Late Renaissance Art Is Also Known as Which of the Following

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 Italy in nigh Advertizement 1400, in parallel with developments which occurred in philosophy, literature, music, science, and engineering science. Renaissance art took equally its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition past absorbing recent developments in the art of Northern Europe and by applying gimmicky scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the evolution of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval catamenia to the Early Modern age.

The body of art, painting, sculpture, compages, 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 homo. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, every bit is suggested by the French discussion renaissance, literally pregnant "rebirth". Rather, historical sources advise that involvement in nature, humanistic learning, and individualism were already present in the late medieval period and became dominant in 15th- and 16th-century Italy, concurrently with social and economic changes such equally the secularization of daily life, the rising of a rational money-credit economic system, and greatly increased social mobility. In many parts of Europe, Early on 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 on 15th century have been credited with the emergence of Renaissance fine art; they are the same as those that afflicted philosophy, literature, architecture, theology, science, government and other aspects of lodge. The post-obit list presents a summary of changes to social and cultural weather which have been identified every bit factors which contributed to the development of Renaissance art. Each is dealt with more fully in the master articles cited above. The scholars of Renaissance period focused on present life and means to make human being life evolve and improve in its entirety. They did not pay much attention 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 didactics also widened its spectrum and focused more on creating 'an ideal man' who would have a fair agreement of arts, music, verse and literature and would have the power to appreciate these aspects of life. During this menses, at that place 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, poetry, drama, science, a thesis on the arts, and early Christian theology.
Europe gained admission to advanced mathematics, which had its provenance in the works of Islamic scholars.
The advent of movable type press in the 15th century meant that ideas could exist disseminated hands, 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 city, Florence.
Cosimo de' Medici ready a new standard for patronage of the arts, non associated with the church building or monarchy.
Humanist philosophy meant that man'due south relationship with humanity, the universe and God was no longer the sectional province of the church.
A revived involvement in the Classics brought well-nigh the first 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 equally early on as the 1420s in the paintings of Masaccio and Uccello.
The comeback of oil paint and developments in oil-painting technique past Belgian artists such equally Robert Campin, January 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 within 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, likewise as supporting and encouraging many lesser artists to reach work of boggling quality.^[3]
A similar heritage of artistic 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 two 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 Italy, 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.

Contemporary with Giovanni Pisano, the Florentine painter Giotto developed 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 bike of the Life of Christ at the Arena Chapel in Padua, was seen past the 16th-century biographer Giorgio Vasari as "rescuing and restoring art" from the "rough, traditional, Byzantine style" prevalent in Italy in the 13th century.

Early Renaissance in Italian republic, 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 non to emerge in Florence until 1401 with the competition to sculpt a set of bronze doors of the Baptistery of Florence Cathedral, which drew entries from vii young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, most famous as 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, one of the icons of the Florentine republic, and his great monument to Gattamelata, the first big equestrian bronze to exist created since Roman times.

The gimmicky of Donatello, Masaccio, was the painterly descendant of Giotto and began the Early on Renaissance in Italian painting in 1425, furthering the tendency towards solidity of form and naturalism of face and gesture that Giotto had begun a century earlier. From 1425–1428, Masaccio completed several panel paintings just 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 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 handling of the elements of perspective and light in painting was of detail concern to 15th-century Florentine painters. Uccello was and so obsessed with trying to reach an advent of perspective that, according to Giorgio Vasari, information technology disturbed his sleep. His solutions can exist seen in his masterpiece set of 3 paintings, the Battle of San Romano, which is believed to accept been completed by 1460. Piero della Francesca made systematic and scientific studies of both light 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 date that preceded other Italian painters, possibly most 1450. He carried this technique north and influenced the painters of Venice. One of the most significant painters of Northern Italy 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 infinite.

The cease period of the Early Renaissance in Italian art is marked, like its beginning, by a item committee that drew artists together, this fourth dimension in cooperation rather than competition. Pope Sixtus Iv had rebuilt the Papal Chapel, named the Sistine Chapel in his award, 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 16 big 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 point in the big Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.

