How Art Changed From the Late Middle Ages to the Late Renaissance Period

Visual arts produced during the European Renaissance

Renaissance art (1350 - 1620 AD^[1]) is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italia in virtually AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and engineering science. Renaissance art took equally its foundation the fine art of Classical artifact, perceived as the noblest of aboriginal traditions, simply transformed that tradition past absorbing recent developments in the fine art of Northern Europe and by applying contemporary scientific noesis. Forth with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For fine art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Mod historic period.

The body of fine art, painting, sculpture, architecture, music, and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt suspension with medieval values, as is suggested by the French give-and-take renaissance, literally meaning "rebirth". Rather, historical sources advise that interest in nature, humanistic learning, and individualism were already nowadays in the late medieval menses and became dominant in 15th- and 16th-century Italian republic, concurrently with social and economic changes such as the secularization of daily life, the ascension of a rational money-credit economy, and greatly increased social mobility. In many parts of Europe, Early Renaissance fine art was created in parallel with Late Medieval art.

Origins [edit]

Many influences on the development of Renaissance men and women in the early 15th century have been credited with the emergence of Renaissance art; they are the same as those that afflicted philosophy, literature, architecture, theology, science, government and other aspects of society. The post-obit list presents a summary of changes to social and cultural atmospheric condition which accept been identified as factors which contributed to the development of Renaissance fine art. Each is dealt with more than fully in the main articles cited higher up. The scholars of Renaissance period focused on present life and ways to make human life evolve and better in its entirety. They did not pay much attending to medieval philosophy or religion. During this period, scholars and humanists similar Erasmus, Dante and Petrarch criticized superstitious beliefs and besides questioned them. ^[2] The concept of education too widened its spectrum and focused more on creating 'an ideal man' who would have a fair understanding of arts, music, poetry and literature and would have the power to appreciate these aspects of life. During this period, in that location emerged a scientific outlook which helped people question the needless rituals of the church.

Classical texts, lost to European scholars for centuries, became available. These included documents of philosophy, prose, poetry, drama, science, a thesis on the arts, and early on Christian theology.
Europe gained access to advanced mathematics, which had its provenance in the works of Islamic scholars.
The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broader public.
The establishment of the Medici Bank and the subsequent trade information technology generated brought unprecedented wealth to a single Italian metropolis, Florence.
Cosimo de' Medici gear up a new standard for patronage of the arts, not associated with the church or monarchy.
Humanist philosophy meant that man'southward relationship with humanity, the universe and God was no longer the exclusive province of the church building.
A revived interest in the Classics brought well-nigh the beginning archaeological written report of Roman remains by the builder Brunelleschi and sculptor Donatello. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting and sculpture, which manifested itself as early every bit the 1420s in the paintings of Masaccio and Uccello.
The improvement of oil paint and developments in oil-painting technique by Belgian artists such as Robert Campin, Jan van Eyck, Rogier van der Weyden and Hugo van der Goes led to its adoption in Italia from about 1475 and had ultimately lasting effects on painting practices worldwide.
The serendipitous presence inside the region of Florence in the early 15th century of sure individuals of artistic genius, most notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the great masters of the High Renaissance, as well as supporting and encouraging many bottom artists to accomplish work of extraordinary quality.^[3]
A similar heritage of creative achievement occurred in Venice through the talented Bellini family, their influential in-constabulary Mantegna, Giorgione, Titian and Tintoretto.^[3] ^[iv] ^[5]
The publication of ii treatises by Leone Battista Alberti, De pictura ("On Painting") in 1435 and De re aedificatoria ("Ten Books on Architecture") in 1452.

History [edit]

Proto-Renaissance in Italian republic, 1280–1400 [edit]

In Italia in the late 13th and early 14th centuries, the sculpture of Nicola Pisano and his son Giovanni Pisano, working at Pisa, Siena and Pistoia shows markedly classicising tendencies, probably influenced by the familiarity of these artists with ancient Roman sarcophagi. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa.

Contemporary with Giovanni Pisano, the Florentine painter Giotto adult a manner of figurative painting that was unprecedentedly naturalistic, three-dimensional, lifelike and classicist, when compared with that of his contemporaries and teacher Cimabue. Giotto, whose greatest work is the cycle of the Life of Christ at the Loonshit Chapel in Padua, was seen past the 16th-century biographer Giorgio Vasari every bit "rescuing and restoring art" from the "crude, traditional, Byzantine style" prevalent in Italy in the 13th century.

