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Apr 26, 2021 · The most famous Renaissance painting is probably the Mona Lisa, a portrait of an unknown lady by Leonardo da Vinci. The painting, known as the La Gioconda in Italian, is oil on a wood panel and was created between 1503 and 1506. The painting is today in the Louvre museum in Paris.
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- What museum has the most Renaissance paintings?The museum with the most Renaissance paintings is the Uffizi Gallery in Florence, Italy.
- Who are the 5 most famous Renaissance artists?Perhaps the five most famous Renaissance artists are Leonardo da Vinci, Michelangelo, Raphael, Sandro Botticelli, and Jan van Eyck.
- What are the 5 pieces of Renaissance art?5 famous pieces of Renaissance art are: the Mona Lisa portrait by Leonardo da Vinci, the Sistine Chapel ceiling by Michelangelo, the Birth of Venus...
- Early Renaissance
- High Renaissance
- Late Renaissance
Masaccio, Holy Trinity, c. 1427
Painted in the Dominican Church of Santa Maria Novella, Florence, the Holy Trinity fresco is the earliest surviving painting to use systematic linear perspective. According to records, Masaccioplaced a nail at the vanishing point and attached strings to determine how the lines converged.
Paolo Uccello, The Battle of San Romano, c. 1435–1460
Artist and mathematician Paolo Uccello created three paintings to represent the battle of San Romano—an event that occurred just outside of Florence in 1432. Although he used perspective to create a sense of depth in the composition, he also rendered the scene in such a way that it resembles a theatrical stage.
Piero della Francesca, Flagellation of Christ, c. 1468–1470
Piero della Francesca's The Flagellation of Christis another early example of linear perspective in Renaissance art. Called “the greatest small painting in the world” by art historian Kenneth Clark, it features an unusual composition based around the theme of the flagellation of Christ by the Romans. In the foreground is a trio of men, which possibly represent the past, present, and future, and in the background is Christ being flagellated by a Roman soldier as Pontius Pilate watches on.
Leonardo da Vinci, Lady With an Ermine, c. 1489–1491
Years before Renaissance master Leonardo da Vinci produced the Mona Lisa, he made another important portrait. Entitled Lady with an Ermine, this oil painting is an example of High Renaissance portraiture and the chiaroscurostyle. It depicts a young woman with plated hair holding a large, white weasel (also called an ermine) in her arms. While this painting is an excellent display of da Vinci's interest in anatomical realism, it also uses the ermine as a symbol with meanings related to the sub...
Leonardo da Vinci, The Last Supper, 1495–8
Since its completion at the end of the 15th century, The Last Supper has captivated audiences with its impressively large scale, unique composition, and mysterious subject matter. Da Vinci's patron, Ludovico Sforza, asked him to paint Jesus' final meal as described in the Gospel of John in the New Testament of the Bible. Interestingly, Leonardo opted to illustrate the moment Jesus tells his followers that one of them will betray him, placing much of the painting's focus on the figures' indivi...
Raphael, The Marriage of the Virgin, 1504
Renaissance master and child prodigy Raphael created The Marriage of the Virginwhen he was just 21 years old. Inspired by the paintings of his master Pietro Perugino, this work portrays the marriage ceremony of Mary and Joseph. The art historian Giorgio Vasari commented on the improvements, saying, “There is a temple draw in perspective with such evident care that it is marvelous to behold the difficulty of the problems which he has there set himself to solve.”
Titian, Venus of Urbino, 1538
After the death of Giorgione in 1510, and Giovanni Bellini in 1516, Titian was the leading upholder of the Venetian style. Venus of Urbino depicts a naked woman reclining on a bed inside of an ornate room. Similar to Sacred and Profane Love, the unknown identity of the woman in Venus of Urbino and the meaning of the iconography has led to many different interpretations of the work. It has inspired many similar paintings, including Manet's Olympia.
Michelangelo, The Last Judgement, 1541
Several decades after Michelangelo completed the Sistine Chapel ceiling, he returned to the same building to add another fresco, this time covering the entire alter wall. The Last Judgment captures the Second Coming of Jesus Christ and God's final judgment of humanity. While this subject was not uncommon during the Renaissance, Michelangelo's interpretation stands apart for its 300 mostly nude figures and its conflation with some mythological elements—both of which made the fresco controversi...
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- Man in a Red Turban (1433) by Jan van Eyck. Artist. Jan van Eyck. Date Painted. 1433. Medium. Oil on panel. Dimensions. 26 cm x 19 cm. Where It Is Currently Housed. The National Gallery, London, England.
- The Arnolfini Portrait (1434) by Jan van Eyck. Artist. Jan van Eyck. Date Painted. 1434. Medium. Oil on oak panel. Dimensions. 82.2 cm x 60 cm. Where It Is Currently Housed.
- Portrait of a Woman (c. 1435) by Robert Campin. Artist. Robert Campin. Date Painted. c. 1435. Medium. Oil with egg tempera on oak. Dimensions. 40.6 cm x 28.1 cm. Where It Is Currently Housed.
- Portrait of a Man and Woman at a Casement (c. 1435 – 1440) by Filippo Lippi. Artist. Filippo Lippi. Date Painted. c. 1435 – 1440. Medium. Tempera. Dimensions. 64 cm x 42 cm.
Consider the following interpretations of this image: the subject is a sexy, nude woman lying on her bed; she is a courtesan (hence Manet ‘s reinterpretation of her in Olympia ); she is the mythological goddess Venus; she is a Venus indulging in an obscene gesture; she was created as a marriage painting; she was painted specifically to ...
Dec 6, 2023 · The woman in the Arnolfini Portrait holds her dress in a way that styles her body as seemingly pregnant. This pose is not uncommon in depictions of Renaissance women, especially in the Northern Renaissance context (see, for example, A Bridal Couple in The Cleveland Museum of Art).
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This exhibition is the first to examine an intriguing but largely unknown side—in the literal sense—of Renaissance painting: multisided portraits in which the sitter’s likeness was concealed by a hinged or sliding cover, within a box, or by a dual-faced format.
