who is regarded as the first important artist of the italian renaissance
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Christ", demonstrated his mastery over linear perspective and also over the science of light. Another painting exists, a cityscape, by an unknown artist, perhaps Piero della Francesca, that demonstrates the sort of experiment that Brunelleschi had been making. From this time linear perspective was understood and regularly employed, such as by Perugino in his "Christ Giving the Keys to St. Peter" (1481-82) in the Sistine Chapel. Giotto used tonality to create form. Taddeo Gaddi in his nocturnal scene in the Baroncelli Chapel demonstrated how light could be used to create drama. Paolo Uccello, a hundred years later, experimented with the
Italian Renaissance painting
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Madonna" and Duccio's "Ruccellai Madonna" where the stylistic comparisons between the three can easily be made. One of the features apparent in Giotto's work is his observation of naturalistic perspective. He is regarded as the herald of the Renaissance. Giotto had a number of contemporaries who were either trained and influenced by him, or whose observation of nature had led them in a similar direction. Although several of Giotto's pupils assimilated the direction that his work had taken, none was to become as successful as he. Taddeo Gaddi achieved the first large painting of a night scene in an "Annunciation
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Themes in Italian Renaissance painting This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo's "Last Judgement" of the 1530s. The themes that preoccupied painters of the Italian Renaissance were those of both subject matter and execution- what was painted and the style in which it was painted. The artist had far more freedom of both subject and style than did a Medieval painter. Certain characteristic elements of Renaissance
Themes in Italian Renaissance painting
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painted in the Scrovegni Chapel in Padua set a new standard for narrative pictures. His "Ognissanti Madonna" hangs in the Uffizi Gallery, Florence, in the same room as Cimabue's "Santa Trinita Madonna" and Duccio's "Ruccellai Madonna" where the stylistic comparisons between the three can easily be made. One of the features apparent in Giotto's work is his observation of naturalistic perspective. He is regarded as the herald of the Renaissance. In the early Duecento in Italy started to appear the Italian Gothic. The first Italian Gothic edifices were Cistercian abbeys. They spread in the whole Italian territory, often adapting the
Duecento
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been considered and published as a classic, and commonly regarded as one of the most colorful autobiographies (certainly the most important autobiography from the Renaissance). Cellini wrote treatises on the goldsmith's art, on sculpture, and on design. The following is a list of works influenced by Cellini or that reference him or his work: Benvenuto Cellini Benvenuto Cellini (; 3 November 150013 February 1571) was an Italian goldsmith, sculptor, draftsman, soldier, musician, and artist who also wrote a famous autobiography and poetry. He was one of the most important artists of Mannerism. He is remembered for his skill in making
Benvenuto Cellini
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works regarded for centuries as embodying the classical notion of perfection. Renaissance architects included Alberti, Brunelleschi and Bramante. Many of these artists came from Florence and it remained an important centre for the Renaissance into the 16th century eventually to be overtaken by Rome and Venice. Some of the ideas of the Italian Renaissance did spread to other parts of Europe, for example to the German artist Albrecht Dürer of the 'Northern Renaissance'. But by the 16th century Mannerism had overtaken the Renaissance and it was this style that caught on in Europe. Representative artists: Leonardo da Vinci, Sandro Botticelli,
Artistic revolution
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is particularly notable in the works of Florentine minor masters, such as Andrea di Giusto, Giovanni dal Ponte, and others who attempted to replicate his glowing, lifelike forms. Masaccio Masaccio (; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. Masaccio died at twenty-six
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Masaccio Masaccio (; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. Masaccio died at twenty-six and little is known about the exact circumstances of his death. The name Masaccio is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom.
Masaccio
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array of Renaissance works of literature, which marks the end of the illuminated manuscript together with Giulio Clovio, who is considered the greatest illuminator of the Italian High Renaissance, and arguably the last very notable artist in the long tradition of the illuminated manuscript, before some modern revivals. Equally important was the end of stability with a series of foreign invasions of Italy known as the Italian Wars that would continue for several decades. These began with the 1494 invasion by France that wreaked widespread devastation on Northern Italy and ended the independence of many of the city-states. Most damaging
Italian Renaissance
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These four famous paintings demonstrate the advent and acceptance of the nude as a subject for the artist in its own right. Paintings of classical mythology were invariably done for the important salons in the houses of private patrons. Botticelli's most famous works are for the Medici, Raphael painted "Galatea" for Agostino Chigi and Bellini's "Feast of the Gods" was, with several works by Titian, in the home of Alfonso I d'Este Themes in Italian Renaissance painting This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it
Themes in Italian Renaissance painting
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was affected during the Settecento by the "enlightenment", a movement which was a consequence of the Renaissance and changed the road of Italian philosophy. Followers of the group often met to discuss in private salons and coffeehouses, notably in the cities of Milan, Rome and Venice. Cities with important universities such as Padua, Bologna and Naples, however, also remained great centres of scholarship and the intellect, with several philosophers such as Giambattista Vico (1668–1744) (who is widely regarded as being the founder of modern Italian philosophy) and Antonio Genovesi. Italian society also dramatically changed during the Enlightenment. The church's power
History of Italian culture (1700s)
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works can be seen at Berlin, Paris, St. Petersburg and Turin, the one in Russia being a clever copy of the "Last Supper" by Leonardo. He cannot be regarded as an important artist, or even a very good copyist, but in his pictures the sky and mountains and the distant landscapes are always worthy of consideration, and in these we probably get the painter's best original work. Marco d'Oggiono Marco d'Oggiono (c. 1470 – c. 1549) was an Italian Renaissance painter and a chief pupil of Leonardo da Vinci, many of whose works he copied. He was born at Oggiono
Marco d'Oggiono
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important source of patronage. From the early 16th century, the Italian Renaissance started to influence the Flemish painters. The result was very different from the typical Italian Renaissance painting. The leading artist was Pieter Brueghel the Elder, who avoided direct Italian influence, unlike the Northern Mannerists. After the Siege of Antwerp (1584–1585), the Southern Provinces of the Netherlands ("Flanders") remained under Spanish rule and were separated from the independent Dutch Republic. Although many artists fled the religious wars and moved from the Southern Netherlands to the Dutch Republic (see Dutch Golden Age painting), Flemish Baroque painting flourished, especially in the