Early Renaissance in Italia, 1400–1495 [edit]

Donatello, David (1440s?) Museo Nazionale del Bargello.

Although both the Pisanos and Giotto had students and followers, the first truly Renaissance artists were not to sally in Florence until 1401 with the competition to sculpt a gear up of bronze doors of the Baptistery of Florence Cathedral, which drew entries from 7 immature sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, nearly famous every bit the builder of the dome of Florence Cathedral and the Church of San Lorenzo, created a number of sculptural works, including a life-sized crucifix in Santa Maria Novella, renowned for its naturalism. His studies of perspective are thought to have influenced the painter Masaccio. Donatello became renowned every bit the greatest sculptor of the Early Renaissance, his masterpieces existence his humanist and unusually erotic statue of David, 1 of the icons of the Florentine republic, and his great monument to Gattamelata, the first large equestrian statuary to be created since Roman times.

The gimmicky of Donatello, Masaccio, was the painterly descendant of Giotto and began the Early Renaissance in Italian painting in 1425, furthering the trend towards solidity of course and naturalism of face and gesture that Giotto had begun a century before. From 1425–1428, Masaccio completed several panel paintings but is all-time known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino and which had profound influence on later on painters, including Michelangelo. Masaccio's developments were carried forward in the paintings of Fra Angelico, particularly in his frescos at the Convent of San Marco in Florence.

The treatment of the elements of perspective and light in painting was of item business to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an appearance of perspective that, according to Giorgio Vasari, it disturbed his sleep. His solutions can be seen in his masterpiece set of three paintings, the Boxing of San Romano, which is believed to accept been completed by 1460. Piero della Francesca fabricated systematic and scientific studies of both low-cal and linear perspective, the results of which tin can exist seen in his fresco cycle of The History of the True Cross in San Francesco, Arezzo.

In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings at a engagement that preceded other Italian painters, possibly about 1450. He carried this technique northward and influenced the painters of Venice. One of the well-nigh significant painters of Northern Italy was Andrea Mantegna, who busy the interior of a room, the Camera degli Sposi for his patron Ludovico Gonzaga, setting portraits of the family and court into an illusionistic architectural space.

The stop flow of the Early Renaissance in Italian art is marked, similar its beginning, past a particular committee that drew artists together, this time in cooperation rather than competition. Pope Sixtus IV had rebuilt the Papal Chapel, named the Sistine Chapel in his honor, and commissioned a group of artists, Sandro Botticelli, Pietro Perugino, Domenico Ghirlandaio and Cosimo Rosselli to decorate its wall with fresco cycles depicting the Life of Christ and the Life of Moses. In the sixteen large paintings, the artists, although each working in his individual style, agreed on principles of format, and utilised the techniques of lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation that had been carried to a high indicate in the large Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.

Early Netherlandish art, 1425–1525 [edit]

The painters of the Low Countries in this catamenia included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed partly independently of Early Italian Renaissance painting, and without the influence of a deliberate and witting striving to revive artifact.

The style of painting grew direct out of medieval painting in tempera, on panels and illuminated manuscripts, and other forms such as stained glass; the medium of fresco was less common in northern Europe. The medium used was oil pigment, which had long been utilised for painting leather ceremonial shields and accoutrements because it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed similar tempera paintings. The material lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in great particular.

The Netherlandish painters did not approach the creation of a flick through a framework of linear perspective and right proportion. They maintained a medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic treatment of textile elements, both natural and human being-fabricated. Jan van Eyck, with his brother Hubert, painted The Altarpiece of the Mystical Lamb. It is probable that Antonello da Messina became familiar with Van Eyck's work, while in Naples or Sicily. In 1475, Hugo van der Goes' Portinari Altarpiece arrived in Florence, where it was to accept a profound influence on many painters, nearly immediately Domenico Ghirlandaio, who painted an altarpiece imitating its elements.

