1164: 1159: 1155: 1150: 1140: 1138: 1133: 1128: 1126: 1122: 1117: 1115: 1111: 1095: 1088: 1076: 1062: 1060: 1056: 1051: 1047: 1042: 1040: 1036: 1032: 1028: 1018: 1016: 1012: 1008: 1004: 1000: 992: 988: 984: 980: 978: 974: 970: 966: 962: 958: 954: 949: 947: 943: 939: 935: 931: 927: 923: 918: 916: 911: 907: 903: 895: 891: 887: 878: 876: 872: 868: 864: 860: 855: 853: 849: 845: 831: 826: 822: 819: 816:and Duccio's 815: 811: 808:hangs in the 807: 806: 801: 797: 793: 789: 785: 780: 776: 769: 765: 761: 757: 748: 746: 741: 736: 732: 728: 724: 720: 716: 703: 699: 688: 684: 680: 671: 667: 665: 664: 663:The Decameron 659: 655: 654: 653:Golden Legend 650:, Voragine's 649: 645: 644: 638: 636: 635:Lorenzo Costa 632: 628: 624: 620: 616: 615: 609: 607: 606: 600: 599: 594: 590: 585: 583: 579: 575: 571: 567: 563: 560:Sassetti and 554: 550: 546: 542: 538: 536: 532: 528: 524: 520: 519:John Hawkwood 516: 511: 509: 505: 501: 500: 495: 491: 490: 485: 480: 478: 474: 470: 467:and later in 466: 462: 458: 454: 450: 446: 442: 441: 436: 432: 428: 420: 419: 414: 413:Paolo Uccello 410: 405: 395: 393: 389: 385: 381: 377: 373: 368: 366: 362: 358: 354: 350: 346: 345:serendipitous 342: 338: 334: 324: 322: 318: 314: 308: 304: 294: 292: 291:Paolo Uccello 288: 284: 281:and sculptor 280: 276: 272: 268: 257: 255: 246: 245: 240: 236: 231: 227: 221: 217: 204: 201:(1484–1485), 200: 196: 195: 190: 186: 182: 180: 176: 172: 168: 164: 160: 156: 152: 148: 144: 140: 136: 132: 128: 124: 120: 116: 112: 111:Paolo Uccello 108: 104: 100: 96: 92: 89:and includes 88: 83: 81: 77: 73: 69: 65: 61: 57: 52: 50: 46: 39: 35: 31: 30: 25: 21: 8815:Trompe-l'œil 8813: 8784:Outsider art 8737:Illustration 8693:Lutheran art 8683:Catholic art 8646:Abstract art 8616:Unilalianism 8579:Software art 8554:Neosymbolism 8544:Neo-futurism 8507:Internet art 8497:Hyperrealism 8350:Superfiction 8133:Photorealism 8001:Afrofuturism 7766:Contemporary 7742:Dimensionism 7725:Concrete art 7658: 7654:Precisionism 7504: 7451:Sosaku-hanga 7425:Productivism 7415:Metaphysical 7385: 7374:Proto-Cubism 7278:Secessionism 7240:Costumbrismo 7125:Aestheticism 7076:Hague School 7056: 6980:Academic art 6961:Costumbrismo 6929:Empire style 6766:Quito School 6761:Cusco School 6677:Colonial art 6638: 6626:Fête galante 6624: 6593:18th century 6555:Delft School 6506:Caravaggisti 6484:17th century 6369: 6326:Quattrocento 6316: 6296: 6274: 6197: 6100: 6030:Late antique 5914:Severe style 5904:Black-figure 5791:Contemporary 5579:12th century 5243: 5172:Architecture 5070: 5063: 5049: 5035: 5022:Michelangelo 5021: 5015:Michelangelo 5014: 5000: 4986: 4972: 4965: 4951: 4937: 4923: 4909: 4895: 4888: 4874: 4860: 4846: 4845:John White, 4821: 4813:the original 4797: 4781: 4767: 4753: 4739: 4725: 4718: 4704: 4690: 4676: 4662: 4648: 4634: 4627: 4613: 4599: 4585: 4569: 4558:Bibliography 4547: 4538: 4529: 4520: 4511: 4502: 4493: 4484: 4475: 4466: 4457: 4448: 4439: 4430: 4421: 4412: 4403: 4394: 4385: 4376: 4367: 4358: 4349: 4340: 4331: 4322: 4313: 4304: 4295: 4290:Hartt pg.649 4286: 4277: 4268: 4259: 4250: 4241: 4232: 4223: 4214: 4205: 4196: 4187: 