Pre Renaissance Art Vs Renaissance Art Pre Renaissance Art

Visual arts produced during the European Renaissance

Renaissance art (1350 - 1620 AD^[1]) is the painting, sculpture, and decorative arts of the menstruum of European history known as the Renaissance, which emerged as a distinct style in Italia in virtually Advertizing 1400, in parallel with developments which occurred in philosophy, literature, music, scientific discipline, and applied science. Renaissance art took every bit its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, merely transformed that tradition by absorbing recent developments in the fine art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, information technology spread throughout Europe, affecting both artists and their patrons with the evolution of new techniques and new creative sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval menstruum to the Early Modern age.

The body of art, painting, sculpture, compages, music, and literature identified equally "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe nether the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of human. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested past the French word renaissance, literally meaning "rebirth". Rather, historical sources propose that interest in nature, humanistic learning, and individualism were already present in the belatedly medieval period and became dominant in 15th- and 16th-century Italy, concurrently with social and economic changes such as the secularization of daily life, the rise of a rational coin-credit economic system, and greatly increased social mobility. In many parts of Europe, Early Renaissance fine art was created in parallel with Late Medieval fine 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 affected philosophy, literature, architecture, theology, scientific discipline, government and other aspects of society. The following list presents a summary of changes to social and cultural conditions which have been identified as factors which contributed to the evolution of Renaissance art. Each is dealt with more fully in the main articles cited above. The scholars of Renaissance menstruation 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 like Erasmus, Dante and Petrarch criticized superstitious beliefs and also questioned them. ^[2] The concept of education also widened its spectrum and focused more on creating 'an ideal man' who would have a off-white agreement 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 bachelor. These included documents of philosophy, prose, poesy, 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 type printing in the 15th century meant that ideas could exist disseminated easily, and an increasing number of books were written for a broader public.
The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a unmarried Italian city, Florence.
Cosimo de' Medici gear up a new standard for patronage of the arts, non 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 about the offset archaeological study 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 every bit early on as the 1420s in the paintings of Masaccio and Uccello.
The comeback of oil pigment 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 Italian republic from most 1475 and had ultimately lasting effects on painting practices worldwide.
The serendipitous presence within the region of Florence in the early 15th century of certain individuals of creative genius, most notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the great masters of the Loftier Renaissance, every bit well as supporting and encouraging many lesser artists to achieve piece of work of boggling quality.^[iii]
A similar heritage of artistic achievement occurred in Venice through the talented Bellini family unit, their influential in-law Mantegna, Giorgione, Titian and Tintoretto.^[iii] ^[4] ^[5]
The publication of two treatises past Leone Battista Alberti, De pictura ("On Painting") in 1435 and De re aedificatoria ("Ten Books on Architecture") in 1452.

History [edit]

Proto-Renaissance in Italy, 1280–1400 [edit]

In Italian republic in the tardily 13th and early on 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 aboriginal Roman sarcophagi. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa.

Gimmicky with Giovanni Pisano, the Florentine painter Giotto adult a way 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 piece of work is the cycle of the Life of Christ at the Loonshit 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 Italy 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 commencement truly Renaissance artists were non to emerge in Florence until 1401 with the competition to sculpt a ready of statuary 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 as the architect 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 as the greatest sculptor of the Early on Renaissance, his masterpieces being his humanist and unusually erotic statue of David, one of the icons of the Florentine republic, and his great monument to Gattamelata, the offset 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 course and naturalism of face and gesture that Giotto had begun a century earlier. From 1425–1428, Masaccio completed several console paintings just 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'southward developments were carried frontward 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 organization to 15th-century Florentine painters. Uccello was then 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 iii paintings, the Battle of San Romano, which is believed to accept been completed by 1460. Piero della Francesca fabricated systematic and scientific studies of both light and linear perspective, the results of which can be seen in his fresco bike 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 date that preceded other Italian painters, perchance near 1450. He carried this technique northward and influenced the painters of Venice. One of the most meaning painters of Northern Italia was Andrea Mantegna, who busy the interior of a room, the Camera degli Sposi for his patron Ludovico Gonzaga, setting portraits of the family unit and courtroom into an illusionistic architectural space.