A very meaning Netherlandish painter towards the end of the period was Hieronymus Bosch, who employed the blazon of fanciful forms that were often utilized to decorate borders and letters in illuminated manuscripts, combining institute and animal forms with architectonic ones. When taken from the context of the illumination and peopled with humans, these forms requite Bosch's paintings a surreal quality which have no parallel in the piece of work of whatever other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.

Early Renaissance in France, 1375–1528 [edit]

The artists of France (including duchies such as Burgundy) were ofttimes associated with courts, providing illuminated manuscripts and portraits for the nobility as well every bit devotional paintings and altarpieces. Among the almost famous were the Limbourg brothers, Flemish illuminators and creators of the Très Riches Heures du Duc de Berry manuscript illumination. Jean Fouquet, painter of the purple courtroom, visited Italy in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although best known for his portraits such as that of Charles VII of French republic, Fouquet likewise created illuminations, and is idea to be the inventor of the portrait miniature.

There were a number of artists at this appointment who painted famed altarpieces, that are stylistically quite singled-out from both the Italian and the Flemish. These include two enigmatic figures, Enguerrand Quarton, to whom is ascribed the Pieta of Villeneuve-lès-Avignon, and Jean Hey, otherwise known as "the Master of Moulins" after his most famous piece of work, the Moulins Altarpiece. In these works, realism and close observation of the human being figure, emotions and lighting are combined with a medieval formality, which includes golden backgrounds.

High Renaissance in Italy, 1495–1520 [edit]

The "universal genius" Leonardo da Vinci was to further perfect the aspects of pictorial art (lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation) that had preoccupied artists of the Early Renaissance, in a lifetime of studying and meticulously recording his observations of the natural earth. His adoption of oil paint as his primary media meant that he could describe light and its effects on the landscape and objects more naturally and with greater dramatic effect than had e'er been done before, every bit demonstrated in the Mona Lisa (1503–1506). His dissection of cadavers carried forward the understanding of skeletal and muscular anatomy, equally seen in the unfinished Saint Jerome in the Wilderness (c. 1480). His depiction of human emotion in The Final Supper, completed 1495–1498, set the criterion for religious painting.

The art of Leonardo's younger contemporary Michelangelo took a very different direction. Michelangelo in neither his painting nor his sculpture demonstrates any involvement in the observation of whatever natural object except the human being body. He perfected his technique in depicting information technology, while in his early twenties, by the creation of the enormous marble statue of David and the group Pietà, in the St Peter's Basilica, Rome. He and then set about an exploration of the expressive possibilities of the human beefcake. His committee past Pope Julius Two to paint the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to have profound effect on every subsequent generation of European artists.^[half-dozen] His after work, The Terminal Judgement, painted on the altar wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist (also called Late Renaissance) style with generally elongated bodies which took over from the High Renaissance mode betwixt 1520 and 1530.

Standing alongside Leonardo and Michelangelo as the third groovy painter of the High Renaissance was the younger Raphael, who in a short lifespan painted a great number of life-like and engaging portraits, including those of Pope Julius II and his successor Pope Leo X, and numerous portrayals of the Madonna and Christ Child, including the Sistine Madonna. His decease in 1520 at age 37 is considered past many art historians to exist the end of the High Renaissance menstruation, although some individual artists connected working in the High Renaissance style for many years thereafter.

In Northern Italy, the Loftier Renaissance is represented primarily by members of the Venetian school, especially by the latter works of Giovanni Bellini, especially religious paintings, which include several large altarpieces of a type known as "Sacred Chat", which testify a group of saints around the enthroned Madonna. His contemporary Giorgione, who died at about the historic period of 32 in 1510, left a small number of enigmatic works, including The Tempest, the subject field of which has remained a matter of speculation. The earliest works of Titian appointment from the era of the Loftier Renaissance, including a massive altarpiece The Assumption of the Virgin which combines human activity and drama with spectacular color and atmosphere. Titian connected painting in a generally High Renaissance style until nearly the end of his career in the 1570s, although he increasingly used colour and light over line to ascertain his figures.