Flemish painting
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La donna gravida La donna gravida (or simply "La gravida"; Italian for "The Pregnant Woman") is an oil on wood portrait by the Italian High Renaissance artist Raphael. It was painted between 1505 and 1506, during Raphael's stay in Florence, Italy. It is currently housed in the Palazzo Pitti in Florence. The portrait depicts a woman who is pregnant sitting with her left hand resting on her stomach. Paintings of pregnant women were unusual in the Renaissance period. The work is mentioned for the first time in an early 18th-century inventory of Palazzo Pitti, as from an unknown artist. In
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of Durer's contribution to German art in bringing Italian Renaissance styles and ideas to Germany. Russell calls this "Opening the Gothic windows of German art," while Gardner calls it Dürer's "life mission." Importantly, as Gardner points out, Dürer "was the first northern artist who fully understood the basic aims of the southern Renaissance," although his style did not always reflect that. The same source says that Hans Holbein the Younger (1497–1543) successfully assimilated Italian ideas while also keeping "northern traditions of close realism." This is contrasted against Dürer's tendency to work in "his own native German style" instead of combining
Renaissance art
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that demonstrate his style and skill. El Greco, another respected artist from the period, infused Spanish art with the styles of the Italian renaissance and helped create a uniquely Spanish style of painting. Some of Spain's greatest music is regarded as having been written in the period. Such composers as Tomás Luis de Victoria, Cristóbal de Morales, Francisco Guerrero, Luis de Milán and Alonso Lobo helped to shape Renaissance music and the styles of counterpoint and polychoral music, and their influence lasted far into the Baroque period which resulted in a revolution of music. Spanish literature blossomed as well, most
Spanish Golden Age
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ideas, however, were slow to penetrate England, and the Elizabethan era in the second half of the 16th century is usually regarded as the height of the English Renaissance. The English Renaissance is different from the Italian Renaissance in several ways. The dominant art forms of the English Renaissance were literature and music. Visual arts in the English Renaissance were much less significant than in the Italian Renaissance. The English period began far later than the Italian, which was moving into Mannerism and the Baroque by the 1550s or earlier. In contrast, the English Renaissance can only truly be said
English Renaissance
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gastronomy and food, which are commonly regarded as amongst the most popular in the world, its cinema (with filmmakers such as Federico Fellini, Michelangelo Antonioni, Mario Monicelli, Sergio Leone, Alberto Sordi, etc.), its collections of priceless works of art and its fashion (Milan and Florence are regarded as some of the few fashion capitals of the world). Over the ages Italian literature had a vast influence on Western philosophy, beginning with the Greeks and Romans, and going onto Renaissance, The Enlightenment and modern philosophy. Italian Medieval philosophy was mainly Christian, and included several important philosophers and theologians such as St
Italians
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phase of the Czech architecture has been often called "Jagiellonian Gothic" but it can be also regarded as the early phase of the Renaissance style in Bohemia. The direct influence of the Italian Renaissance architecture came first after the accession of Ferdinand I of Habsburg to the Bohemian throne. In 1538–1563 Ferdinand built the Royal Summer Palace (also known as Belvedere), situated in the newly established Royal Garden of Prague Castle. The Summer Palace with relief decorations and arcades in the basement which support the large balcony is considered the purest sample of the Italian Renaissance architecture north of the
Czech Renaissance architecture
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Frans Floris Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (1517 – 1 October 1570) was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition. Frans Floris was born in Antwerp. He was the
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in his own time, cultivated a relationship with King Philip IV and his chief minister, the Count-Duke of Olivares, leaving us several portraits that demonstrate his style and skill. El Greco, a respected Greek artist from the period, settled in Spain, and infused Spanish art with the styles of the Italian renaissance and helped create a uniquely Spanish style of painting. Some of Spain's greatest music is regarded as having been written in the period. Such composers as Tomás Luis de Victoria, Luis de Milán and Alonso Lobo helped to shape Renaissance music and the styles of counterpoint and polychoral
History of Spain
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Lorenzo Ghiberti Lorenzo Ghiberti (; 1378 – 1 December 1455), born Lorenzo di Bartolo, was a Florentine Italian artist of the Early Renaissance best known as the creator of the bronze doors of the Florence Baptistery, called by Michelangelo the "Gates of Paradise". Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of "Commentarii" contains important writing on art, as well as what may be the earliest surviving autobiography by any artist. Ghiberti was born in the year 1381, in Pelago, a Comune 20 km from Florence. It is said that Lorenzo
Lorenzo Ghiberti
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also some large new palaces. In contrast to the insecurity and Ottoman sieges and destruction, an important culture evolved midst the city walls. During the 16th and the 17th centuries Zadar was still under the influence of the Renaissance, which had created an environment in which arts and literature could flourish, despite the ongoing conflicts outside the city walls. This period saw the rise of many important Italian Renaissance figures, such as the painters Giorgio Ventura and Andrea Meldolla, and the humanist scholar Giovanni Francesco Fortunio, who wrote the first Italian grammar book. Meanwhile the activity of the Croatian writers
Zadar
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is part-fantasy and part-archaeology, quite unlike Serlio's other more practical works. Tutte l'opere d'architettura et prospetiva Tutte l'opere d'architettura et prospetiva ("All the Works of Architecture and Perspective") is an architectural treatise by Italian Renaissance architect Sebastiano Serlio (1475-1554). Serlio is sometimes regarded as one of the most important. The treatise is composed of eight books, the sixth of which was lost for some centuries and the eighth of which was not published until relatively recently. The eighth book is not always considered to be part of the treatise. The first five books cover Serlio's works on geometry, perspective, Roman
Tutte l'opere d'architettura et prospetiva
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Renaissance, giving rise to many important Italian Renaissance figures like Giorgio da Sebenico, Giorgio Ventura, Andrea Meldolla and Giovanni Francesco Fortunio, who wrote the first Italian grammar book, and many famous Croatian writers, such as Petar Zoranić, Brne Krnarutić, Juraj Baraković and Šime Budinić, who wrote in the Croatian language. After the fall of Venice in 1797, Zadar came under the Austrian rule until 1918, except for the period of short-term French rule (1805–1813), still remaining the capital of Dalmatia. During the French rule, the first newspaper in the Croatian language, "Il Regio Dalmata – Kraglski Dalmatin", was published in
Zadar
