Renaissance Art Renaissance Art Was Created in Multiple Mediums

Visual arts produced during the European Renaissance

Renaissance fine 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 about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived equally the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new creative sensibilities. For 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 nether the combined influences of an increased sensation of nature, a revival of classical learning, and a more than individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the French discussion renaissance, literally pregnant "rebirth". Rather, historical sources suggest that interest in nature, humanistic learning, and individualism were already present in the late medieval period and became ascendant in 15th- and 16th-century Italian republic, concurrently with social and economical changes such as the secularization of daily life, the ascent of a rational money-credit economy, and greatly increased social mobility. In many parts of Europe, Early Renaissance 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 every bit those that afflicted philosophy, literature, compages, theology, science, government and other aspects of guild. The following listing presents a summary of changes to social and cultural conditions which have been identified as factors which contributed to the development of Renaissance art. Each is dealt with more fully in the chief articles cited to a higher place. The scholars of Renaissance flow focused on present life and means to brand human being life evolve and meliorate in its entirety. They did non pay much attention to medieval philosophy or religion. During this period, scholars and humanists like Erasmus, Dante and Petrarch criticized superstitious behavior and likewise questioned them. ^[2] The concept of education also widened its spectrum and focused more on creating 'an ideal human' who would accept a fair understanding of arts, music, poetry and literature and would take the ability to appreciate these aspects of life. During this period, there emerged a scientific outlook which helped people question the needless rituals of the church building.

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 Christian theology.
Europe gained access to advanced mathematics, which had its provenance in the works of Islamic scholars.
The advent of movable blazon 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 institution of the Medici Depository financial institution and the subsequent trade it generated brought unprecedented wealth to a single Italian metropolis, Florence.
Cosimo de' Medici set up a new standard for patronage of the arts, not associated with the church or monarchy.
Humanist philosophy meant that man's relationship with humanity, the universe and God was no longer the exclusive province of the church building.
A revived involvement in the Classics brought about the first archaeological study of Roman remains by the architect 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 as 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 Italy from virtually 1475 and had ultimately lasting effects on painting practices worldwide.
The serendipitous presence within the region of Florence in the early on 15th century of certain individuals of creative genius, almost notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the slap-up masters of the High Renaissance, every bit well as supporting and encouraging many lesser artists to achieve piece of work of extraordinary quality.^[3]
A similar heritage of creative achievement occurred in Venice through the talented Bellini family unit, their influential in-law Mantegna, Giorgione, Titian and Tintoretto.^[3] ^[4] ^[5]
The publication of ii treatises by Leone Battista Alberti, De pictura ("On Painting") in 1435 and De re aedificatoria ("Ten Books on Compages") in 1452.

History [edit]

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

In Italy in the belatedly 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.

Gimmicky with Giovanni Pisano, the Florentine painter Giotto developed a manner of figurative painting that was unprecedentedly naturalistic, 3-dimensional, lifelike and classicist, when compared with that of his contemporaries and instructor Cimabue. Giotto, whose greatest work is the cycle of the Life of Christ at the Arena Chapel in Padua, was seen by the 16th-century biographer Giorgio Vasari as "rescuing and restoring art" from the "crude, traditional, Byzantine style" prevalent in Italia in the 13th century.

Early on Renaissance in Italy, 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 set of bronze doors of the Baptistery of Florence Cathedral, which drew entries from seven young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, most famous every bit the architect of the dome of Florence Cathedral and the Church building 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 accept influenced the painter Masaccio. Donatello became renowned equally the greatest sculptor of the Early Renaissance, his masterpieces being 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 bronze to be created since Roman times.

The contemporary 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 grade and naturalism of face and gesture that Giotto had begun a century earlier. From 1425–1428, Masaccio completed several panel paintings but is best known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino and which had profound influence on later 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 low-cal in painting was of item concern to 15th-century Florentine painters. Uccello was and so obsessed with trying to reach an appearance of perspective that, according to Giorgio Vasari, it disturbed his sleep. His solutions tin can be seen in his masterpiece set of iii paintings, the Battle of San Romano, which is believed to have been completed past 1460. Piero della Francesca fabricated systematic and scientific studies of both low-cal and linear perspective, the results of which can be 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 appointment that preceded other Italian painters, possibly virtually 1450. He carried this technique n and influenced the painters of Venice. Ane of the most meaning painters of Northern Italian republic was Andrea Mantegna, who decorated 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 end period of the Early Renaissance in Italian art is marked, like its start, by a particular commission that drew artists together, this time in cooperation rather than contest. Pope Sixtus Iv had rebuilt the Papal Chapel, named the Sistine Chapel in his laurels, and deputed 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 loftier point in the big Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.

Early Netherlandish art, 1425–1525 [edit]

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

The way of painting grew directly 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 paint, which had long been utilised for painting leather formalism shields and accoutrements considering it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the delineation of tonal variations and texture, then facilitating the observation of nature in swell detail.