German language Renaissance art [edit]

German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known every bit the Northern Renaissance. Renaissance influences began to appear in German fine art in the 15th century, simply this trend was not widespread. Gardner's Art Through the Ages identifies Michael Pacher, a painter and sculptor, as the offset German artist whose piece of work begins to bear witness Italian Renaissance influences. According to that source, Pacher's painting, St. Wolfgang Forces the Devil to Concur His Prayerbook (c. 1481), is Late Gothic in fashion, but also shows the influence of the Italian artist Mantegna.^[7]

In the 1500s, Renaissance art in Germany became more mutual equally, according to Gardner, "The fine art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances made past the Italian Renaissance and by a want to assimilate this new way every bit apace as possible."^[8] One of the best known practitioners of German Renaissance art was Albrecht Dürer (1471–1528), whose fascination with classical ideas led him to Italy to written report art. Both Gardner and Russell recognized the importance of Dürer's contribution to German language fine art in bringing Italian Renaissance styles and ideas to Germany.^[ix] ^[x] Russell calls this "Opening the Gothic windows of German art,"^[9] while Gardner calls it Dürer's "life mission."^[10] Importantly, as Gardner points out, Dürer "was the beginning northern creative person who fully understood the bones aims of the southern Renaissance,"^[ten] although his style did not e'er reflect that. The same source says that Hans Holbein the Younger (1497–1543) successfully assimilated Italian ideas while too keeping "northern traditions of close realism."^[eleven] This is contrasted with Dürer'due south tendency to piece of work in "his own native German style"^[10] instead of combining High german and Italian styles. Other of import artists of the German language Renaissance were Matthias Grünewald, Albrecht Altdorfer and Lucas Cranach the Elderberry.^[12]

Artisans such as engravers became more concerned with aesthetics rather than just perfecting their crafts. Germany had primary engravers, such as Martin Schongauer, who did metal engravings in the late 1400s. Gardner relates this mastery of the graphic arts to advances in press which occurred in Germany, and says that metal engraving began to supersede the woodcut during the Renaissance.^[13] However, some artists, such as Albrecht Dürer, continued to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer'south woodcuts, with Russell stating in The World of Dürer that Dürer "elevated them into high works of art."^[9]

Britain [edit]

Great britain was very late to develop a distinct Renaissance manner and most artists of the Tudor court were imported foreigners, usually from the Low Countries, including Hans Holbein the Younger, who died in England. One exception was the portrait miniature, which artists including Nicholas Hilliard developed into a distinct genre well earlier it became popular in the rest of Europe. Renaissance fine art in Scotland was similarly dependent on imported artists, and largely restricted to the courtroom.

Themes and symbolism [edit]

Renaissance artists painted a broad variety of themes. Religious altarpieces, fresco cycles, and minor works for private devotion were very popular. For inspiration, painters in both Italy and northern Europe frequently turned to Jacobus de Voragine'south Golden Legend (1260), a highly influential source book for the lives of saints that had already had a strong influence on Medieval artists. The rebirth of classical artifact and Renaissance humanism besides resulted in many mythological and history paintings. Ovidian stories, for example, were very popular. Decorative ornament, oftentimes used in painted architectural elements, was especially influenced by classical Roman motifs.

Techniques [edit]

The use of proportion – The beginning major handling of the painting equally a window into infinite appeared in the piece of work of Giotto di Bondone, at the offset of the 14th century. True linear perspective was formalized later, past Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic presentation of art, it moved Renaissance painters into composing more paintings.
Foreshortening – The term foreshortening refers to the artistic effect of shortening lines in a cartoon and then as to create an illusion of depth.
Sfumato – The term sfumato was coined past Italian Renaissance creative person Leonardo da Vinci and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of sparse glazes to requite the illusion of depth or three-dimensionality. This stems from the Italian give-and-take sfumare pregnant to evaporate or to fade out. The Latin origin is fumare, to smoke.
Chiaroscuro – The term chiaroscuro refers to the art painting modeling issue of using a strong contrast betwixt light and dark to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning low-cal (chiaro) and nighttime (scuro), a technique which came into wide use in the Baroque period.