4178: 4169: 4160: 4151: 4142: 4133: 4124: 4115: 4106: 4097: 4088: 4079: 4070: 4061: 4052: 4043: 4034: 4028: 4019: 4010: 4002: 3997: 3978: 3960: 3951: 3942: 3933: 3925: 3920: 3912: 3907: 3894: 3887:Michelangelo 3886: 3881: 3874:Michelangelo 3873: 3868: 3860: 3859:T.L.Taylor, 3847:name=Vasari/ 3843: 3835: 3830: 3821: 3812: 3803: 3794: 3785: 3777: 3772: 3764: 3760: 3756: 3751: 3742: 3733: 3724: 3716: 3701: 3673: 3666: 3663:google books 3650: 3645: 3637: 3633: 3628: 3619: 3610: 3601: 3593: 3588: 3580: 3575: 3567: 3562: 3553: 3534: 3529: 3521: 3504: 3495: 3486: 3477: 3469: 3464: 3453: 3443: 3408: 3400: 3395: 3387: 3371: 3351: 3346: 3338: 3333: 3309: 3299: 3291: 3283: 3282:John White, 3278: 3270: 3265: 3257: 3252: 3244: 3228: 3193: 3167: 3151: 3132: 3113: 3062: 3044:to both the 3014:Parmigianino 2994: 2988: 2957: 2921:Michelangelo 2918: 2907: 2900: 2895: 2870: 2868: 2856: 2849: 2843: 2834: 2827: 2826:Correggio: 2808: 2797: 2795: 2790: 2784: 2783: 2771: 2769: 2751: 2744: 2724: 2722: 2711: 2708:Adam and Eve 2703: 2699:St. Liberale 2692: 2688: 2686: 2680: 2667: 2661: 2657: 2655: 2648: 2641: 2626:Saint Jerome 2610:San Zaccaria 2606:such as that 2601: 2599: 2590:Holy Trinity 2588: 2576: 2574: 2563: 2557: 2555: 2521:A leader of 2520: 2512: 2487: 2479: 2476: 2468:Michelangelo 2444: 2425: 2418: 2414: 2409:workshop of 2403: 2386: 2372:Michelangelo 2365: 2353: 2351: 2344: 2329: 2310: 2295: 2279:Michelangelo 2272: 2265: 2256:Michelangelo 2240: 2235: 2229: 2216: 2214: 2201: 2198:Adam and Eve 2197: 2195: 2188: 2167:workshop of 2159: 2141: 2135: 2125: 2121: 2116: 2112: 2106: 2100: 2090: 2084: 2081: 2056: 2055:'s scene of 2051: 2044: 2040: 2039:'s scene of 2024: 2020: 2012: 2008: 2004: 2000: 1986: 1971: 1964: 1932: 1930: 1916: 1903: 1886: 1860: 1856: 1852: 1834: 1827: 1821: 1791: 1768: 1760: 1729: 1727: 1711:Jan van Eyck 1688: 1677: 1660: 1656:trompe-l'œil 1654: 1632: 1597: 1595: 1589: 1560: 1544:, while for 1539: 1536:Michelangelo 1529: 1502:Fra Angelico 1499: 1486: 1479: 1460: 1456:Orsanmichele 1445: 1429: 1418: 1403: 1376:Flagellation 1375: 1370: 1357: 1346:Taddeo Gaddi 1340: 1327: 1310: 1300: 1294: 1287: 1281: 1273:Holy Trinity 1272: 1268:trompe-l'œil 1266: 1255:Brunelleschi 1248: 1242: 1221:Michelangelo 1208: 1204: 1199:Adam and Eve 1197: 1191: 1184: 1171: 1169: 1161: 1129: 1125:Brunelleschi 1118: 1113: 1106: 1093: 1046:Fra Angelico 1043: 1024: 1010: 996: 990: 972: 950: 929: 921: 919: 899: 893: 874: 871:Lower Church 870: 859:Upper Church 858: 856: 847: 844:Taddeo Gaddi 840: 829: 817: 813: 803: 791: 787: 773: 763: 712: 700:, is mainly 686: 668: 661: 651: 641: 639: 630: 612: 610: 603: 596: 586: 564:families in 558: 548: 512: 497: 487: 481: 476: 438: 434: 424: 416: 369: 365:Michelangelo 330: 310: 279:Brunelleschi 263: 250: 242: 192: 171:Parmigianino 139:Michelangelo 107:Fra Angelico 91:Taddeo Gaddi 84: 54:The city of 53: 44: 43: 27: 16:Art movement 8875:Art history 8700:Digital art 8663:Avant-garde 8604:Superstroke 8480:Flat design 8475:Fictive art 8470:Excessivism 8418:Art for art 8413:Altermodern 8355:Taring Padi 8290:Lowbrow art 