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Tutte l'opere d'architettura et prospetiva Tutte l'opere d'architettura et prospetiva ("All the Works of Architecture and Perspective") is an architectural treatise by Italian Renaissance architect Sebastiano Serlio (1475-1554). Serlio is sometimes regarded as one of the most important. The treatise is composed of eight books, the sixth of which was lost for some centuries and the eighth of which was not published until relatively recently. The eighth book is not always considered to be part of the treatise. The first five books cover Serlio's works on geometry, perspective, Roman antiquity, the Orders and church design. The sixth illustrates domestic designs
Tutte l'opere d'architettura et prospetiva
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the original ancient peoples named the Sicanians, it was then perfected during the period of Greek colonisation and is still prominent and distinct to this day. Nowadays, Caltagirone is one of the most important centres in Sicily for the artistic production of ceramics and terra-cotta sculptures. Famous painters include Renaissance artist Antonello da Messina, Renato Guttuso and Greek born Giorgio de Chirico who is commonly dubbed the "father of Surrealist art" and founder of the metaphysical art movement. The most noted architects are Filippo Juvarra (one of the most important figures of the Italian Baroque) and Ernesto Basile. The Sicilian
Sicily
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Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration. Driggs eventually settled in New York
Elsie Driggs
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Bonifazio Veronese Bonifacio Veronese, birth name: Bonifacio de' Pitati (1487 – 19 October 1553) was an Italian Renaissance painter who was active in Venetian Republic. His work had an important influence on the younger generation of painters in Venice, particularly Andrea Schiavone and Jacopo Tintoretto. The artist was born in Verona from which his family moved to Venice around 1505. Here the young artist reputedly trained under Palma il Vecchio. He was initially a close follower of il Vecchio. He ran a large workshop in Venice, which could execute small devotional works as well as large painting projects. His early
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a competition was held in Florence for a plan to roof the central crossing of the huge, unfinished Gothic Cathedral. It was won by the artist Brunelleschi who, inspired by domes that he had seen on his travels, such as that of San Vitale in Ravenna and the enormous dome of the Roman period which roofed the Pantheon, designed a huge dome which is regarded as the first building of the Renaissance period. Its style, visually however, is ribbed and pointed and purely Gothic. It was Renaissance (a rebirth) in its audacity and the fact that it looked back to
Architecture of cathedrals and great churches
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Silvano Campeggi Silvano "Nano" Campeggi (; January 23, 1923 – August 29, 2018) was an Italian artist who designed and produced the artwork for the posters of many classic Hollywood films. His iconic images are associated with the golden era of Hollywood and Campeggi is now generally regarded as the most important graphic artist and poster designer in the history of American cinema. Campeggi's father, a printer and typesetter, exposed him to the world of graphics and design. He attended the art school at Porta Romana, Florence, studying under accomplished painters of the time such as Ottone Rosai and Ardengo
Silvano Campeggi
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The Feast of the Gods The Feast of the Gods (Italian: "Il festino degli dei") is an oil painting by the Italian Renaissance master Giovanni Bellini, with substantial additions to the landscape in stages by Dosso Dossi and Titian, who added all the landscape to the left and centre. It is one of the few mythological pictures by the Venetian artist. Completed in 1514, it was his last major work. It is now in the National Gallery of Art in Washington D.C., which calls it "one of the greatest Renaissance paintings in the United States". The painting is the first
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Andrea del Sarto Andrea del Sarto (; 1486–1530) was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. Though highly regarded during his lifetime as an artist "senza errori" ("without errors"), his renown was eclipsed after his death by that of his contemporaries, Leonardo da Vinci, Michelangelo and Raphael. Andrea del Sarto was born Andrea d'Agnolo di Francesco di Luca di Paolo del Migliore in Florence on 16 July 1486. Since his father, Agnolo, was a tailor (Italian: "sarto"), he became known as "del Sarto" (meaning "tailor's son"). Since 1677 some have attributed the
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Jan Sanders van Hemessen Jan Sanders van Hemessen (c. 1500 – c. 1566) was a leading Flemish Renaissance painter, belonging to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting. Van Hemessen had visited Italy during the 1520s, and also Fontainebleau near Paris in the mid 1530s, where he was able to view the work of the colony of Italian artists known as the First School of Fontainebleau, who were working on the decorations for the Palace of Fontainebleau. Hemessen played an important role in the development of genre painting, through his large
Jan Sanders van Hemessen
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Michelangelo Michelangelo di Lodovico Buonarroti Simoni or more commonly known by his first name Michelangelo (; ; 6 March 1475 – 18 February 1564) was an Italian sculptor, painter, architect and poet of the High Renaissance born in the Republic of Florence, who exerted an unparalleled influence on the development of Western art. Considered by many the greatest artist of his lifetime, and by some the greatest artist of all time, his artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival, the
Michelangelo
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Calumny of Apelles (Botticelli) The Calumny of Apelles is a tempera panel painting by the Italian Renaissance painter Sandro Botticelli. Based on the description of an ancient lost painting by Apelles, the work was completed in about 1494–95, and is now in the Uffizi, Florence. The content of Apelles' painting, as described by Lucian, became popular in Renaissance Italy, and Botticelli was neither the first nor last Italian Renaissance artist to depict it. Leon Battista Alberti had praised it and recommended it as a subject for artists to recreate in his highly influential "De pictura" of 1435, and there were
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are Italian architects Tommaso Vincidor and Alessandro Pasqualini, who worked in the Low Countries for most of their careers, Flemish painter Jan Gossaert, whose visit to Italy in 1508 in the company of Philip of Burgundy left a deep impression, musician Adrian Willaert who made Venice into the most important musical centre of its time (see Venetian School) and Giambologna, a Flemish sculptor who spent his most productive years in Florence. Before 1500, the Italian Renaissance had little or no influence above the Alps. After this we begin to see Renaissance influences, but unlike the Italian Renaissance, Gothic elements remain
Renaissance in the Low Countries
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Pedro Berruguete Pedro Berruguete (c. 1450 – 1504) was a Spanish painter; his art is regarded as a transitional style in Spain between gothic and Renaissance. Berruguete most famously created paintings of the first few years of the Inquisition and of religious imagery for Castilian retablos. He is considered by some as the first Renaissance painter in Spain. He was the father of sculptor Alonso Berruguete, considered the most important sculptor in Renaissance Spain. Because of the fame accrued by Alonso, Pedro Berruguete is sometimes referred to as Berruguete el Viejo (or Berruguete the Older) to differentiate between the two.