The Netherlandish painters did not arroyo the creation of a motion-picture show through a framework of linear perspective and correct proportion. They maintained a medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic handling of cloth elements, both natural and human being-made. January van Eyck, with his blood 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 have a profound influence on many painters, most immediately Domenico Ghirlandaio, who painted an altarpiece imitating its elements.

A very pregnant Netherlandish painter towards the end of the period was Hieronymus Bosch, who employed the type of fanciful forms that were often utilized to decorate borders and letters in illuminated manuscripts, combining found and brute forms with architectonic ones. When taken from the context of the illumination and peopled with humans, these forms give Bosch'south paintings a surreal quality which take no parallel in the piece of work of any other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.

Early on Renaissance in France, 1375–1528 [edit]

The artists of France (including duchies such as Burgundy) were often associated with courts, providing illuminated manuscripts and portraits for the dignity equally well as devotional paintings and altarpieces. Among the most 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 royal court, visited Italia 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 France, Fouquet likewise created illuminations, and is thought to exist the inventor of the portrait miniature.

There were a number of artists at this date 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 Chief of Moulins" after his most famous work, the Moulins Altarpiece. In these works, realism and close ascertainment of the human effigy, emotions and lighting are combined with a medieval formality, which includes gilt backgrounds.

High Renaissance in Italia, 1495–1520 [edit]

The "universal genius" Leonardo da Vinci was to further perfect the aspects of pictorial fine 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 every bit his primary media meant that he could depict calorie-free and its furnishings on the landscape and objects more than naturally and with greater dramatic effect than had always been done earlier, as demonstrated in the Mona Lisa (1503–1506). His dissection of cadavers carried forward the understanding of skeletal and muscular beefcake, every bit seen in the unfinished Saint Jerome in the Wilderness (c. 1480). His depiction of human emotion in The Final Supper, completed 1495–1498, fix the benchmark for religious painting.

The art of Leonardo's younger gimmicky Michelangelo took a very different direction. Michelangelo in neither his painting nor his sculpture demonstrates any interest in the ascertainment of any natural object except the human body. He perfected his technique in depicting it, while in his early on twenties, past the creation of the enormous marble statue of David and the grouping Pietà, in the St Peter's Basilica, Rome. He so set about an exploration of the expressive possibilities of the human beefcake. His commission past Pope Julius 2 to pigment the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to have profound upshot on every subsequent generation of European artists.^[6] His afterward work, The Final Judgement, painted on the altar wall of the Sistine Chapel betwixt 1534 and 1541, shows a Mannerist (also called Belatedly Renaissance) manner with by and large elongated bodies which took over from the Loftier Renaissance style between 1520 and 1530.

Continuing alongside Leonardo and Michelangelo as the 3rd slap-up painter of the High Renaissance was the younger Raphael, who in a short lifespan painted a neat number of life-like and engaging portraits, including those of Pope Julius Ii and his successor Pope Leo 10, and numerous portrayals of the Madonna and Christ Child, including the Sistine Madonna. His decease in 1520 at age 37 is considered by many art historians to be the stop of the High Renaissance period, although some individual artists connected working in the High Renaissance style for many years thereafter.

In Northern Italian republic, the Loftier Renaissance is represented primarily by members of the Venetian schoolhouse, peculiarly past the latter works of Giovanni Bellini, especially religious paintings, which include several large altarpieces of a type known as "Sacred Conversation", which prove a grouping of saints around the enthroned Madonna. His gimmicky Giorgione, who died at near the age of 32 in 1510, left a small number of enigmatic works, including The Tempest, the subject of which has remained a matter of speculation. The earliest works of Titian date from the era of the Loftier Renaissance, including a massive altarpiece The Assumption of the Virgin which combines human action and drama with spectacular colour and atmosphere. Titian continued painting in a generally High Renaissance style until nigh the end of his career in the 1570s, although he increasingly used colour and light over line to define his figures.

German Renaissance art [edit]

High german Renaissance fine art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance. Renaissance influences began to announced in German language art in the 15th century, just this trend was not widespread. Gardner'due south Fine art Through the Ages identifies Michael Pacher, a painter and sculptor, as the first German artist whose piece of work begins to evidence Italian Renaissance influences. According to that source, Pacher's painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c. 1481), is Tardily Gothic in way, but too shows the influence of the Italian creative person Mantegna.^[seven]

In the 1500s, Renaissance art in Deutschland became more than common as, according to Gardner, "The art of northern Europe during the sixteenth century is characterized past a sudden awareness of the advances fabricated by the Italian Renaissance and by a desire to assimilate this new style as rapidly as possible."^[eight] One of the best known practitioners of German language Renaissance art was Albrecht Dürer (1471–1528), whose fascination with classical ideas led him to Italy to study art. Both Gardner and Russell recognized the importance of Dürer's contribution to German art in bringing Italian Renaissance styles and ideas to Deutschland.^[9] ^[10] Russell calls this "Opening the Gothic windows of German language fine art,"^[9] while Gardner calls it Dürer'south "life mission."^[ten] Importantly, as Gardner points out, Dürer "was the first northern artist who fully understood the basic aims of the southern Renaissance,"^[10] although his style did non e'er reflect that. The same source says that Hans Holbein the Younger (1497–1543) successfully alloyed Italian ideas while also keeping "northern traditions of close realism."^[11] This is contrasted with Dürer's tendency to work in "his own native German language style"^[10] instead of combining German and Italian styles. Other important artists of the German Renaissance were Matthias Grünewald, Albrecht Altdorfer and Lucas Cranach the Elder.^[12]

