1. THE RENAISSANCE

2. THE EARLY RENAISSANCE

3. EXTERIOR OF BAPTISTRY

4. DUOMODUOMO

7. THE BAPTISTRY DOORS n LORENZO GHIBERTI n 1435 n EACH PANEL – 21 X 17 n NATIONAL MUSEUM, FLORENCE

8. DETAIL OF BAPTISTRY DOOR

14. THE MADONNA IN MAJESTY n CIMABUE n 1285 – 1286 n UFFIZI GALLERY, FLORENCE

15. MADONNA & CHILD ENTHRONED n GIOTTO n 1305 – 1310 n UFFIZI GALLERY, FLORENCE

16. THE MADONNA AND CHILD n Masaccio n 1426 n Tempera on panel n 24.5 x 18 cm n Uffizi, Florence

17. THE EXPULSION OF ADAM AND EVE n Masaccio n 1426-1428 n Fresco n 208 x 88 cm n Brancacci Chapel, Florence

18. Brancacci Chapel Masaccio

19. DAVID n DONATELLO n 1430-1432 n 62 1/4” n NATIONAL MUSEUM, FLORENCE

21. DETAIL OF DAVID

22. MAGDALEN n DONATELLO n 1454-1455 n 6’2” n BAPTISTRY, FLORENCE

23. MAGDALEN-DETAIL

24. RESURRECTION n Piero della Francesca n 1463-1465 n Mural in fresco n 225 x 200 cm n Pinacoteca Comunale, Sansepolcro

25. Perspective and geometry figure both prominently and subtly in all Piero's works. He liked to organize large, plain masses of color in patterns which suggest an underlying geometrical scheme. That gives his paintings the unfinished look which moderns like. There are always large areas of white or near-white in his works, the skies are big, light and sunny, and this pleasing radiance, combined with the absence of meticulous clutter, makes his paintings enormously attractive to our eyes. All this was carefully considered and deliberate We see that Piero was fond of the square format. Here's another example, for this painting is essentially square, being about 10% higher than it is wide.

26. n Stillness: The square format, as we've seen before, gives a mood of overall stillness. This static quality is enhanced by locating Christ exactly on center. Arnheim says that Christ's frontal symmetry makes him look like a statue. Christ is static but the guards appear restless. Their tilted heads are a perfect foil for the riveting head of Christ. n Vertical Zones: The central vertical divides the scene with Winter on left, summer on right. The rebirth of nature is here probably a symbol for rebirth of Christ. n Horizontal Zones: Similarly, the painting is divided into three horizontal bands. Christ occupies the middle band, his head and shoulders reaching into the upper band of sky. His figure unites earth and the heaven. The guards are in the zone below the line marked by Christ's foot.

27. THE FLAGELLATION n Piero della Francesca n 1455 n Oil and tempera on panel n 58.4 x 81.5 cm n Galleria Nazionale delle Marche, Urbino

28. In his finest work, the wonderfully light and sparkling Flagellation in the Ducal Palace, Urbino, Christ and his tormentors have been pushed into the background, while three unrelated figures, who are not even watching the scourging, dominate the scene.Flagellation "No picture could exude a more pronounced air of geometric control and no painting was ever more scrupulously planned."

29. Geometry of The Flagellation The diagonal AE of that square passes through the V, vanishing point of perspective. Further, in square ATVK we see that arc KT from A cuts the diagonal at Christ's head, F, halfway up the painting. Thus Christ's head is at the center of the original square ASED.