Pedro Berruguete
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Baldassare Maggi who worked in Bohemia. During the reign of Holy Roman Emperor and Bohemian King Rudolph II, the city of Prague became one of the most important European centers of the late Renaissance art (so-called Mannerism). The Italian architect Giovanni Maria Philippi rebuilt and extended the New Royal Palace in Prague Castle for the Emperor. Unfortunately only some parts of it have been preserved (Matthias Gate, Spanish Hall). Rudolph also built the church of St. Rochus in Hradčany near the Strahov Monastery. Very important late Renaissance building of this period is the Italian Chapel of Clementinum in the Old
Czech Renaissance architecture
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Stefano di Giovanni "For the village near Livorno, see Sassetta, Tuscany" Stefano di Giovanni di Consolo, known as "il Sassetta" (ca.1392–1450 or 1451) was an Italian painter who is considered one of the most important representatives of Sienese Renaissance painting. While working within the Sienese tradition, he innovated the style by introducing elements derived from the decorative Gothic style and the realism of contemporary Florentine innovators as Masaccio. The name Sassetta has been associated with him, mistakenly, only since the 18th century but is now generally used for this artist. The date and birthplace of Sassetta are not known. Some
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of a great artist, he lacked ambition and that divine fire of inspiration which animated the works of his more famous contemporaries: Leonardo da Vinci, Michelangelo and Raphael. On 21 November 1848, the play "Andre del Sarto", by Alfred de Musset, premiered in Paris. In 1968 the opera "Andrea del Sarto" by French composer Jean-Yves Daniel-Lesur was based on Alfred de Musset's 1848 play. Andrea del Sarto Andrea del Sarto (; 1486–1530) was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. Though highly regarded during his lifetime as an artist "senza errori" ("without
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that is usually regarded as beginning in Italy in the late 14th century. Like most of northern Europe, England saw little of these developments until more than a century later. Renaissance style and ideas were slow in penetrating England, and the Elizabethan era in the second half of the 16th century is usually regarded as the height of the English Renaissance. This Italian influence can also be found in the poetry of Thomas Wyatt (1503–1542), one of the earliest English Renaissance poets. He was responsible for many innovations in English poetry, and alongside Henry Howard, Earl of Surrey (1516/1517–1547) introduced
English literature
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survived. Most important landmarks include: The first university of Zadar was mentioned in writing as early as in 1396 and it was a part of a Dominican monastery. It closed in 1807. Between the 15th and 17th centuries Zadar was an important Renaissance center, producing an array of Italian Dalmatia architects, sculptors, painters and scholars such as Giorgio da Sebenico, Laurana and Francesco Laurana, Giorgio Ventura, Andrea Meldolla and Giovanni Francesco Fortunio (who wrote the first Italian grammar book). Zadar was, along with Split and Dubrovnik, also one of the centres of the development of Croatian literature. The 15th and
Zadar
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a biblical symbolism as 'men are "no more than mortal clay"'. It is therefore possible to conclude that Mazzoni was a highly important artist of his period, both in terms of the skill of his art and the historical significance of his life. Guido Mazzoni (sculptor) Guido Mazzoni (c. 1445 – 1518, active 1473–1518) was an Italian sculptor and painter of the Renaissance period, working in Bologna, Naples and France. Guido Mazzoni was born in Modena and first became active in that city, ruled at the time by the Este family of Ferrara. A case has been made for his
Guido Mazzoni (sculptor)
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in decoration. It has notable acoustics also. The octagonal baptismal font at the centre dates from 1246 and was made by Guido Bigarelli da Como. The bronze sculpture of St. John the Baptist at the centre of the font is a remarkable work by Italo Griselli. The pulpit was sculpted between 1255-1260 by Nicola Pisano, father of Giovanni Pisano, the artist who produced the pulpit in the Duomo. The scenes on the pulpit, and especially the classical form of the naked Hercules, show at best Nicola Pisano's abilities as the most important precursor of Italian renaissance sculpture by reinstating antique
Piazza dei Miracoli
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is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used. Self-portrait in a Convex Mirror Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria. The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example
Self-portrait in a Convex Mirror
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the Renaissance culture and the theory of symbolic forms. In his writings and translations, Škamperle introduced the thought of the Italian historical school (with Eugenio Garin and Federico Chabod as its main representatives) into the Slovene historiography. He wrote treatises about Renaissance thinkers such as Pico della Mirandola and Nicholas of Cusa. He was one of the first scholars of hermetism in Slovenia, as well as one of the first Slovene interpreters of Carl Gustav Jung. Škamperle's most important work is "Magična renesansa" ("The Magical Renaissance"), in which he analyzed the magical-mythological current in the European Renaissance and reflected on
Igor Škamperle
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to as an Italian painter. Giulio Clovio Giorgio Giulio Clovio or Juraj Julije Klović (1498 – 5 January 1578) was an illuminator, miniaturist, and painter born in the Kingdom of Croatia, who was mostly active in Renaissance Italy. He is considered the greatest illuminator of the Italian High Renaissance, and arguably the last very notable artist in the long tradition of the illuminated manuscript, before some modern revivals. Giulio Clovio was born in Grižane, a village near the town of Modruš in Kingdom of Croatia (today's Croatia). He came from a Croatian family. It is not known where he had
Giulio Clovio
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included Fernando Gallego, Bartolomé Bermejo, Pedro Berruguete and Juan de Flandes. Overall the Renaissance and subsequent Mannerist styles are hard to categorise in Spain, due to the mix of Flemish and Italian influences, and regional variations. The main centre for Italian Renaissance influence entering Spain was Valencia due to its proximity and close links with Italy. This influence was felt via then import of artworks, including four paintings by Piombo and many prints by Raphael, the arrival of the Italian Renaissance artist Paolo de San Leocadio, and also by Spanish artists who spent time working and training there. Such artists
Spanish art
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Self-portrait in a Convex Mirror Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria. The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers. The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then
