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Filippo Brunelleschi, Dome at Florence Cathedral, Early Italian Renaissance, 1420-1436.

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Filippo Brunelleschi, Dome at Florence Cathedral, Early Italian Renaissance, 1420-1436.

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The Dome at Florence Cathedral, engineered and designed by Brunelleschi, is an all antica architectural treasure that is considered the first building of the Early Renaissance because it draws inspiration from Classical art, yet represents an interest in humanism. Brunelleschi developed the pointed arch dome which blends Medieval and Classical forms, earning him praise for his Dome. Its purpose was to cover the crossing where the cathedral’s transept and nave meet since Arnolfo di Cambio, who began the building in 1296, passed away before its completion. The dome was funded by the Cathedral chapter which reflects how the Church supported innovation in architectural design during the Early Renaissance.

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Donatello di Niccolò di Betto Bardi, David, cast bronze, Early Italian Renaissance, ca. 1440-60.

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Donatello di Niccolò di Betto Bardi, David, cast bronze, Early Italian Renaissance, ca. 1440-60.

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Donatello’s David is a sculpture of the biblical hero, David, in a contrapposto stance with one foot over Goliath’s head. The contrapposto stance is commonly seen in ancient Roman and Greek sculpture as a sign of triumph and confidence. This celebratory work was commissioned by the Medici family, a prestigious Italian banking family and major patrons of the Church. The Medici family’s support for the sculpture and the subject matter reflect the Church’s influence on Early Italian Renaissance art via its wealthy worshippers.

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Fra Angelico, Annunciation, tempera on wood, Early Italian Renaissance, 1438–1447.

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Fra Angelico, Annunciation, tempera on wood, Early Italian Renaissance, 1438–1447.

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Annunciation, by Fra Angelico, is a painting that depicts Gabriel, an angel, announcing to the Virgin Mary that she will carry the Son of God. The painting uses an abundance of gold decor to reveal the importance of the scene and demonstrates the use of linear perspective in painting. The work was commissioned by the Church of San Domenico in Cortona in Florence to serve as the high altarpiece of the church. Thus, this painting spotlights the involvement of the Church and the enforcement of Catholic doctrine in Early Renaissance art.

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Leonardo da Vinci, The Last Supper, fresco, High Italian Renaissance, ca. 1495–1498.

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Leonardo da Vinci, The Last Supper, fresco, High Italian Renaissance, ca. 1495–1498.

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The Last Supper, by da Vinci, was created for the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy, and depicts Christ with his disciples. This painting showcases the sfumato technique, developed during the High Renaissance, and dull colors to achieve naturalism. The biblical scene depicts the supper at which Jesus Christ reveals the disciple that will betray him. The betrayer is Judas, who is the only apostle reaching for bread. This painting was commissioned by the Duke of Milan, Ludovico Sforza, a major patron of the Catholic Church, reflecting the Church’s role as a patron of 15th-century art.

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Michelangelo di Lodovico Buonarroti, The Creation of Adam, fresco, High Italian Renaissance, 1508-12.

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Michelangelo di Lodovico Buonarroti, The Creation of Adam, fresco, High Italian Renaissance, 1508-12.

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Michelangelo’s The Creation of Adam depicts God reaching out and touching Adam, the first human created by God. This painting embodies the unique style of Michelangelo as he projects a sense of expressive energy within human forms. The painting was commissioned by Pope Julius II, a leader of the Catholic Church, for the ceiling of the Sistine Chapel. Therefore, the painting is a direct reflection of the Church’s influence on High Italian Renaissance art.

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Michelangelo Merisi da Caravaggio, The Calling of St. Matthew, oil on canvas, Southern Baroque, 1597–1601.

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Michelangelo Merisi da Caravaggio, The Calling of St. Matthew, oil on canvas, Southern Baroque, 1597–1601.

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The Calling of Saint Matthew, by Caravaggio, is one of three works created for the Contarelli Chapel in Rome. The painting depicts the dramatic moment in which Jesus Christ calls a tax collector, Matthew, to follow him. Caravaggio created drama in this painting by using the Baroque technique most associated with his name, tenebrism. The work was commissioned by Cardinal Francesco Maria del Monte, an important patron of the Church. This painting persists with the theme of the Catholic Church’s influence on art and exemplifies how the Church’s patronage prolonged into the 16th century.

