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Renaissance

By ramieve
  • Period: 1400 to 1490

    Early Italian Renaissance, c.1400-1490

    Some key features are linear perspective, classical mythology, naturalism, and human emotion. Movement rose in the wealthy Florentine city-states, supported by patrons such as the Medici family.
  • Period: 1400 to 1530

    Northern Renaissance Art

    Began: Late 1300s
    Peak: 1400s–1500s
    Decline: Late 1500s, as Mannerism and then Baroque styles rose in Europe
    Northern Renaissance art used very detailed, tiny textures, strong use of oil paint to create depth. Some of the themes that artists focused on were religious scenes, portraits, landscapes, and moral messages. Some of the techniques artists use were oil glazing, panel painting, and microscopic-level detail.
  • Masaccio, The Tribute Money, c. 1425, fresco, Brancacci Chapel, Santa Maria del Carmine, Florence, Early Italian Renaissance
    1425

    Masaccio, The Tribute Money, c. 1425, fresco, Brancacci Chapel, Santa Maria del Carmine, Florence, Early Italian Renaissance

    Masaccio’s The Tribute Money is important in the Early Italian Renaissance because it was one of the first paintings to convey real depth through linear perspective. The artist also uses natural light and shadows to give the figures a three-dimensional effect. This fresco tells a biblical story, primarily used to teach moral lessons to people who could not read.
  • Masaccio, The Holy Trinity, c.1427, fresco, 667 x 317 cm, Santa Maria Novella, Florence, Early Italian Renaissance
    1427

    Masaccio, The Holy Trinity, c.1427, fresco, 667 x 317 cm, Santa Maria Novella, Florence, Early Italian Renaissance

    Masaccio’s The Holy Trinity is important to the Early Italian Renaissance because it is often considered the first painting to use one-point linear perspective. The main themes are faith, mortality, and salvation.
  • Jan van Eyck, Ghent Altarpiece, 1432, oil on wood, 11 feet 5 inches x 7 feet 6 inches, Saint Bavo Cathedral, Ghent, Belgium, Northern Renaissance
    1432

    Jan van Eyck, Ghent Altarpiece, 1432, oil on wood, 11 feet 5 inches x 7 feet 6 inches, Saint Bavo Cathedral, Ghent, Belgium, Northern Renaissance

    The Ghent Altarpiece is important to the Northern Renaissance because it shows fine detail and natural textures, especially in the way van Eyck paints Christ, the jewels, and even the tiny strands of facial hair. It also uses complex symbolism that connects religious messages with everyday life, which is a key feature of Northern Renaissance art.
  • Jan van Eyck, The Arnolfini Portrait, c.1434, oil on panel, 82.2 x 60 cm, The National Gallery, London. Northern Renaissance
    1434

    Jan van Eyck, The Arnolfini Portrait, c.1434, oil on panel, 82.2 x 60 cm, The National Gallery, London. Northern Renaissance

    Jan van Eyck’s The Arnolfini Portrait is important to the Northern Renaissance because it shows breathtaking detail and realistic textures, from the fur on the clothing to the reflections in the mirror. Van Eyck also mixes everyday objects with symbolic meaning; for example, the dog represents loyalty, and the fruit symbolizes fertility.
  • Fra Angelico, Deposition from the Cross (Pala di Santa Trinità), c.1437-40, tempera on panel, 176 x 185 cm, Museo di San Marco, Florence, Early Italian Renaissance
    1437

    Fra Angelico, Deposition from the Cross (Pala di Santa Trinità), c.1437-40, tempera on panel, 176 x 185 cm, Museo di San Marco, Florence, Early Italian Renaissance

    Fra Angelico’s Deposition from the Cross is significant to the Early Italian Renaissance because it combines emotional storytelling with calmness. The figures are shown bringing Christ down from the cross very gently, and their facial expressions are depicted with sorrow.
  • Donatello, David, c. 1440, 158 cm. bronze, Museo Nazionale del Bargello, Florence, Early Italian Renaissance
    1440

    Donatello, David, c. 1440, 158 cm. bronze, Museo Nazionale del Bargello, Florence, Early Italian Renaissance

    it was one of the first freestanding nude sculptures since ancient times. David's statue served as a powerful political symbol for the Florentine Republic.
  • Fra Angelico, Annunciation, c.1440, fresco, 230 x 321 cm, Convent of San Marco, Florence, Early Italian Renaissance,
    1440

    Fra Angelico, Annunciation, c.1440, fresco, 230 x 321 cm, Convent of San Marco, Florence, Early Italian Renaissance,

    Fra Angelico’s Annunciation is important to the Early Italian Renaissance because it combines perspective and architectural space with soft, graceful figures, creating a calm and realistic scene. The painting also reflects the Renaissance focus on naturalism through its use of natural light, color, and careful attention to detail.
  • Donatello, Equestrian Monument of Gattamelata, c.1453, bronze, 12 ft 2 in high, Piazza del Santo, Padua, Early Italian Renaissance
    1453