30. THE LATE RENAISSANCE

31. Annunciation n Da VinciUffizi Gallery n 1472-147598 x 217 cm

32. Perspective n Da Vinci: Annunciation

33. THE LAST SUPPER n LEONARDO DA VINCI n FLORENTINE n 1495-1498 n 181 X 346 1/2” n MILAN

34. LAST SUPPER-RESTORED

35. First to depict acting as real people Greatest ex. Of one point perspective – all lines to Jesus head Looking across the picture from left to right: Bartholomew, James Minor and Andrew form a group of three. All are aghast, Andrew to the point of holding his hands up in a "stop!" gesture. Judas, Peter and John form the next group of three. Judas, you will note, has his face in shadow and is clutching a small bag (of silver?). Peter is visibly angry and a feminine-looking John seems about to swoon. Christ is the calm in the midst of the storm. Thomas, James Major and Philip are next. Thomas is clearly agitated, James Major stunned and Philip seems to be seeking clarification. Matthew, Thaddeus and Simon comprise the last group of three figures. It appears that, when a situation turns ugly, Simon is the "go to" guy for explanations.

36. Castagno 1445-50 Architecture has a strangely oppressive effect on the figures B/c perspective was devised before diners painted

37. MONA LISA n LEONARDO DA VINCI n FLORENTINE n 1503-1505 n 30 1/4 X 21” n THE LOUVRE, PARIS http://library.thinkquest.org/1 3681/data/link2.htm

38. THE VIRGIN OF THE ROCKS n Leonardo Da Vinci n 1503-1506 n 6 x 4 ft n National Gallery, London The sfumato (haze) creates a sense of peculiar warmth and intimacy-more of a poetic vision

39. THE VIRGIN OF THE ROCKS n Leonardo Da Vinci n 1483-1486 n Oil on panel n 199 x 122 cm n Louvre, Paris

40. n The Da Vinci Code, written by the American novelist Dan Brown, it is claimed the earlier Louvre version contained hidden symbolism which contradicted orthodox Christian belief, The Da Vinci CodeDan Brown – notably the fact that Jesus is shown praying to John rather than the other way round – (the novel implies that the baby at the left must be Jesus rather than John, because he is with the Madonna). – It is also claimed that the Virgin appears to be holding an invisible head and that – Gabriel appears to be "slicing the neck" with his finger. For this reason the painting was rejected by the Church, and a second, more orthodox, version was painted.

41. London Paris

42. Vitruvian Man (Man of Perfect Proportions) – Leonardo Da Vinci – 1492 – Pen and Ink – Accademia, Venice – 13 ½ x 9 ½

43. Other Example of Da Vinci’s Notebook Flying MachineWalk on Water

44. THE ASSUMPTION OF THE VIRGIN n Correggio n 1525 n Fresco n Parma Cathedral, Parma, Italy

46. SISTINE CHAPEL

47. CEILING OF THE SISTINE CHAPEL n MICHELANGELO n FLORENTINE n 1508-1512 n THE VATICAN, ROME

48. AncestorsProphetsGenesis ScenesProphetsAncestors Death of Haman Jonah and the Whale Moses & Brass Serpeant JeremiahSeparation of light from darkness Libica Solomon Creation of Sun, Moon, and Planets Jesse PersicaSeparation of Land from Water Daniel Roboam Creation of Adam Asa EzekielCreation of EveCumaea Ozias Temptation and Expulsion Ezekias ErythraeaSacrifice of NoahIsaih Zorobabel The Flood Josiah JoelDrunkeness of NoahDelphic Sibyl David & Goliath Zachariah Juidith & HoloPhernes

49. THE CREATION OF ADAM

50. FALL OF MAN

51. EXPULSION

53. DELPHIC SIBYL

54. THE LAST JUDGMENT n MICHELANGELO n 1535-1544 n ALTAR WALL, SISTINE CHAPEL, VATICAN CITY

55. THE LAST JUDGMENT DETAIL- CHRIST

56. THE LAST JUDGMENT- DETAILS

58. THE LAST JUDGMENT- FLAYED SKIN DETAIL

59. DAVID n MICHELANGELO n 1501-1504 n 161” n ACCADEMIA, FLORENCE

61. DIVAD

62. PIETA n MICHELANGELO n 1498-1499 n 68 X 76” n ST PETER’S, n Vatican City

63. PIETA-DETAIL

64. Moses Michelangelo 1508-16 and 1542-45, marble height 7 ft 8 ½ San Pietro in Vincoli, Rome. This sculpture is at the base of Pope Julius II's mausoleum. [Detail of the head of Moses. Moses's horns derive from a long tradition in which horns were symbolic of divinity in Near Eastern and Nordic cultures.]baseheadsymbolic cultures