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is possibly the most visited in Italy and contains many popular attractions as well as sought-after landscapes. Rome boasts the remaining wonders of the Roman Empire and some of the world's best known landmarks such as the Colosseum. Florence, regarded as the birthplace of the Italian Renaissance, is Tuscany's most visited city, whereas nearby cities like Siena, Pisa, and Lucca also have rich cultural heritages. Umbria's population is small but it has many important cities such as Perugia and Assisi. For similar reasons, Lazio and Tuscany are some of Italy's most visited regions and the main targets for Ecotourism. This
Tourism in Italy
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Andrea Antico Andrea Antico (also Andrea Antico da Montona, Anticho, Antiquo) (c. 1480 – after 1538) was an Italian music printer, editor, publisher and composer of the Renaissance, of Istrian birth, active in Rome and in Venice. He was the first printer of sacred music in Rome, and the earliest competitor of Venetian Ottaviano Petrucci, who is regarded as the first significant music printer. Antico was born in Montona in the Republic of Venice (today Motovun in Croatia). His ethnicity is not known; fifteenth century Montona had a mixed population of Italians and Croats. Little documentation has yet come to
Andrea Antico
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The Adoration of the Kings (Bruegel) The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London. In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The group of people, taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on individual faces, giving each a quite distinct, and sometimes grotesque, expression. This emphasis on the uniqueness of each
The Adoration of the Kings (Bruegel)
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Dutch and Flemish Renaissance painting Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region. Many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan
Dutch and Flemish Renaissance painting
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Raphael (opera) Raphael (full title: "Raphael: Musical Scenes from the Renaissance"; Russian: Рафаэль: Музыкальные сцены из эпохи Возрождения; Italian: "Raffaello"), "op." 37, is an opera in one act by Anton Arensky. The libretto, by A. A. Kryukov, is based on the life of the Renaissance artist Raphael. The text was written in Russian and immediately translated into Italian by L. Egidi. The opera was composed in 1894 for the First Congress of Russian Artists and dedicated to the Moscow Society of Lovers of the Arts. It premiered in Italian at the Moscow Conservatory on 6 May (old calendar: 26 April),
Raphael (opera)
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ottava rima, which became very popular in Baroque Polish poetry. He died on 2 August 1620 and was buried at the Franciscan church in Cracow. He is commonly regarded as one of the most important Polish writers of the Renaissance. Piotr Kochanowski Piotr Kochanowski (1566-1620) was a Polish nobleman, poet and translator. He belonged to a family of writers. He was a son of Mikołaj Kochanowski and a nephew of Jan Kochanowski. He was born in 1566 in Sycyna. He is famous for his translations from Italian. He translated into Polish what were generally esteemed to be the two greatest
Piotr Kochanowski
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style until near the end of his career in the 1570s, although he increasingly used colour and light over line to define his figures. German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance. Renaissance influences began to appear in German art in the 15th century, but this trend was not widespread. Gardner's "Art Through the Ages" identifies Michael Pacher, a painter and sculptor, as the first German artist whose work begins to show Italian Renaissance influences. According to that source, Pacher's painting, "St. Wolfgang Forces the Devil to Hold
Renaissance art
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Guido da Vigevano Guido da Vigevano or Guido da Pavia (born c. 1280; died c. 1349) was an Italian physician and inventor. He is notable for his sketchbook "Texaurus regis Francie" which depicts a number of technological items and ingenious devices, allowing modern scholarship an invaluable insight into the state of medieval technology. Although still attached in style and spirit to the Middle Ages, Guido da Vigevano can be regarded as a distant forerunner of later Renaissance artist-engineers like Taccola, Francesco di Giorgio Martini and Leonardo da Vinci. Guido da Vigevano was personal physician of queen Joan the Lame (Jeanne
Guido da Vigevano
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with a ship half-seen on the horizon. The many coastal views in the book's woodcuts are important in the development of such representations. Birds-eye plans of cities, often coastal, which we would today usually consider as cartography, were often done by artists, and considered as much as works of art as maps by contemporaries. Italian Renaissance art showed maritime scenes when required, but apart from the Venetian artist Vittore Carpaccio there were few artists in this or the next century who often returned to such scenes, or did so with special sensitivity. Carpaccio's scenes show Venetian canals or docksides; there
Marine art
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Matteo di Giovanni Matteo di Giovanni (c. 1430 – 1495) was an Italian Renaissance artist from the Sienese School. Matteo di Giovanni di Bartolo was born in Borgo Sansepolcro around 1430. His family relocated to Siena and he is firmly associated with the art of that city. Matteo was twice married—first in 1463 to a wealthy noble woman and, after her death, to a rich widow, who made it possible for Matteo to buy real estate and by whom he fathered many children. Documentation concerning the early phases of Matteo's life and career as an artist is scanty and nothing
Matteo di Giovanni
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Lavinia Fontana Lavinia Fontana (August 24, 1552 – August 11, 1614) was an Italian painter. She is regarded as the first woman artist, working within the same sphere as her male counterparts, outside a court or convent. She was the first woman artist to paint female nudes, and possibly the first female to use live nude female models. She was the main breadwinner of a family of 13. Lavinia Fontana was born in Bologna, the daughter of the painter Prospero Fontana, who was a prominent painter of the School of Bologna at the time and served as her teacher. Continuing
Lavinia Fontana
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that became central to Renaissance thinking and helped raise the status of women. In addition, the identity of the individual artist in general was regarded as more important; significant artists from this period whose identities are unknown virtually cease to exist. Two important texts, "On Famous Women" and "The City of Women", illustrate this cultural change. Boccaccio, a 14th-century humanist, wrote "De mulieribus claris" (Latin for "On Famous Women") (1335–59), a collection of biographies of women. Among the 104 biographies he included was that of Thamar (or Thmyris), an ancient Greek vase painter. Curiously, among the 15th-century manuscript illuminations of
Women artists
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Portrait of Baldassare Castiglione Portrait of Baldassare Castiglione is a c. 1514–1515 oil painting attributed to the Italian High Renaissance painter Raphael. Considered one of the great portraits of the Renaissance, it has an enduring influence. It depicts Raphael's friend, the diplomat and humanist Baldassare Castiglione, who is considered a quintessential example of the High Renaissance gentleman. The portrait was produced as a result of Raphael's friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504, when Castiglione made his second visit to Urbino, as Raphael was gaining recognition as an