8258:Pliontanism 8195:Yoru no Kai 8148:Process art 8088:Systems art 8058:Arte Povera 7980:Antipodeans 7889:in New York 7859:Jikken Kōbō 7822:Color field 7691:Regionalism 7660:Aeropittura 7649:Neo-Fauvism 7622:Neues Sehen 7592:Kinetic art 7456:Suprematism 7430:Synchromism 7347:Noucentisme 7268:Primitivism 7256:Art Nouveau 7211:Cloisonnism 7201:Pointillism 7196:Divisionism 7174:Incoherents 7135:Art pottery 7021:(1863–1944) 6971:Macchiaioli 6946:Biedermeier 6934:Historicism 6919:Orientalism 6860:Romanticism 6831:Akita ranga 6683:Art of the 6668:Picturesque 6620:Chinoiserie 6615:Frederician 6453:Tudor court 6348:Cinquecento 6289:Renaissance 6276:Mappa mundi 6260:cartography 6152:Carolingian 6147:Merovingian 6130:Palaeologan 6102:Repoblación 6059:Anglo-Saxon 5990:Gallo-Roman 5929:Hellenistic 5924:Kerch style 5862:Minyan ware 5586:Reenactment 5569:Carolingian 5202:Plateresque 5124:Renaissance 5108:Renaissance 4600:Renaissance 3713:pp. 124-125 3638:Art History 2760: 1490 2704:The Tempest 2677: 1510 2669:The Tempest 2643:The Tempest 2640:Giorgione: 2622:Saint Peter 2287:pendentives 2250: 1503 2228:–1517) and 2226: 1503 2210:Last Supper 2202:Last Supper 2113:chiaroscuro 2097:Marcia Hall 2092:chiaroscuro 2070:or a Roman 1937:painted by 1835:Meanwhile, 1814:Virgin Mary 1682:, c. 1475. 1608:, near the 1575:Gattemelata 1432:Virgin Mary 1387:The Madonna 1358:terra verde 1059:Crucifixion 973:Crucifixion 910:Black Death 766:, c. 1305, 694: 1280 631:the Concert 457:altarpieces 449:allegorical 333:Medici Bank 216:Italian art 64:Renaissance 8854:Categories 8747:Jewish art 8559:Passionism 8519:iPhone art 8465:Cyborg art 8460:Crypto art 8433:Brandalism 8325:Cyberdelic 8190:Tropicália 8163:Street art 8118:Intermedia 8098:Minimalism 7817:Spatialism 7771:Postmodern 7627:Surrealism 7495:Shin-hanga 7335:Die Brücke 7303:Sonderbund 7216:Synthetism 6939:Revivalism 6848:Transition 6805:Manichaean 6651:Adam style 6572:Classicism 6511:in Utrecht 6439:Still life 6169:Romanesque 6125:Macedonian 6120:Iconoclast 6079:Visigothic 5985:Republican 5939:Indo-Greek 5909:Red-figure 5543:Structures 5349:Technology 5325:Philosophy 5288:Literature 5207:Portuguese 4754:The Uffizi 4748:0415199468 4734:0300105894 4643:0883639718 3659:0521624452 3175:Old Master 3030:Caravaggio 2993:and later 2960:Tintoretto 2860:Caravaggio 2464:Heraclitus 2169:Verrocchio 2037:Botticelli 2017:altarpiece 1963:Perugino: 1944:still life 1588:Mantegna: 1541:Doni Tondo 1510:Verrocchio 1092:Ghiberti: 969:Apocalypse 957:Altichiero 768:Scrovegni 625:family at 593:Botticelli 392:Tintoretto 260:Philosophy 210:Influences 205:, Florence 179:Tintoretto 123:Verrocchio 99:Altichiero 8809:Shock art 8799:Queer art 8779:Naïve art 8762:Modernism 8594:Superflat 8584:Sound art 8564:Post-YBAs 8549:Neomodern 8390:Verdadism 8360:Superflat 8209:1970–1999 8173:in the US 8093:Video art 8016:Happening 7989:1960–1969 7781:1945–1959 7444:1915–1944 7435:Vorticism 7387:A Nyolcak 7249:1900–1914 7221:Les Nabis 7152:Symbolism 7108:Amsterdam 7058:Japonisme 7028:1863–1899 6990:in Greece 6850:to modern 6695:Caribbean 6640:Goût grec 