    Donatello, Equestrian Monument of Gattamelata, c.1453, bronze, 12 ft 2 in high, Piazza del Santo, Padua, Early Italian Renaissance

    Donatello’s Equestrian Monument of Gattamelata is important to the Early Italian Renaissance because it makes a comeback to the classical large bronze statues and shows realistic human and horse anatomy. The statue honors the military leader Gattamelata, highlighting his strength and leadership while reflecting the Renaissance focus on realism and individual achievement
  • Sandro Botticelli, Primavera, c. 1482, tempera on panel, 203 x 314 cm, Galleria degli Uffizi, Florence
    1482

    Sandro Botticelli, Primavera, c. 1482, tempera on panel, 203 x 314 cm, Galleria degli Uffizi, Florence

    Primavera is significant to the early Italian Renaissance because it combines classical mythology with humanistic ideas. Its themes of love, beauty, and fertility highlight the era’s interest in human experience and the connection between people and the divine.
  • Sandro Botticelli, The Birth of Venus, 1484, tempera on canvas, 172.5 x 278.5 cm, Galleria degli Uffizi, Florence, Early Italian Renaissance
    1484

    Sandro Botticelli, The Birth of Venus, 1484, tempera on canvas, 172.5 x 278.5 cm, Galleria degli Uffizi, Florence, Early Italian Renaissance

    The painting shows humanism by portraying a mythological goddess, Venus, not just as a divine figure, but as a symbol of earthly beauty, love, and the potential of human perfection.
  • Hieronymus Bosch, The Garden of Earthly Delights, c. 1490-1510, oil on oak panels (triptych), 185.8 cm high, central panel 172.5 cm wide, wings 76.5 cm wide, Museo del Prado, Madrid. Northern Renaissance
    1490

    Hieronymus Bosch, The Garden of Earthly Delights, c. 1490-1510, oil on oak panels (triptych), 185.8 cm high, central panel 172.5 cm wide, wings 76.5 cm wide, Museo del Prado, Madrid. Northern Renaissance

    The triptych reflects Northern European culture’s focus on religious morality, showing humanity’s fall from innocence into temptation and the consequences of sins. It has incredibly detailed symbolism, moral themes, and very imaginative figurines.
  • Albrecht Dürer, Self-Protrait in Furred, 1500,  67.1 x 48.9cm, Alte Pinakothek, Munich
    1500

    Albrecht Dürer, Self-Protrait in Furred, 1500, 67.1 x 48.9cm, Alte Pinakothek, Munich

    The artist focuses on detail and emphasizes individual identity. The frontal, almost iconic pose reflects humanist ideals. Its precise textures, realism, and symbolic seriousness embody Northern Renaissance values of self-awareness, technical skill.
  • Albrecht Dürer, Adam and Eve, 1504, engraving, 25.1 x 20 cm, The Metropolitan Museum of Art
    1504

    Albrecht Dürer, Adam and Eve, 1504, engraving, 25.1 x 20 cm, The Metropolitan Museum of Art

    The figures idealized proportions reflect Renaissance humanism and Dürer’s study of ancient Greek sculpture, while the symbolic animals represent the moral consequences of the Fall. Some themes are symbolism, scientific observation, religious narrative, and classical beauty.
  • Hieronymus Bosch, The Haywain Triptych, c.1512-1515, Oil on panel, 147.1 cm high × 224.3 cm wide, Museo del Prado, Madrid, Spain.
    1512

    Hieronymus Bosch, The Haywain Triptych, c.1512-1515, Oil on panel, 147.1 cm high × 224.3 cm wide, Museo del Prado, Madrid, Spain.

    Its fantastical creatures, dense detail, and strong moral message reflect Northern European culture’s focus on religious instruction and the consequences of sinful behavior.
  • Pieter Bruegel the Elder, The Dutch Proverbs, 1559, oil on oak, 117 x 163 cm, Gemäldegalerie, Staatliche Museen zu Berlin, Northern Renaissance
    1558

    Pieter Bruegel the Elder, The Dutch Proverbs, 1559, oil on oak, 117 x 163 cm, Gemäldegalerie, Staatliche Museen zu Berlin, Northern Renaissance

    It is important to the Northern Renaissance for its detailed, humorous depiction of everyday life used to convey moral lessons. The painting visualizes over 100 common proverbs. Some themes are moral instruction, sharp observation, and complex storytelling through realistic yet satirical scenes
  • Pieter Bruegel the Elder, Hunters in the Snow, 1565,  oil on wood, 118 x 161 cm, Kunsthistorisches Museum, Vienna. Northern Renaissance.
    1565

    Pieter Bruegel the Elder, Hunters in the Snow, 1565, oil on wood, 118 x 161 cm, Kunsthistorisches Museum, Vienna. Northern Renaissance.

    This piece of art was important for the Northern Renaissance because it shows the everyday life of the people who usually didn't get as much attention from artists. It focuses more on ordinary people. Themes are daily experience, moral reflection, and careful attention to the environment.