Portrait of Baldassare Castiglione
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and 15th centuries, the Court of Burgundy was made known for their continuous fashionable tastes and luxurious dress. Brocades were also an important fabric during the Renaissance, and especially the Italian Renaissance. As wool and silk were the primary fabrics used by Europeans during the Renaissance, and despite the lack of documentary evidence, it is said that due to the increase in complexity of decoration of Italian silk fabrics of the 15th century, there must have been improvements in silk-weaving looms around this time. The complexity and high quality of luxurious silk fabrics caused Italy to become the most important
Brocade
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picturesque Renaissance castle / palace built in 1591-1606. It is known as "little Wawel". This castle is a class zero monument. It is believed to be the work of the famous architect, Santi Gucci, the court artist of King Sigismund II Augustus, who brought many foreign architects from around Europe to Poland in the 16th century. The castle was built around 1591–1606 for Rafał and Andrzej Leszczyński. Its style comes from the Italian renaissance. By the end of the 17th century, the next owners were the Lubomirski family, who decided to change the residence. They hired a Dutch architect, who
Baranów Sandomierski
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form than in previous works, perhaps in order to stand out in the distance of the main chapel. After the master's death the altarpiece was completed by Juan de Borgoña. Pedro Berruguete Pedro Berruguete (c. 1450 – 1504) was a Spanish painter; his art is regarded as a transitional style in Spain between gothic and Renaissance. Berruguete most famously created paintings of the first few years of the Inquisition and of religious imagery for Castilian retablos. He is considered by some as the first Renaissance painter in Spain. He was the father of sculptor Alonso Berruguete, considered the most important
Pedro Berruguete
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scope of his interests and the extraordinary degree of talent that he demonstrated in so many diverse areas, he is regarded as the archetypal "Renaissance man". But it was first and foremost as a painter that he was admired in his own time, and as a painter, he drew on the knowledge he gained from his other interests. Leonardo was a scientific observer. He learned by looking at things. He studied and drew the flowers of the fields, the eddies of the river, the form of the rocks and mountains, the way light reflected from foliage and sparkled in a
Italian Renaissance painting
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Mantua and Germany. She is regarded as an important figure in the Italian Renaissance and was a student of Vittorino da Feltre. Barbara is portrayed in the novel "The Princess of Mantua" by French writer Marie Ferranti. During her marriage, Barbara gave birth to fourteen children: Barbara of Brandenburg, Marquise of Mantua Barbara of Brandenburg (1422 – 7 November 1481) was a Marchioness consort of Mantua, married in 1433 to Ludovico III Gonzaga, Marquis of Mantua. Barbara was the daughter of John, Margrave of Brandenburg-Kulmbach, and Barbara of Saxe-Wittenberg and a niece of Holy Roman Emperor Sigismund. Her marriage took
Barbara of Brandenburg, Marquise of Mantua
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the Renaissance period, also arguably meet the definition of Fantastic Art, as art based on modern mythology such as JRR Tolkien's Middle Earth mythos unquestionably does. Religious art also depicts supernatural or miraculous subjects in a naturalistic way, but is not generally regarded as Fantastic Art. Many artists have produced works which fit the definition of fantastic art. Some, such as Nicholas Roerich, worked almost exclusively in the genre, others such as Hieronymus Bosch, who has been described as the first "fantastic" artist in the Western tradition, produced works both with and without fantastic elements, and for artists such as
Fantastic art
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so popular that they were known as "cosmatesque". Rome is widely regarded as being the second Renaissance capital of Italy after Florence, and was one of the most important architectural and cultural centres of the time. It derived its main designs from the Classical models. Loggias, or open-sided galleries, were fashionable, and palaces, or "palazzi" often had rusticated blocks decorating the grand entrances to their houses. In churches, especially in St. Peter's Basilica, "baldacchini" or a column-supported canopy, were widely used. Examples include the Palazzo del Quirinale (now seat of the President of the Italian Republic), the Palazzo Venezia, the
Architecture of Rome
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this degree. Georgia Illetschko insisted in 2004, these unfinished surfaces are "a conscious compositional element.", and not due to a lack of time. According to Scigliano, it was an important development in the non finito sculpting technique. Battle of the Centaurs (Michelangelo) Battle of the Centaurs is a relief by Italian Renaissance artist Michelangelo, created around 1492. It was the last work Michelangelo created while under the patronage of Lorenzo de' Medici, who died shortly after its completion. Inspired by a classical relief created by Bertoldo di Giovanni, the marble sculpture depicts the mythic battle between the Lapiths and the
Battle of the Centaurs (Michelangelo)
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other things, the author of decoration rocks – the frame of windows and bay window on the second floor of elevation from the courtyard in Western wing. Fiorentine was the author of galleries enclosing large castle courtyard. It was the most important part (in artistic way) of rebuilding by this Italian man. Building started in 1507 and was continuing by Bartolomeo Berrecci (1480-1537) (Italian architect and sculptor from renaissance, who also worked for Zygmunt I Stary in Kraków) and after his death by his collaborators. This courtyard is considered as the most beautiful renaissance courtyard in the Middle Europe. The
Francesco Fiorentino
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La Celestina The Comedy of Calisto and Melibea (), known in Spain as La Celestina is a work entirely in dialogue published in 1499. It is attributed to Fernando de Rojas, a descendant of converted Jews, who practiced law and, later in life, served as an alderman of Talavera de la Reina, an important commercial center near Toledo. The book is considered to be one of the greatest works of all Spanish literature, and is usually regarded as marking the end of the medieval period and the beginning of the renaissance in Spanish literature. Although usually regarded as a novel,
La Celestina
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Casimiro Castro Casimiro Castro (24 April 1826 Tepetlaoxtoc - 8 January 1889 Mexico City), was a Mexican painter and lithographer, and is regarded as having been a leading graphic and landscape artist in nineteenth century Mexico. Casimiro, son of Cristóval Castro and Mariana Feliciana Blancas, was born shortly after Mexico acquired its independence and experienced a period of political and social upheaval marked by wars, foreign invasions and conflicts. His work is a graphic documentation of this important phase in the history of Mexico. Casimiro studied at the Academy of San Carlos in Mexico City under the Italian-born artist Pietro
Casimiro Castro
