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Lorenzo Ghiberti and Fillipo Brunelleschi. The Sacrifice of Isaac. 1401-03

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Filippo Brunelleschi. Dome of Florence Cathedral, 1420-36 

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Donatello. St. Mark. ca. 1411-13 (for Or San Michele)

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Lorenzo Ghiberti. The Story of Jacob and Esau, panel of the Gates of Paradise, Baptistry of San Giovanni, Florence. ca. 1435

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Masaccio. The Holy Trinity with the Virgin, St. John, and Two Donors. ca. 1425

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Domenico Veneziano. The Madonna and Child with Saints. ca. 1445

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Paolo Uccello. Battle of San Romano. ca. 1438

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Domenico Ghirlandaio. An Old Man and a Young Boy. ca. 1480

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Giovanni Bellini. St. Francis in the Desert. ca. 1480

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Giovanni Bellini. Madonna and Saints. 1505

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Pietro Perugino. The Delivery of the Keys. 1482

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Leonardo Da Vinci. The Last Supper. ca 1495-98

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Leonardo Da Vinci. The Virgin of the Rocks. ca. 1485

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Leonardo Da Vinci. Mona Lisa, ca. 1503-05

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Donato Bramante. Tempietto, Rome. 1502-11

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Michelangelo. Ceiling fresco of Sistine Chapel. 

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Raphael. School of Athens, Stanza della Segnatura, Vatican,
1508-11

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Titian, Man with a Blue Sleeve. ca. 1520

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Titian, Madonna with Members of the Pesaro family. 1526

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Characteristics

Technical Virtuosity

Unbalanced Compositions

Elegance

Complexity

Erudite Subject Matter

Expressiveness

Distortions of proportion

Artifice/exaggeration

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Michelangelo. St. Peter’s, Rome, seen from the west. 1546–64;

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Giulio Romano, interior courtyard façade of Palazzo del Te, Mantua,
Italy 1525-35

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Michelangelo and Bartolommeo Ammanati. Vestibule of the Laurentian Library, Florence. Begun 1523; stairway designed 1558–59

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Rosso Fiorentino. The Descent from the Cross. 1521

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Jacopo da Pontormo. Pietà/ Or Descent from the Cross. ca. 1526–28

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Hung in the church of St. Feltica in Florence as an altarpiece in the Capponi chapel. oil on panel

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Michelangelo. The Last Judgement. 1534-41

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Part of the Sistene Chapel, in Vatican City, Rome.

Fresco

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Parmigianino. The Madonna with the Long Neck . ca. 1535

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Made in Uffizi, Florence.

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Paolo Veronese. The Feast in the House of Levi . 1573

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Hung in Venice, Italy. Oil on canvas

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Jacopo Tintoretto. The Last Supper . 1594

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Bronzino, Portrait of a Young Man, c. 1530

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Words and Ideas to Know:
Protestant Reformation
Iconoclasm
Anamorphic Perspective
Genre Scene

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Matthias Grünewald, Isenheim Altarpiece, ca. 1509/10–15

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Oil and tempera on limewood panels

Made for the Hospital of St. Anthony

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Albrecht Dürer, The Four Horsemen of the Apocalypse, 1498

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Alte Pinakothek, Munich

Oil

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Albrecht Dürer, The Four Apostles, 1523–26

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oil on wood, 7' 1" x 2' 6" (Alte Pinakothek, Munich)

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Hans Holbein the Younger, The Ambassadors, 1533

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oil on oak, 207 x 209.5 cm (The National Gallery, London)

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Hans Holbein the Younger. Henry VIII. 1540

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oil on panel (Palazzo Barberini, Rome)

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1551, oil on panel 45 1/2 x 66 1/2 inches / 115.6 x 168.9 cm (North Carolina Museum of Art). Other versions include one in the University Art Collections, Uppsala University, Sweden.