6562:Capriccio 6516:Tenebrism 6465:Turquerie 6363:Mannerism 6258:Medieval 6115:Byzantine 6096:Mozarabic 6047:Ethiopian 5951:Neo-Attic 5934:"Baroque" 5919:Classical 5889:Geometric 5867:Mycenaean 5814:(Western) 5812:Premodern 5783:Premodern 5538:Humanists 5528:Composers 5369:By region 5249:Sculpture 5197:Palladian 5139:Mannerism 4952:Primavera 3900:Il Sodoma 3535:Primavera 3058:Delacroix 3046:Classical 2968:Rembrandt 2949:Mannerism 2836:Correggio 2818:Correggio 2812:Mannerism 2651:Giorgione 2632:Giorgione 2543:Giorgione 2385:Raphael: 2218:Mona Lisa 2146:Correggio 2102:cangiante 2072:Mausoleum 2068:baptistry 2033:landscape 1926:oil paint 1823:Primavera 1571:Donatello 747:of Rome. 704:in style. 696:) at the 658:Boccaccio 549:Primavera 502:, in the 453:Salvation 384:Giorgione 321:oil paint 313:Byzantine 283:Donatello 155:Giorgione 80:Mannerism 8839:Category 8789:Portrait 8710:Folk art 8658:Anti-art 8589:Stuckism 8502:Idea art 8423:Art game 8375:Artivism 8263:Punk art 8241:Sots Art 8226:Artscene 8083:Land art 8021:Neo-Dada 7953:Lettrism 7847:Nuagisme 7832:Tachisme 7713:Nazi art 7506:De Stijl 7420:Rayonism 7410:Art Deco 7398:Futurism 7189:Luminism 7157:Romanian 7142:Tonalism 7113:Canadian 7091:American 6997:Neo-Grec 6605:Rocaille 6434:Romanism 6368:Counter- 6302:Trecento 6242:Duecento 6232:Crusades 6164:Ottonian 6142:Frankish 6022:Medieval 6005:Trajanic 5965:Scythian 5960:Etruscan 5852:Cycladic 5830:Thracian 5574:Ottonian 5494:Portugal 5478:Scotland 5396:Lombardy 5391:Florence 5315:Medicine 5266:Humanism 5222:Venetian 5165:By field 4840:Painters 3928:, (1985) 3915:, (1983) 3889:, (1962) 3876:, (1998) 3761:Cinerone 3693:23766002 3537:, (1984) 3524:, (1974) 3472:, (1979) 3403:, (1991) 3390:, (1990) 3374:, (1968) 3354:, (1970) 3341:, (1988) 3304:, (1568) 3286:, (1979) 3273:, (1992) 3260:, (1979) 3247:, (1974) 3231:, (1970) 3162:See also 3050:Romantic 3048:and the 3026:Carracci 3022:el Greco 3018:Veronese 3010:Bronzino 3006:Pontormo 2964:Veronese 2955:period. 2933:Mantegna 2929:Leonardo 2743:Titian: 2585:Masaccio 2551:tonalism 2535:Mantegna 2472:Jeremiah 2411:Perugino 2336:Bramante 2313:Humanist 2273:In 1508 2178:cadavers 2165:Florence 2161:Leonardo 2053:Perugino 2029:Pharaohs 2011:and the 1972:In 1477 1855:and the 1826:and the 1794:Medieval 1779:Humanist 1689:In 1442 1600:for the 1592:(detail) 1522:Perugino 1475:Masaccio 1307:Perugino 1180:Masolino 1176:Masaccio 1158:Masaccio 1103:Florence 784:frescoes 619:Mantegna 589:Humanism 582:Bronzino 553:allegory 380:Mantegna 353:Masaccio 337:Florence 317:printing 287:Masaccio 271:Classics 267:Humanist 197:for the 175:Bronzino 167:Pontormo 151:Coreggio 103:Masaccio 56:Florence 32:(1504), 8804:Realism 8401:present 8128:Nut Art 7931:Pop art 7869:Mono-ha 7737:The Ten 7686:Kapists 7632:Iranian 7585:Bauhaus 7379:Orphism 7325:Fauvism 7162:Russian 7052:Nihonga 6966:Verismo 6951:Realism 6885:Purismo 6798:Moorish 6793:Islamic 6700:Haitian 6491:Baroque 6370:Maniera 6254:Mudéjar 6179:Spanish 6091:Pictish 6074:Lombard 6069:Insular 6010:Severan 5975:Gaulish 5970:Iberian 5899:Archaic 5842:Nuragic 5822:Ancient 5805:periods 5552:Related 5533:Figures 5451:Germany 5441:England 5359:Warfare 5354:Theatre 5337:Science 5303:Spanish 5217:Spanish 5116:General 4563:General 3596:, 2003. 