The end catamenia of the Early on Renaissance in Italian art is marked, like its beginning, past a particular commission that drew artists together, this time in cooperation rather than competition. Pope Sixtus 4 had rebuilt the Papal Chapel, named the Sistine Chapel in his honour, and deputed a grouping 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 big paintings, the artists, although each working in his private mode, 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 period 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 adult partly independently of Early Italian Renaissance painting, and without the influence of a deliberate and witting striving to revive antiquity.

The mode of painting grew directly out of medieval painting in tempera, on panels and illuminated manuscripts, and other forms such as stained drinking 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 ceremonial shields and accoutrements because information technology was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The fabric lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in keen detail.

The Netherlandish painters did not approach the creation of a picture 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 treatment of material elements, both natural and homo-made. Jan van Eyck, with his blood brother Hubert, painted The Altarpiece of the Mystical Lamb. It is likely that Antonello da Messina became familiar with Van Eyck'south 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 significant Netherlandish painter towards the end of the menstruum was Hieronymus Bosch, who employed the blazon of fanciful forms that were often utilized to decorate borders and messages 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'south paintings a surreal quality which have no parallel in the work of whatever other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.

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

The artists of French republic (including duchies such as Burgundy) were often associated with courts, providing illuminated manuscripts and portraits for the nobility 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 Drupe manuscript illumination. Jean Fouquet, painter of the majestic court, visited Italy in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although all-time known for his portraits such as that of Charles VII of France, Fouquet as well created illuminations, and is thought to exist the inventor of the portrait miniature.

There were a number of artists at this engagement who painted famed altarpieces, that are stylistically quite distinct from both the Italian and the Flemish. These include ii 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 nearly famous piece of work, the Moulins Altarpiece. In these works, realism and shut observation of the human figure, emotions and lighting are combined with a medieval formality, which includes gilt backgrounds.

High Renaissance in Italy, 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 on Renaissance, in a lifetime of studying and meticulously recording his observations of the natural world. His adoption of oil pigment equally his primary media meant that he could depict light and its effects on the landscape and objects more naturally and with greater dramatic effect than had ever been done before, as demonstrated in the Mona Lisa (1503–1506). His autopsy of cadavers carried forrad the understanding of skeletal and muscular beefcake, every bit seen in the unfinished Saint Jerome in the Wilderness (c. 1480). His depiction of homo emotion in The Final Supper, completed 1495–1498, set the benchmark for religious painting.

The art of Leonardo's younger contemporary Michelangelo took a very different management. Michelangelo in neither his painting nor his sculpture demonstrates whatever interest in the observation of any natural object except the homo body. He perfected his technique in depicting it, while in his early on twenties, by the creation of the enormous marble statue of David and the group Pietà, in the St Peter's Basilica, Rome. He then set most an exploration of the expressive possibilities of the homo anatomy. His committee past Pope Julius 2 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 afterwards work, The Last Judgement, painted on the chantry wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist (too called Late Renaissance) mode with generally elongated bodies which took over from the Loftier Renaissance style between 1520 and 1530.

Continuing alongside Leonardo and Michelangelo as the third great painter of the High Renaissance was the younger Raphael, who in a short lifespan painted a corking number of life-like and engaging portraits, including those of Pope Julius II and his successor Pope Leo Ten, and numerous portrayals of the Madonna and Christ Kid, including the Sistine Madonna. His death in 1520 at age 37 is considered by many art historians to be the end of the High Renaissance period, although some individual artists continued working in the High Renaissance style for many years thereafter.

In Northern Italia, 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 Conversation", which show a group of saints around the enthroned Madonna. His contemporary Giorgione, who died at about the age of 32 in 1510, left a small-scale number of enigmatic works, including The Storm, the subject of which has remained a matter of speculation. The primeval works of Titian date from the era of the High 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 mostly Loftier 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]

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 art in the 15th century, just 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'southward painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c. 1481), is Late Gothic in style, simply too shows the influence of the Italian artist Mantegna.^[7]