Artisans such as engravers became more concerned with aesthetics rather than just perfecting their crafts. Germany had master engravers, such every bit Martin Schongauer, who did metallic engravings in the belatedly 1400s. Gardner relates this mastery of the graphic arts to advances in printing which occurred in Germany, and says that metallic engraving began to replace the woodcut during the Renaissance.^[13] However, some artists, such equally Albrecht Dürer, continued to practice woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts, with Russell stating in The Globe of Dürer that Dürer "elevated them into high works of art."^[ix]

Britain [edit]

Britain was very belatedly to develop a distinct Renaissance style and most artists of the Tudor court were imported foreigners, ordinarily from the Low Countries, including Hans Holbein the Younger, who died in England. Ane exception was the portrait miniature, which artists including Nicholas Hilliard developed into a distinct genre well before information technology became popular in the rest of Europe. Renaissance art in Scotland was similarly dependent on imported artists, and largely restricted to the courtroom.

Themes and symbolism [edit]

Renaissance artists painted a wide variety of themes. Religious altarpieces, fresco cycles, and small works for private devotion were very pop. For inspiration, painters in both Italian republic and northern Europe frequently turned to Jacobus de Voragine's Golden Legend (1260), a highly influential source volume for the lives of saints that had already had a strong influence on Medieval artists. The rebirth of classical antiquity and Renaissance humanism likewise resulted in many mythological and history paintings. Ovidian stories, for instance, were very popular. Decorative ornament, often used in painted architectural elements, was especially influenced past classical Roman motifs.

Techniques [edit]

The use of proportion – The first major handling of the painting equally a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. Truthful linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In add-on to giving a more than realistic presentation of fine art, it moved Renaissance painters into composing more than paintings.
Foreshortening – The term foreshortening refers to the artistic effect of shortening lines in a drawing and so as to create an illusion of depth.
Sfumato – The term sfumato was coined by Italian Renaissance artist Leonardo da Vinci and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of 1 tone into some other through the use of sparse glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The Latin origin is fumare, to fume.
Chiaroscuro – The term chiaroscuro refers to the fine art painting modeling outcome of using a potent dissimilarity betwixt light and night to requite the illusion of depth or 3-dimensionality. This comes from the Italian words significant light (chiaro) and dark (scuro), a technique which came into wide employ in the Bizarre menstruum.

List of Renaissance artists [edit]

Italy [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)

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

Major collections [edit]

National Gallery, London, United kingdom
Museo del Prado, Madrid, Spain
Uffizi, Florence, Italy
Louvre, Paris, France
National Gallery of Art, Washington, The states
Gemäldegalerie, Berlin, Germany
Rijksmuseum, Amsterdam
Metropolitan Museum of Fine art, New York Metropolis, USA
Royal Museums of Fine Arts of Belgium, Belgium, Brussels
Groeningemuseum, Bruges, Kingdom of belgium
Old St. John's Hospital, Bruges, Kingdom of belgium
Bargello, Florence, Italy
Château d'Écouen (National museum of the Renaissance), Écouen, France
Vatican museums, Vatican metropolis
Pinacoteca di Brera, Milan, Italy

Run into also [edit]

Danube school
Forlivese school of art
History of painting
Mughal art
Oriental carpets in Renaissance painting
Lives of the Almost First-class Painters, Sculptors, and Architects

References [edit]

^ "Renaissance". encyclopedia.com. June 18, 2018. {{cite spider web}}: CS1 maint: url-status (link)
^ "What were the impacts of Renaissance on art, architecture, science?". PreserveArticles.com: Preserving Your Articles for Eternity. 2011-09-07. Retrieved 2021-10-19 .
^ ^a ^b Frederick Hartt, A History of Italian Renaissance Fine art, (1970)
^ Michael Baxandall, Painting and Feel in Fifteenth Century Italy, (1974)
^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
^ https://www.laetitiana.co.uk/2014/07/introduction-to-renaissance-motility.html
^ 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. p. 555. ISBN0-15-503753-6.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard 1000 (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 556–557. ISBN0-xv-503753-vi.
^ ^a ^b ^c Russell, Francis (1967). The World of Dürer . Time Life Books, Time Inc. p. nine.
^ ^a ^b ^c ^d 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. 561. ISBN0-15-503753-vi.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard 1000 (1975). "The Renaissance in Northern Europe". Fine art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 564. ISBN0-15-503753-vi.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard Thou (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 557. ISBN0-15-503753-6.
^ 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-six.

External links [edit]

The Early Renaissance
"Express Freedom", Marica Hall, Berfrois, two March 2011.