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Antonio del Pollaiolo Antonio del Pollaiuolo (17 January 1429/14334 February 1498), also known as Antonio di Jacopo Pollaiuolo or Antonio Pollaiuolo, was an Italian painter, sculptor, engraver and goldsmith during the Italian Renaissance. He was born in Florence. His brother, Piero, was also an artist, and the two frequently worked together. Their work shows both classical influences and an interest in human anatomy; reportedly, the brothers carried out dissections to improve their knowledge of the subject. They took their nickname from the trade of their father, who in fact sold poultry ("pollaio" meaning "hen coop" in Italian). Antonio's first studies
Antonio del Pollaiolo
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Palazzo Giusti The Giusti Palace and Garden () are located in the east of Verona, Italy, a short distance from Piazza Isolo and near the city centre. The palace was built in the sixteenth century. The garden is considered one of the finest examples of an Italian garden. The palace is a 16th-century Mannerist structure with a tower added in 1701. The Italian Renaissance gardens were planted in 1580 and are regarded as some of the most beautiful Renaissance gardens in Europe, a splendid park of terraces climbing upon the hill. They include a parterre and hedge maze, and expansive
Palazzo Giusti
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who still preferred a polyphonic idiom. As a performer, he was famous for his fine technique; he was one of the most famous early violinists, and highly regarded in Germany. Several pieces by other composers were published in Hamburg as tributes to him after his death. William Brade William Brade (1560 – 26 February 1630) was an English composer, violinist, and viol player of the late Renaissance and early Baroque eras, mainly active in northern Germany. He was the first Englishman to write a canzona, an Italian form, and probably the first to write a piece for solo violin. Little
William Brade
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point in Munich. After the war, he led the first academic program in conservation in the United States at the New York University Institute of Fine Arts (1950-1973). He was also the director of Harvard University's Center for Italian Renaissance Studies at Villa I Tatti in Florence (1973-1985). Craig Hugh Smyth Craig Hugh Smyth (1915-2006) was an American art historian who studied Renaissance art, with a special emphasis on the artist Bronzino. During World War II, he established the Allied Munich Central Collecting Point for Nazi-looted art, as part of the Monuments, Fine Arts, and Archives program. Smyth attended Princeton
Craig Hugh Smyth
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realistic depictions of solitude in contemporary American life", works of similar appearance to Smart's. Like Hopper's, Smart's paintings have been compared to Post-war Italian movie stills of the 1950s and sixties – where beauty is poetically captured in the 'humdrum' Italian cities. Alex Colville painted desolate landscape settings with lonely characters, and used much the same geometric underpinning and bold colours. Smart regarded being able to draw the human being as the single most important attainment of any artist. When asked why none of the people in his pictures are ever painted smiling, he said that he could not draw
Jeffrey Smart
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Francesco Benaglio Francesco Benaglio (c. 1432 - 1492) was an Italian painter of the Renaissance period. His original name was Francesco di Pietro della Biada. 'Della Biada' (or 'a Blado') means 'of the oats' and was a reference to the profession of his father Pietro who was a grain merchant from Bergamo. Francesco moved with his family to Verona, where he is documented from 1456 until his death. He adopted his artist name Francesco Benaglio from a noble family then living in Bergamo. The artist was active in Verona. His first known work is a triptych in the church of
Francesco Benaglio
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highly stylized landscapes in the background. Francesco Benaglio Francesco Benaglio (c. 1432 - 1492) was an Italian painter of the Renaissance period. His original name was Francesco di Pietro della Biada. 'Della Biada' (or 'a Blado') means 'of the oats' and was a reference to the profession of his father Pietro who was a grain merchant from Bergamo. Francesco moved with his family to Verona, where he is documented from 1456 until his death. He adopted his artist name Francesco Benaglio from a noble family then living in Bergamo. The artist was active in Verona. His first known work is
Francesco Benaglio
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to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting. Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like "A Meat Stall with the Holy Family Giving Alms", are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition
A Meat Stall with the Holy Family Giving Alms
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held dear. In the 15th century, various Italian architects and writers complained that the new 'barbarian' styles filtering down from north of the Alps posed a similar threat to the classical revival promoted by the early Renaissance. The "Gothic" qualifier for this art was first used in Raphael's letter to Pope Leo X c. 1518 and was subsequently popularised by the Italian artist and writer Giorgio Vasari, who used it as early as 1530, calling Gothic art a "monstrous and barbarous" "disorder". Raphael claimed that the pointed arches of northern architecture were an echo of the primitive huts the Germanic
Gothic art
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times, in 1957, 1983, and 1998, with four children by his first marriage, and died of a heart attack near Lethbridge, Alberta on a holiday in the Rocky Mountains. He was a keen sailor. His publications include: John Shearman John Kinder Gowran Shearman (pronounced "Sherman"; 24 June 1931 – 11 August 2003) was an English art historian who also taught in America. He was a specialist in Italian Renaissance painting, regarded by many as "the outstanding figure" of his generation in this area, who published several influential works, but whose expected major books on Quattrocento painting, for the Penguin/Yale History
John Shearman
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of art in the 16th century. In the Early Medieval period lavish pieces of metalwork had typically been the most highly regarded, and valuable materials remained an important ingredient in the appreciation of art until at least the 17th century. Until the 19th century the most extravagant objets d'art remained more expensive, both new and on the art market, than all but a few paintings. Classical writings which valued the supreme skills of individual artists were influential, as well as developments in art which allowed the Renaissance artist to demonstrate their skill and invention to a greater degree than was
Hierarchy of genres
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his biography of Properzia is probably due to a belief in the Renaissance that women were prone to be overcome and hindered by melancholia. Vasari used Properzia’s "San Petronio" as an example of how all women, even those who are great artisans, cannot escape their "female" nature. Properzia de' Rossi Properzia de' Rossi (c. 1490–1530) was an Italian female Renaissance sculptor. She studied under the Bolognese artist and master engraver Marcantonio Raimondi, who is best known today for his engravings after paintings by Raphael. Properzia de' Rossi was born in Bologna to a notary named Giovanni Martino Rossi da Modena.