In the 1500s, Renaissance art in Germany became more common equally, according to Gardner, "The art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances made by the Italian Renaissance and by a desire to assimilate this new fashion as chop-chop as possible."^[eight] One of the best known practitioners of German language Renaissance fine art was Albrecht Dürer (1471–1528), whose fascination with classical ideas led him to Italy to report art. Both Gardner and Russell recognized the importance of Dürer's contribution to German fine art in bringing Italian Renaissance styles and ideas to Federal republic of germany.^[9] ^[10] Russell calls this "Opening the Gothic windows of German art,"^[9] while Gardner calls it Dürer's "life mission."^[ten] Importantly, as Gardner points out, Dürer "was the showtime northern artist who fully understood the basic aims of the southern Renaissance,"^[10] although his style did not always reverberate that. The aforementioned 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'due south tendency to work in "his own native German style"^[ten] instead of combining German and Italian styles. Other of import artists of the High german Renaissance were Matthias Grünewald, Albrecht Altdorfer and Lucas Cranach the Elder.^[12]

Artisans such every bit engravers became more concerned with aesthetics rather than simply perfecting their crafts. Federal republic of germany had principal engravers, such equally Martin Schongauer, who did metal engravings in the belatedly 1400s. Gardner relates this mastery of the graphic arts to advances in printing which occurred in Germany, and says that metal engraving began to supervene upon the woodcut during the Renaissance.^[13] Withal, some artists, such as Albrecht Dürer, continued to practice woodcuts. Both Gardner and Russell describe the fine quality of Dürer'southward woodcuts, with Russell stating in The World of Dürer that Dürer "elevated them into high works of art."^[9]

Britain [edit]

Britain was very tardily to develop a distinct Renaissance style and nearly artists of the Tudor courtroom 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 singled-out genre well before it became popular in the rest of Europe. Renaissance art in Scotland was similarly dependent on imported artists, and largely restricted to the court.

Themes and symbolism [edit]

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

Techniques [edit]

The apply of proportion – The first major treatment of the painting equally a window into infinite appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later on, past Filippo Brunelleschi and Leon Battista Alberti. In add-on to giving a more than realistic presentation of 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 one tone into another through the utilise of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare pregnant to evaporate or to fade out. The Latin origin is fumare, to smoke.
Chiaroscuro – The term chiaroscuro refers to the fine art painting modeling consequence of using a strong dissimilarity between light and dark to requite the illusion of depth or three-dimensionality. This comes from the Italian words significant light (chiaro) and dark (scuro), a technique which came into wide apply in the Baroque period.

Listing 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)

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)

Federal republic of 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 (mod 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, by January 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
Jump, by Sandro Botticelli
Lamentation of Christ, by Mantegna
The Last Supper, past 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, past Albrecht Dürer
The Ambassadors, by Hans Holbein the Younger
Melun Diptych, past Jean Fouquet
Saint Vincent Panels, past Nuno Gonçalves

Major collections [edit]

National Gallery, London, Uk
Museo del Prado, Madrid, Spain
Uffizi, Florence, Italia
Louvre, Paris, France
National Gallery of Art, Washington, U.s.a.
Gemäldegalerie, Berlin, Federal republic of germany
Rijksmuseum, Amsterdam
Metropolitan Museum of Art, New York City, USA
Royal Museums of Fine Arts of Kingdom of belgium, Belgium, Brussels
Groeningemuseum, Bruges, Belgium
Old 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

References [edit]

^ "Renaissance". encyclopedia.com. June eighteen, 2018. {{cite web}}: CS1 maint: url-status (link)
^ "What were the impacts of Renaissance on fine art, architecture, science?". PreserveArticles.com: Preserving Your Articles for Eternity. 2011-09-07. Retrieved 2021-10-nineteen .
^ ^a ^b Frederick Hartt, A History of Italian Renaissance Art, (1970)
^ Michael Baxandall, Painting and Feel in Fifteenth Century Italia, (1974)
^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
^ https://www.laetitiana.co.united kingdom of great britain and northern ireland/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. ISBN0-15-503753-6.
^ 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. 556–557. ISBN0-15-503753-6.
^ ^a ^b ^c Russell, Francis (1967). The World of Dürer . Fourth dimension Life Books, Time Inc. p. nine.
^ ^a ^b ^c ^d Gardner, Helen; De la Croix, Horst; Tansey, Richard Yard (1975). "The Renaissance in Northern Europe". 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 K (1975). "The Renaissance in Northern Europe". Art Through the Ages (sixth ed.). New York: Harcourt Brace Jovanovich. pp. 564. ISBN0-15-503753-6.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard Thousand (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-half-dozen.

External links [edit]

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

rawlingsmandearer.blogspot.com

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