THE RENAISSANCE

THE BAPTISTRY DOORS LORENZO GHIBERTI

MADONNA & CHILD ENTHRONED GIOTTO

THE MADONNA AND CHILD Masaccio

THE EXPULSION OF ADAM AND EVE Masaccio

DAVID DONATELLO Donatello trained w/ Ghiberti David – first nude statue of the Ren; first bronze

MAGDALEN DONATELLO Gothic style – expressive ugliness to give statue a life of its own

RESURRECTION Piero della Francesca

THE FLAGELLATION Piero della Francesca

THE LAST SUPPER LEONARDO DA VINCI

MONA LISA LEONARDO DA VINCI

THE VIRGIN OF THE ROCKS Leonardo Da Vinci

Vitruvian Man (Man of Perfect Proportions) Leonardo Da Vinci

THE ASSUMPTION OF THE VIRGIN Correggio

CEILING OF THE SISTINE CHAPEL MICHELANGELO

THE CREATION OF ADAM MICHELANGELO

EXPULSION MICHELANGELO

DELPHIC SIBYL MICHELANGELO

THE LAST JUDGMENT MICHELANGELO

DAVID MICHELANGELO

PIETA MICHELANGELO

Moses Michelangelo

THE ASSUMPTION OF THE VIRGIN TITIAN

RAPE OF EUROPA Titian

SCHOOL OF ATHENS RAPHAEL

SISTINE MADONNA Raphael

St. Jerome Punishing the Heretic Sabinian Raphael This painting was one of three predella panels that were originally framed below Raphael's Crucifixion, painted for a church in the central Italian town of Città di Castello. Although one of Raphael's earliest works, the painting already reveals the delic ate grace which distinguishes his mature style. The subject of this panel is extremely rare in Renaissance art. After his death, St. Jerome appears in the sky to rescue Bishop Sylvan, a good Christian falsely accused of heresy. As St. Jerome halts the executioner's sword, the head of the true heretic, Sabinian, is miraculously severed from his body.

BIRTH OF VENUS SANDRO BOTTICELLI

ALLEGORY OF SPRING (LA PRIMAVERA) Sandro Botticelli

The Adoration of the Child Sandro Botticelli The circular shape of this panel, called a tondo from the Italian word for "round," has symbolic significance: during the Renaissance, the circle was considered the most perfect geometric form, just as Christ personified perfection. The circular format w as well-suited to Botticelli's affinity for line and rhythmical movement. The ornate frame--carved in Florence during the 1950s--is based on the type that would have originally surrounded the painting. As is frequently the case with other Renaissance paintings, this work contains many Christian symbols. The wheat stalks emerging from the thatched roof and beneath Christ's pillow refer to Bethlehem (literally "house of bread") and to the bread of the Eucharist, served at communion to symbolize Christ's body. In the middleground, Botticelli includes the approach of the three magi and their retinues, who have come to pay homage to the newborn king of the Jews.

The Assumption of the Virgin Lodovico Caracci Although the story of the Virgin Mary's Assumption, when her body was borne aloft into heaven by a multitude of angels, is not described in the Bible, it was a popular subject for artists, who knew the story from popular literary texts. In this altarpiece, Carracci combines the Virgin's Assumption with the discovery of her empty tomb by the apostles, much as Massimo Stanzione does in his rendition of the same subject at the far end of this gallery. The outward gaze of the apostle John draws us into the composition, making us participants in the miraculous drama that unfolds. To make the Assumption as realistic as possible, Carracci portrays the apostles with individualized features and gestures. By showing the Virgin triumphantly borne above funerary monuments of the Roman (on the left), Egyptian (the obelisk inscribed with hieroglyphs in the center background), and Jewish (the sarcophagus on the right that bears a relief of the stone tablets of Moses) religions, the artist asserts the superiority of the Christian (in this case Catholic) faith over them.

Madonna and Child in a Landscape Giovanni Battista Cima da Conegliano Cima's Madonna and Child exemplifies three related characteristics of Venetian painting of the High Renaissance: the refinement of the oil medium, a remarkable sensitivity for light, and a profound affinity for landscape painting. Through mastery of the oil medium Cima captures in his paintings the ethereal quality of the light that suffuses the countryside around his birthplace of Conegliano, located some 40 miles north of Venice. The refinement of his technique can also be seen in the exquisite modeling of the heads of the two figures and in the delicate rendering of the Madonna's headdress. >Equally masterful is the artist's treatment of the spiritual aspects of the painting. The Madonna seems lost in thought, as if contemplating the destiny of her son. Cima positions the figures between a monastery at lower left and a hill town (probably Conegliano) at right, so that they form a link between the spiritual/contemplative world of monastic life and the secular/active world of everyday life.

ARNOLFINI WEDDING PORTRAIT Jan Van Eyck

ERASMUS Hans Holbein the Younger

The Last Supper Hans Holbein the Younger

PEASANT WEDDING Pieter Bruegel the Elder

PEASANT DANCE Pieter Bruegel the Elder

Self Portrait at Twenty-Seven Alfred Durer

The Adoration of the Magi Albrecht Durer