List of Renaissance artists [edit]

Italia [edit]

Giotto di Bondone (1267–1337)
Filippo Brunelleschi (1377–1446)
Masolino (c. 1383 – c. 1447)
Donatello (c. 1386 – 1466)
Pisanello (c. 1395 – c. 1455)
Fra Angelico (c. 1395 – 1455)
Paolo Uccello (1397–1475)
Masaccio (1401–1428)
Leone Battista Alberti (1404–1472)
Filippo Lippi (c. 1406 – 1469)
Domenico Veneziano (c. 1410 – 1461)
Piero della Francesca (c. 1415 – 1492)
Andrea del Castagno (c. 1421 – 1457)
Benozzo Gozzoli (c. 1421 – 1497)
Alessio Baldovinetti (1425–1499)
Antonio del Pollaiuolo (1429 - 1498)
Antonello da Messina (c. 1430 – 1479)
Giovanni Bellini (c.1430 - 1516)
Andrea Mantegna (c. 1431 – 1506)
Andrea del Verrocchio (c. 1435 – 1488)
Giovanni Santi (1435–1494)
Carlo Crivelli (c. 1435 – c. 1495)
Donato Bramante (1444 - 1514)
Sandro Botticelli (c. 1445 – 1510)
Luca Signorelli (c. 1445 – 1523)
Biagio d'Antonio (1446–1516)
Pietro Perugino (1446–1523)
Domenico Ghirlandaio (1449–1494)
Leonardo da Vinci (1452–1519)
Pinturicchio (1454-1513)
Filippino Lippi (1457-1504)
Andrea Solari (1460–1524)
Piero di Cosimo (1462–1522)
Vittore Carpaccio (1465-1526)
Bernardino de' Conti (1465–1525)
Giorgione (c. 1473 - 1510)
Michelangelo (1475–1564)
Lorenzo Lotto (1480 - 1557)
Raphael (1483–1520)
Marco Cardisco (c. 1486 – c. 1542)
Titian (c. 1488/1490 – 1576)
Corregio (c. 1489 – 1534)
Pietro Negroni (c. 1505 – c. 1565)
Sofonisba Anguissola (c. 1532 – 1625)

Low Countries [edit]

Hubert van Eyck (1366?–1426)
Robert Campin (c. 1380 – 1444)
Limbourg brothers (fl. 1385–1416)
Jan van Eyck (1385?–1440?)
Rogier van der Weyden (1399/1400–1464)
Jacques Daret (c. 1404 – c. 1470)
Petrus Christus (1410/1420–1472)
Dirk Bouts (1415–1475)
Hugo van der Goes (c. 1430/1440 – 1482)
Hans Memling (c. 1430 – 1494)
Hieronymus Bosch (c. 1450 – 1516)
Gerard David (c. 1455 – 1523)
Geertgen tot Sint Jans (c. 1465 – c. 1495)
Quentin Matsys (1466–1530)
Jean Bellegambe (c. 1470 – 1535)
Joachim Patinir (c. 1480 – 1524)
Adriaen Isenbrant (c. 1490 – 1551)

Germany [edit]

Hans Holbein the Elder (c. 1460 – 1524)
Matthias Grünewald (c. 1470 – 1528)
Albrecht Dürer (1471–1528)
Lucas Cranach the Elder (1472–1553)
Hans Burgkmair (1473–1531)
Jerg Ratgeb (c. 1480 – 1526)
Albrecht Altdorfer (c. 1480 – 1538)
Leonhard Beck (c. 1480 – 1542)
Hans Baldung (c. 1480 – 1545)
Wilhelm Stetter (1487–1552)
Barthel Bruyn the Elder (1493–1555)
Ambrosius Holbein (1494–1519)
Hans Holbein the Younger (c. 1497 – 1543)
Conrad Faber von Kreuznach (c. 1500 – c. 1553)
Lucas Cranach the Younger (1515–1586)

France [edit]

Enguerrand Quarton (c. 1410 – c. 1466)
Barthélemy d'Eyck (c. 1420 – after 1470)
Jean Fouquet (1420–1481)
Simon Marmion (c. 1425 – 1489)
Nicolas Froment (c. 1435 – c. 1486)
Jean Hey (fl. c. 1475 – c. 1505)
Jean Clouet (1480–1541)
François Clouet (c. 1510 – 1572)

Spain and Portugal [edit]