Early on Netherlandish art, 1425–1525 [edit]

The painters of the Low Countries in this period 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 on Italian Renaissance painting, and without the influence of a deliberate and witting striving to revive antiquity.

The style of painting grew straight out of medieval painting in tempera, on panels and illuminated manuscripts, and other forms such equally 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 ceremonial shields and accoutrements because 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, so facilitating the observation of nature in great particular.

The Netherlandish painters did not approach the cosmos of a 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 fabric elements, both natural and man-fabricated. Jan van Eyck, with his brother Hubert, painted The Altarpiece of the Mystical Lamb. Information technology 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 information technology was to have a profound influence on many painters, well-nigh immediately Domenico Ghirlandaio, who painted an altarpiece imitating its elements.

A very significant 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 institute and animate being 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 have no parallel in the work of any other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.

Early Renaissance in France, 1375–1528 [edit]

The artists of French republic (including duchies such every bit Burgundy) were frequently associated with courts, providing illuminated manuscripts and portraits for the nobility as well as devotional paintings and altarpieces. Amid 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 regal court, 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 France, Fouquet likewise created illuminations, and is thought to be the inventor of the portrait miniature.

In that location were a number of artists at this date who painted famed altarpieces, that are stylistically quite distinct from both the Italian and the Flemish. These include 2 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 close ascertainment of the human effigy, emotions and lighting are combined with a medieval formality, which includes gilded 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, beefcake, foreshortening and characterisation) that had preoccupied artists of the Early Renaissance, in a lifetime of studying and meticulously recording his observations of the natural world. His adoption of oil pigment as his primary media meant that he could describe light and its effects on the landscape and objects more than naturally and with greater dramatic consequence than had ever been done earlier, every bit demonstrated in the Mona Lisa (1503–1506). His dissection of cadavers carried forrad the understanding of skeletal and muscular anatomy, as seen in the unfinished Saint Jerome in the Wilderness (c. 1480). His depiction of human being emotion in The Last 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 whatever interest in the observation of any natural object except the human being body. He perfected his technique in depicting it, while in his early twenties, by the cosmos of the enormous marble statue of David and the group Pietà, in the St Peter's Basilica, Rome. He then set near an exploration of the expressive possibilities of the human anatomy. His committee past Pope Julius II to paint the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to accept profound effect on every subsequent generation of European artists.^{[half dozen]} His later piece of work, The Final Sentence, painted on the chantry wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist (too called Tardily Renaissance) way with generally elongated bodies which took over from the High Renaissance style betwixt 1520 and 1530.

Standing alongside Leonardo and Michelangelo every bit the 3rd nifty painter of the High Renaissance was the younger Raphael, who in a short lifespan painted a dandy 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 death in 1520 at age 37 is considered by many art historians to exist the finish of the High Renaissance menstruum, although some individual artists continued working in the High Renaissance style for many years thereafter.

In Northern Italian republic, the High Renaissance is represented primarily past members of the Venetian schoolhouse, particularly by the latter works of Giovanni Bellini, particularly religious paintings, which include several big altarpieces of a type known every bit "Sacred Conversation", which prove a group of saints around the enthroned Madonna. His contemporary Giorgione, who died at virtually 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 High Renaissance, including a massive altarpiece The Assumption of the Virgin which combines man action and drama with spectacular color and atmosphere. Titian continued painting in a by and large Loftier Renaissance mode until about the end of his career in the 1570s, although he increasingly used color and light over line to ascertain his figures.

German 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 announced in German art in the 15th century, but this tendency was non widespread. Gardner's Art Through the Ages identifies Michael Pacher, a painter and sculptor, as the first German artist whose work begins to bear witness Italian Renaissance influences. According to that source, Pacher'south painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c. 1481), is Belatedly Gothic in style, just also shows the influence of the Italian creative person Mantegna.^[vii]