65. THE DYING SLAVE n Michelangelo n 1513-1515 n 7’6 n Louvre

66. THE REBELLIOUS SLAVE n Michelangelo n 1513-1515 n 7 5/8 ft n Louvre

67. THE ASSUMPTION OF THE VIRGIN n TITIAN n VENETIAN n 1516-1518 n 269 X 140” n VENICE

68. RAPE OF EUROPA n Titian n 1559-1562 n Oil on canvas n 185 x 205 cm n Isabella Stewart Gardner Museum, Boston

69. SCHOOL OF ATHENS n RAPHAEL n URBINO n 1509-1511 n THE VATICAN PALACE, ROME

70. SOCRATES n PLATO & ARISTOTLE ZENOEPICURUS

71. RAPHAEL EUCLID ZOROASTER & PTOLEMY PYTHOGARUS

72. SISTINE MADONNA n Raphael n 1513 – 1514 n Oil on panel n Dresden Gallery, Dresden, Germany

73. In the Mother's arms is the Divine Child, with those strange, far- away-looking eyes that casual visitors so little understand— eyes that even in babyhood seem reading the future, and beginning to see the greatness of the world's sorrow. Kneeling on one side, below them, is St. Sixtus, the nearest perfect of all pictures of strong and venerable age that was ever painted; on the other side Santa Barbara, only less beautiful than the Virgin, is kneeling, with eyes turned from the glory too bright for mortals to look upon. At the bottom of the canvas are the two cherub faces which for centuries have been ideals of innocence and loveliness. The background is of fleecy clouds, and peering out of the clouds are angel faces. It has been said that Raphael never painted anything exactly as it was, but always idealized whatever he touched.

75. St. Jerome Punishing the Heretic Sabinian n Raphael n Italian n 1503 n NC Museum of Art

77. BIRTH OF VENUS n SANDRO BOTTICELLI n 1485 n 68 X 109 IN n UFFIZI GALLERY, FLORENCE

78. ALLEGORY OF SPRING (LA PRIMAVERA) n Sandro Botticelli n 1477-1478 n 10’4 x 6’9 n Uffizi, Florence

79. The Adoration of the Child n Sandro Botticelli n 1500 n NC Museum of Art

80. The Assumption of the Virgin n Lodovico Caracci n Italian n about 1586-7 n NC Museum of Art

81. Madonna and Child in a Landscape n Giovanni Battista Cima da Conegliano n Italian, n about 1496-99

82. The Northern Renaissance

83. ARNOLFINI WEDDING PORTRAIT n Jan Van Eyck n 1434 n Oil on wood n 31 ¼ x 23 1/s in n National Gallery, London

84. Frame is inset with 10 miniature medallions depicting scenes from life of Christ. Includes VanEyck’s self portrait and another man

85. All seeing eye of God Taking place on holy ground faithfulness

86. ERASMUS n Hans Holbein the Younger n 1523 n 43 x 33 cm n Louvre

87. The Last Supper n Hans Holbein the Younger n 1524-1525 n Limewood n 115 x 97 cm n Kunstmuseum, Öffentliche Kunstsammlung, Basle

88. PEASANT WEDDING n Pieter Bruegel the Elder n 1568 n Oil on wood n 45 x 64 ½ in n Kunsthistorisches Museum, Vienna

89. Not PHeasant Wedding

90. PEASANT DANCE n Pieter Bruegel the Elder n 1568 n Oil on oak panel n 114 x 164 cm n Kunshtistorishes Museum Wien, Vienna

91. Self Portrait at Twenty-Seven n Albrecht Durer n 1498 n Oil on wood n 20 ½ x 16 n Prado Museum, Madrid

92. Self-Portrait at 28 n Albrecht Durer n 1500

93. The Adoration of the Magi n Albrecht Durer n 1504 n Uffizi, Florence