3042:Tiepolo 3038:Poussin 2972:Poussin 2953:Baroque 2945:Raphael 2681:Tempest 2658:sfumato 2570:Raphael 2531:Gentile 2439:of the 2429:Galatea 2407:Umbrian 2376:Raphael 2362:Raphael 2341:Vatican 2332:Raphael 2236:sfumato 2128:Raphael 2117:sfumato 2086:sfumato 2019:of the 1978:Vatican 1792:In the 1693:became 1637:in the 1546:Raphael 1467:Cimabue 1452:Orcagna 1309:in his 1259:Alberti 1050:convent 975:at the 932:in the 926:Orcagna 890:Orcagna 861:of the 850:in the 740:tempera 719:Cimabue 717:style, 623:Gonzaga 574:Raphael 523:Uccello 461:tempera 376:Bellini 327:Society 143:Raphael 95:Orcagna 60:Tuscany 24:Raphael 8752:Kitsch 8611:Toyism 8103:Fluxus 8033:Op art 7602:Mingei 7536:Stupid 7514:Purism 7369:Cubism 7018:Modern 6810:Mughal 6600:Rococo 6205:Gothic 6186:Norman 6110:Viking 6064:Hunnic 6042:Coptic 5857:Minoan 5847:Aegean 5835:Dacian 5787:Modern 5473:Poland 5456:Saxony 5446:France 5423:Venice 5418:Urbino 5413:Sicily 5406:Papacy 5298:French 5271:France 5212:Purism 5187:French 5071:Titian 5056: 5042: 5028: 5007: 4993: 4979: 4958: 4944: 4930: 4916: 4902: 4881: 4867: 4853: 4847:Duccio 4828: 4805: 4788: 4774: 4760: 4746: 4732: 4711: 4697: 4683: 4669: 4655: 4641: 4620: 4606: 4592: 4578: 3985: 3691: 3681: 3657: 3284:Duccio 3091:Titian 3034:Rubens 2925:Titian 2882:Rococo 2778:vertex 2753:Titian 2735:Titian 2614:loggia 2547:Titian 2484:Louvre 2321:Vasari 2108:unione 1820:, the 1764:Medici 1719:Venice 1627:Verona 1518:Medici 1471:Giotto 1423:, 1459 1342:Giotto 1190:, his 1031:Pietro 775:Giotto 760:Giotto 751:Giotto 723:Duccio 627:Mantua 578:Titian 562:Medici 499:Maestà 473:canvas 437:, the 431:fresco 398:Themes 388:Titian 372:Venice 349:Giotto 203:Uffizi 199:Medici 177:, and 163:Titian 161:, and 129:, and 97:, and 87:Giotto 8399:2000– 7842:COBRA 6836:Uki-e 6826:Japan 6815:Qajar 6174:Mosan 5980:Roman 5874:Greek 5520:Lists 5499:Spain 5461:Weser 5320:Music 5310:Magic 5293:Dutch 5283:Latin 5261:Dance 5177:Brick 3780:1672. 3767:1841. 3020:, to 2840:Parma 2618:viola 2456:Plato 2366:With 1806:Venus 1783:Plato 1647:putti 1567:Padua 1495:Jesus 1055:Jesus 953:Padua 800:Padua 727:Siena 648:Dante 617:that 508:Siena 465:panel 275:Roman 38:Milan 8688:Icon 8011:ZERO 7769:and 7666:Asso 7490:Dada 7047:Yōga 5789:and 5401:Rome 5054:ISBN 5040:ISBN 5026:ISBN 5005:ISBN 4991:ISBN 4977:ISBN 4956:ISBN 4942:ISBN 4928:ISBN 4914:ISBN 4900:ISBN 4879:ISBN 4865:ISBN 4851:ISBN 4826:ISBN 4803:ISBN 4786:ISBN 4772:ISBN 4758:ISBN 4744:ISBN 4730:ISBN 4709:ISBN 4695:ISBN 4681:ISBN 4667:ISBN 4653:ISBN 4639:ISBN 4618:ISBN 4604:ISBN 4590:ISBN 4576:ISBN 3983:ISBN 3689:OCLC 3679:ISBN 3655:ISBN 3651:Rome 3056:and 3040:and 2978:and 2962:and 2943:and 2923:and 2718:Magi 2687:The 2624:and 2545:and 2537:and 2513:The 2445:the 2387:The 2370:and 2317:Adam 2300:and 2239:was 2148:and 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Italian Renaissance painting

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