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Pieter Bruegel the Elder, The Return of the Hunters, 1565

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oil on wood, 118 x 161 cm (Kunsthistorisches Museum, Vienna)

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Pieter Bruegel the Elder, Peasant Wedding, ca. 1568

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oil on canvas, 114 x 164 cm (Kunsthistorisches Museum, Vienna)

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Drama
Energy and movement
Dynamic balance (diagonals, curves,
countercurves, etc.)
High contrast (dark & light, etc.)
Emotion
Element of time
Viewer involvement
Naturalism of the Renaissance

• Counter-Reformation
• Art as a means to conversion
• Caravaggio introduces tenebrism and influences
Baroque art for the rest of the century
• Velazquez carries on Titian’s technique of the
loose brushstroke

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Caravaggio. The Calling of St. Matthew, 1599–1600

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Caravaggio, The Conversion of St. Paul, Cerasi Chapel

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Artemisia Gentileschi. Judith and Her Maidservant with the Head of Holofernes.
ca. 1625

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Artemisia Gentileschi. Self-Portrait as the Allegory of Painting (La Pittura). ca.
1638–39

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Carlo Maderno. Façade of St. Peter’s, Rome. 1607-12

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Gianlorenzo Bernini, Colonnade for St. Peter’s Basilica, designed 1657

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Gianlorenzo Bernini. Baldacchino. 1624–33. At crossing. St. Peter’s, Rome

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Francesco Borromini. Façade of San Carlo alle Quattro Fontane, Rome ca. 1665–
67

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Gianlorenzo Bernini. The Ecstasy of St. Teresa, 1645–52

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Francisco de Zurbarán. St. Serapion. 1628

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Juan Sánchez Cotán. Quince, Cabbage, Melon, and Cucumber. c 1602

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Diego Velázquez. The Maids of Honor. 1656

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Key Points:
• Rubens brings Baroque art to the north
• Patronage more and more from rising middle-
class merchants, bankers, and other private
collectors
• New subject matter: portraits, views of home
interiors, still-lifes, genre scenes (depiction of
everyday life) and landscapes
• Non-religious art with moral messages: vanitas
symbols and memento mori themes

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Peter Paul Rubens. The Raising of the Cross. 1610–11

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Anthony van Dyck. Portrait of Charles I Hunting. ca. 1635

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Jan Steen. The Feast of St. Nicholas. ca. 1660–65

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Clara Peeters, Still Life with Nuts, Candy and Flowers, 1611

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Willem Claesz. Heda. Still Life with Oysters, a Roemer, a Lemon,
and a Silver Bowl. 1634

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rachel ruysch. flower still life. after 1700

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Jacob van Ruisdael. Bleaching Grounds Near Haarlem. ca. 1670

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Frans Hals. Banquet of the Officers of the St. George Civic
Guard. 1616

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Frans Hals. The Jolly Toper. ca. 1628–30

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 Rembrandt van Rijn, The Night Watch,1642

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Rembrandt van Rijn. The Hundred Guilder Print. ca. 1647

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Jan Vermeer. Woman Holding a Balance. ca. 1664

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Jan Vermeer, Girl with the Pearl Earring, 1665

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Key Points:
• Baroque Classicism
• Absolute power
• The Royal Academy is introduced
• “Ideal” and “Idyllic” landscapes

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Georges de La Tour. Joseph the Carpenter. ca. 1642

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Nicolas Poussin, Et in Arcadia Ego, 1637-38

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Nicolas Poussin. Landscape with St. John on Patmos. 1640

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Claude Lorrain, A Pastoral Landscape. ca. 1648

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Le Nain Brothers, Peasant Family in an Interior, c. 1640

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Hyacinthe Rigaud. Portrait of Louis XIV. 1701

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Jules Hardouin-Mansart, Louis Le Vau, and Charles Le Brun, Galerie
des Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678

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Characteristics of Rococo Art (1710-1760)
luxury, opulence
aristocratic tastes
conspicuous leisure
pastel colors
subjects of love, flirtation
fantasy
private, intimate scenes
lush landscapes

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Nicolas Pineau. Room in the Hôtel de Varengeville, ca. 1735

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Jean-Antoine Watteau. A Pilgrimage to Cythera. 1717

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Jean-Antoine Watteau. Gersaint’s Signboard. 1721

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François Boucher. Portrait of Madame de Pompadour. 1756

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Jean-Siméon Chardin. Soap Bubbles. ca. 1733