Jaume Huguet (1412–1492)
Nuno Gonçalves (c. 1425 – c. 1491)
Bartolomé Bermejo (c. 1440 – c. 1501)
Paolo da San Leocadio (1447 – c. 1520)
Pedro Berruguete (c. 1450 – 1504)
Ayne Bru
Juan de Flandes (c. 1460 – c. 1519)
Luis de Morales (1512–1586)
Alonso Sánchez Coello (1531–1588)
El Greco (1541–1614)
Grão Vasco (1475-1542)
Gregório Lopes (1490-1550)
Francisco de Holanda (1517-1585)
Cristóvão Lopes (1516-1594)
Cristóvão de Figueiredo (?-c.1543)
Jorge Afonso (1470-1540)
António de Holanda (1480-1571)
Cristóvão de Morais

Venetian Dalmatia (modern Croatia) [edit]

Giorgio da Sebenico (c. 1410 – 1475)
Niccolò di Giovanni Fiorentino (1418–1506)
Andrea Alessi (1425–1505)
Francesco Laurana (c. 1430 – 1502)
Giovanni Dalmata (c. 1440 – c. 1514)
Nicholas of Ragusa (1460? – 1517)
Andrea Schiavone (c. 1510/1515 – 1563)

Works [edit]

Ghent Altarpiece, by Hubert and Jan van Eyck
The Arnolfini Portrait, past Jan van Eyck
The Werl Triptych, by Robert Campin
The Portinari Triptych, past Hugo van der Goes
The Descent from the Cross, by Rogier van der Weyden
Flagellation of Christ, past Piero della Francesca
Jump, past Sandro Botticelli
Lamentation of Christ, by Mantegna
The Last Supper, past Leonardo da Vinci
The School of Athens, by Raphael
Sistine Chapel ceiling, past Michelangelo
Equestrian Portrait of Charles 5, by Titian
Isenheim Altarpiece, by Matthias Grünewald
Melencolia I, by Albrecht Dürer
The Ambassadors, by Hans Holbein the Younger
Melun Diptych, past Jean Fouquet
Saint Vincent Panels, by Nuno Gonçalves

Major collections [edit]

National Gallery, London, Britain
Museo del Prado, Madrid, Espana
Uffizi, Florence, Italian republic
Louvre, Paris, France
National Gallery of Art, Washington, USA
Gemäldegalerie, Berlin, Germany
Rijksmuseum, Amsterdam
Metropolitan Museum of Art, New York City, USA
Royal Museums of Fine Arts of Belgium, Belgium, Brussels
Groeningemuseum, Bruges, Kingdom of belgium
Erstwhile St. John's Hospital, Bruges, Belgium
Bargello, Florence, Italy
Château d'Écouen (National museum of the Renaissance), Écouen, France
Vatican museums, State of the vatican city
Pinacoteca di Brera, Milan, Italy

Encounter also [edit]

Danube school
Forlivese school of art
History of painting
Mughal art
Oriental carpets in Renaissance painting
Lives of the Most Splendid Painters, Sculptors, and Architects

References [edit]

^ "Renaissance". encyclopedia.com. June 18, 2018. {{cite web}}: CS1 maint: url-condition (link)
^ "What were the impacts of Renaissance on art, architecture, science?". PreserveArticles.com: Preserving Your Manufactures for Eternity. 2011-09-07. Retrieved 2021-ten-19 .
^ ^a ^b Frederick Hartt, A History of Italian Renaissance Art, (1970)
^ Michael Baxandall, Painting and Experience in Fifteenth Century Italy, (1974)
^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
^ https://www.laetitiana.co.britain/2014/07/introduction-to-renaissance-movement.html
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. p. 555. ISBN0-15-503753-six.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard One thousand (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 556–557. ISBN0-15-503753-half-dozen.
^ ^a ^b ^c Russell, Francis (1967). The World of Dürer . Fourth dimension Life Books, Time Inc. p. 9.
^ ^a ^b ^c ^d Gardner, Helen; De la Croix, Horst; Tansey, Richard One thousand (1975). "The Renaissance in Northern Europe". Fine art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 561. ISBN0-15-503753-6.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (sixth ed.). New York: Harcourt Brace Jovanovich. pp. 564. ISBN0-15-503753-half dozen.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Caryatid Jovanovich. pp. 557. ISBN0-15-503753-vi.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 555–556. ISBN0-15-503753-vi.

External links [edit]

The Early Renaissance
"Limited Freedom", Marica Hall, Berfrois, 2 March 2011.

knowltonapereens.blogspot.com

Source: https://en.wikipedia.org/wiki/Renaissance_art