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Artemisia Gentileschi, Judith Beheading Holofernes, oil on canvas, Southern Baroque, ca. 1614-1620

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Artemisia Gentileschi, Judith Beheading Holofernes, oil on canvas, Southern Baroque, ca. 1614-1620

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Judith Beheading Holofernes, by Artemisia Gentileschi, depicts the dramatic moment of Judith, a biblical heroine, beheading Holofernes, a biblical figure sent to destroy Israelites, as an act of divine justice. The painting’s use of tenebrism emphasizes the Baroque period’s focus on emotional and dramatic religious narratives. The work was commissioned by Cardinal Francesco Maria del Monte, a patron of the Catholic Church. Del Monte’s patronage highlights how the Catholic Church continued its influence into the Baroque period, and maintained its role in sculpting art through intense religious works.

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Gilbert, Creighton E. “What Did the Renaissance Patron Buy?” Renaissance Quarterly, vol. 51,

no. 2, 1998, pp. 392–450. JSTOR, https://doi.org/10.2307/2901572. Accessed 3 Aug.

2024.

Hope, Charles. “Religious Narrative In Renaissance Aart.” Journal of the Royal Society of Arts,

vol. 134, no. 5364, 1986, pp. 804–18. JSTOR, http://www.jstor.org/stable/41374250.

Accessed 3 Aug. 2024.

Keizer, Joost. “Michelangelo, Drawing, and the Subject of Art.” The Art Bulletin, vol. 93, no. 3,

2011, pp. 304–24. JSTOR, http://www.jstor.org/stable/23046579. Accessed 3 Aug. 2024.

Langdon, Helen. Caravaggio: A Life. Farrar, Straus and Giroux, 1998, pp. 191-195.

McGiffert, Arthur Cushman. “The Influence of Christianity upon the Roman Empire.” The

Harvard Theological Review, vol. 2, no. 1, 1909, pp. 28–49. JSTOR,

http://www.jstor.org/stable/1507353. Accessed 3 Aug. 2024.

Scott, Samuel Parsons. “Tithes.” Las Siete Partidas, Volume 1: The Medieval Church: The World

of Clerics and Laymen (Partida I), edited by Robert I. Burns, University of Pennsylvania

Press, 2001, pp. 230–42. JSTOR, http://www.jstor.org/stable/j.ctt3fhgkk.27. Accessed 12

Aug. 2024.

Veltman, Kim H. “Leonardo Da Vinci: A Review.” Leonardo, vol. 41, no. 4, 2008, pp. 381–88.

JSTOR, http://www.jstor.org/stable/20206632. Accessed 3 Aug. 2024.

Wallace, William E. Michelangelo: The Complete Sculpture, Painting, Architecture. Hugh Lauter

Levin Associates, 1998, pp. 78-81.

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Artemisia Gentileschi. Judith Beheading Holofernes. oil on canvas, 1611-1612. Museo e gallerie

nazionali di Capodimonte, JSTOR, https://jstor.org/stable/community.14445937. Accessed 12 Aug. 2024.

Donatello. David. bronze, c. 1430 - 1432. Museo nazionale del Bargello (Florence, Italy),

JSTOR, https://jstor.org/stable/community.14492941. Accessed 4 Aug. 2024.

Filippo Brunelleschi designed dome, et al. Florence Cathedral, Exterior, Dome. dome:

completed 1436. JSTOR, https://jstor.org/stable/community.14494595. Accessed 9 Aug.

2024.

Fra Angelico (c. 1400-1455). Annunciation Altarpiece, with the Expulsion from Eden at Left.

1425-1428. Museo del Prado, Madrid, Spain, JSTOR,

https://jstor.org/stable/community.18151010. Accessed 1 Aug. 2024.

Leonardo da Vinci. The Last Supper. oil with some tempera grassa, 1495-1498. JSTOR,

https://jstor.org/stable/community.16009279. Accessed 31 Jul. 2024.

Michelangelo Merisi da Caravaggio. The Calling of Saint Matthew. oil on canvas, 1599-1600.

JSTOR, https://jstor.org/stable/community.14490796. Accessed 10 Aug. 2024.

Michelangelo. Rome: Sistine Chapel: Ceiling Frescos: Creation of Adam. fresco, 1508-1512.

JSTOR, https://jstor.org/stable/community.18122590. Accessed 9 Aug. 2024.