Properzia de' Rossi
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Agostino Veneziano Agostino Veneziano ("Venetian Agostino"), whose real name was Agostino de' Musi (c. 1490 – c. 1540), was an important and prolific Italian engraver of the Renaissance. Veneziano was born in Venice, where he trained as an artist, though his teacher is unknown. He initially copied prints by Albrecht Dürer and Giulio Campagnola from about 1512-14, and then producing his own works, somewhat in the style of the latter. He spent some time in Florence around 1515-16. He moved to Rome, perhaps as early as 1514, and by 1516 had joined the printmaking workshop of Marcantonio Raimondi, of which
Agostino Veneziano
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directly influenced by the Italian masters was Cornelis Floris de Vriendt, who designed the city hall of Antwerpen, finished in 1564. The style sometimes known as "Antwerp Mannerism", keeping a similar overall structure to late-Gothic buildings, but with larger windows and much florid decoration and detailing in Renaissance styles, was widely influential across Northern Europe, for example in Elizabethan architecture, and is part of the wider movement of Northern Mannerism. In the early 17th century Dutch Republic, Hendrick de Keyser played an important role in developing the Amsterdam Renaissance style, which has local characteristics including the prevalence of tall narrow
Renaissance architecture
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of the New World, with chroniclers and writers such as Inca Garcilaso de la Vega and Bartolomé de las Casas, giving rise to a body of work, now known as Spanish Renaissance literature. The late Renaissance in Spain produced artists such as El Greco and composers such as Tomás Luis de Victoria and Antonio de Cabezón. The Italian artist and critic Giorgio Vasari (1511–1574) first used the term "rinascita" retrospectively in his book "The Lives of the Artists" (published 1550). In the book Vasari attempted to define what he described as a break with the barbarities of gothic art: the
Renaissance
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a plot that was thwarted by Dethomas' stepmother. Dethomas made an important contribution to the renaissance of book production in France. The following list, though incomplete, gives a broad representation of Dethomas's contribution to published works: Maxime Dethomas Maxime Pierre Jules Dethomas (October 13, 1867 – January 21, 1929) was a French painter, draughtsman, pastellist, printmaker, illustrator, and was among the best known theater set and costume designers of his era. As an artist, Dethomas was highly regarded by his contemporaries and exhibited widely, both within France and abroad. He was a regular contributor to the "Impressionistes et Symbolistes", and
Maxime Dethomas
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is part of UNESCO World Heritage. Other important figures of Hungarian Renaissance include Bálint Balassi (poet), Sebestyén Tinódi Lantos (poet), Bálint Bakfark (composer and lutenist), and Master MS (fresco painter). Culture in the Netherlands at the end of the 15th century was influenced by the Italian Renaissance through trade via Bruges, which made Flanders wealthy. Its nobles commissioned artists who became known across Europe. In science, the anatomist Andreas Vesalius led the way; in cartography, Gerardus Mercator's map assisted explorers and navigators. In art, Dutch and Flemish Renaissance painting ranged from the strange work of Hieronymus Bosch to the everyday
Renaissance
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His Prayerbook" (c.1481), is Late Gothic in style, but also shows the influence of the Italian artist, Mantegna. Artisans, such as engravers, became more concerned with aesthetics rather than just perfecting their craft. Germany had master engravers, such as Martin Schongauer, who did metal engravings in the late 1400s. Gardner relates this mastery of the graphic arts to advances in printing which occurred in Germany, and says that metal engraving began to replace the woodcut during the Renaissance. However, some artists, such as Albrecht Dürer, continued to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts,
Renaissance art
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the early Florentine artists waned during the third quarter of the 14th century, likely as a consequence of the plague. Major commissions, such as the altarpiece for the Strozzi family (dating from around 1354-57) in Santa Maria Novella, were entrusted to Andrea di Cione, whose work, and in that of his brothers, are more iconic in their treatment of figures and have an earlier sense of compressed space. Florence continued to be the most important centre of Italian Renaissance painting. The earliest truly Renaissance images in Florence date from 1401, the first year of the century known in Italian as
Florentine painting
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heaven with sticks in their hands. Behind St. Francis, who wears his traditional brown monk habit, is his companion Fra' Leone. The scene is set in an idyllic landscape, between hills, castles and cultivated fields, without any attention to perspective and realism as in other Renaissance works. Sassetta was in fact one of the last painters of the Sienese Gothic school, as shown by the use of elongated figures, the delicate colors and the courtly atmosphere. Mystic Marriage of St. Francis (Sassetta) The Mystic Marriage of St. Francis is a painting by the Italian Renaissance artist Sassetta, currently housed in
Mystic Marriage of St. Francis (Sassetta)
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the Renaissance of the 12th century, just as the refugee Byzantine scholars who migrated to Italy during and following the Turkish conquest of the Byzantines between the 12th and 15th centuries were important in sparking the new linguistic studies of the Renaissance, in newly created academies in Florence and Venice. Humanist scholars searched monastic libraries for ancient manuscripts and recovered Tacitus and other Latin authors. The rediscovery of Vitruvius meant that the architectural principles of Antiquity could be observed once more, and Renaissance artists were encouraged, in the atmosphere of humanist optimism, to excel the achievements of the Ancients, like
Italian Renaissance
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The I Tatti Renaissance Library The I Tatti Renaissance Library is a book series published by the Harvard University Press, which aims to present important works of Italian Renaissance Latin Literature to a modern audience by printing the original Latin text on each left-hand leaf (verso), and an English translation on the facing page (recto). The idea was initially conceived by Walter Kaiser, former professor of English and Comparative Literature at Harvard and director of the Villa I Tatti. Its goal is to be the Italian Renaissance version of the Loeb Classical Library. James Hankins, Professor of History at Harvard
The I Tatti Renaissance Library
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Young Knight in a Landscape Young Knight in a Landscape, or Portrait of a Knight, is a painting by the Italian Renaissance artist Vittore Carpaccio, now in the Thyssen-Bornemisza Collection in Madrid. Dated 1510, this is the earliest full-length portrait in Western painting—on the assumption that it is a portrait, as seems likely. It is characteristic of Carpaccio that apart from this important innovation, the style of the work seems in other respects to look back to the previous century. From some date until the 20th century the painting had been given the monogram of Albrecht Dürer, and Carpaccio's signature
Young Knight in a Landscape
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the presence of two triumphal arches, and centrally placed an octagonal building that might be a Christian baptistry or a Roman Mausoleum. Florence was the birthplace of the High Renaissance, but in the early 16th century the most important artists were attracted to Rome, where the largest commissions began to be. In part this was following the Medici, some of whom became cardinals and even the pope. Leonardo, because of the scope of his interests and the extraordinary degree of talent that he demonstrated in so many diverse areas, is regarded as the archetypal "Renaissance man". But it was first
Florentine painting
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Antonello da Messina Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina ( 1430February 1479), was an Italian painter from Messina, Sicily, active during the Early Italian Renaissance. His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy. Unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice. Antonello was born at Messina around
Antonello da Messina
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paintings pay less attention to detail. The richly designed Oriental carpets appealed strongly to Western painters. The rich and various colours may have influenced the great Venetian painters of the Quattrocento. It has been suggested that the pictorial representation of carpets is linked to the development of the linear perspective, which was first described by Leon Battista Alberti in 1435. The depiction of oriental carpets in Renaissance paintings is regarded as an important contribution to a "world history of art", based upon interactions of different cultural traditions. Rugs from the Islamic world arrived in large numbers in Western Europe by
Oriental carpets in Renaissance painting
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Equestrian statue of Gattamelata The Equestrian Statue of Gattamelata is a sculpture by Italian early Renaissance artist Donatello, dating from 1453, located in the Piazza del Santo in Padua, Italy, today. It portrays the Renaissance condottiero Erasmo da Narni, known as "Gattamelata", who served mostly under the Republic of Venice, which ruled Padua at the time. After Erasmo of Narni's death in 1443, according to John Julius Norwich, the Republic of Venice, as a sign of gratitude and respect, paid for a sculpture in his honor. Measuring 340 x 390 cm (the base measuring 780 x 410 cm, it is
Equestrian statue of Gattamelata