In the 1500s, Renaissance art in Frg became more than common every bit, according to Gardner, "The art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances fabricated past the Italian Renaissance and by a want to assimilate this new style as rapidly every bit possible."^[8] One of the best known practitioners of German Renaissance fine 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'south contribution to High german art in bringing Italian Renaissance styles and ideas to Germany.^[9] ^[ten] Russell calls this "Opening the Gothic windows of German art,"^[9] while Gardner calls it Dürer'southward "life mission."^[10] Importantly, as Gardner points out, Dürer "was the first northern creative person who fully understood the basic aims of the southern Renaissance,"^[ten] 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."^[eleven] This is assorted with Dürer's tendency to work in "his ain native German style"^[ten] instead of combining German and Italian styles. Other important artists of the High german Renaissance were Matthias Grünewald, Albrecht Altdorfer and Lucas Cranach the Elderberry.^[12]

Artisans such as engravers became more than concerned with aesthetics rather than only perfecting their crafts. Germany had chief 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 supervene upon the woodcut during the Renaissance.^[xiii] However, some artists, such as Albrecht Dürer, connected to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts, with Russell stating in The World of Dürer that Dürer "elevated them into high works of art."^[9]

Britain [edit]

Britain was very late to develop a distinct Renaissance manner and most artists of the Tudor court were imported foreigners, ordinarily from the Depression 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 earlier it became popular in the residuum of Europe. Renaissance fine 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 private devotion were very popular. For inspiration, painters in both Italian republic and northern Europe frequently turned to Jacobus de Voragine's 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 also resulted in many mythological and history paintings. Ovidian stories, for example, were very popular. Decorative ornament, oftentimes used in painted architectural elements, was specially influenced by classical Roman motifs.

Techniques [edit]

The use of proportion – The beginning major handling of the painting as a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized afterwards, past Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more 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 then as to create an illusion of depth.
Sfumato – The term sfumato was coined by 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 thin 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 smoke.
Chiaroscuro – The term chiaroscuro refers to the art painting modeling effect of using a stiff dissimilarity between light and nighttime to requite the illusion of depth or three-dimensionality. This comes from the Italian words pregnant calorie-free (chiaro) and dark (scuro), a technique which came into wide use in the Bizarre period.

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)

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)

French republic [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 (modernistic 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 Cross, by Rogier van der Weyden
Flagellation of Christ, by Piero della Francesca
Spring, by Sandro Botticelli
Lamentation of Christ, past Mantegna
The Concluding Supper, by Leonardo da Vinci
The School of Athens, by Raphael
Sistine Chapel ceiling, by 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, by Jean Fouquet
Saint Vincent Panels, by Nuno Gonçalves

Major collections [edit]

National Gallery, London, UK
Museo del Prado, Madrid, Spain
Uffizi, Florence, Italy
Louvre, Paris, France
National Gallery of Fine art, Washington, USA
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, Kingdom of belgium
Former St. John's Hospital, Bruges, Belgium
Bargello, Florence, Italy
Château d'Écouen (National museum of the Renaissance), Écouen, France
Vatican museums, Vatican city
Pinacoteca di Brera, Milan, Italian republic

References [edit]

^ "Renaissance". encyclopedia.com. June 18, 2018. {{cite web}}: CS1 maint: url-status (link)
^ "What were the impacts of Renaissance on art, compages, scientific discipline?". PreserveArticles.com: Preserving Your Articles for Eternity. 2011-09-07. Retrieved 2021-x-19 .
^ ^a ^b Frederick Hartt, A History of Italian Renaissance Art, (1970)
^ Michael Baxandall, Painting and Feel in Fifteenth Century Italian republic, (1974)
^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
^ https://www.laetitiana.co.great britain/2014/07/introduction-to-renaissance-move.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 Caryatid Jovanovich. p. 555. ISBN0-15-503753-6.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard Yard (1975). "The Renaissance in Northern Europe". Art Through the Ages (sixth ed.). New York: Harcourt Brace Jovanovich. pp. 556–557. ISBN0-15-503753-half-dozen.
^ ^a ^b ^c Russell, Francis (1967). The Earth of Dürer . Time Life Books, Time Inc. p. 9.
^ ^a ^b ^c ^d 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. 561. ISBN0-xv-503753-half-dozen.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard Grand (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 564. ISBN0-fifteen-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. 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
"Limited Freedom", Marica Hall, Berfrois, 2 March 2011.

frederickwhisis.blogspot.com

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

Frederick Whisis