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116 Cards in this Set

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Taddeo di Bartolo

Death of the Virgin

1406-7

Prior's Chapel, Palazzo Pubblico, Siena
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Spinello Aretino

Scenes from the Life of Alexander III

1407

Sala dei Priori, Palazzo Pubblico, Siena
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Taddeo di Bartolo

Justice with Cicero, M. Porcius Cato, and P. Scipio Nasica and Magnanimity with Curius Dentatus, Furius Camillus, and Scipio Africanus

1413-14

antechapel, Palazzo Pubblico, Siena
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Lorenzo Monaco

Coronation of the Virgin

1414

main altar of Santa Maria degli Angeli, Florence
-This and Lorenzo's other works represent the final flowering of the Gothic style in Florence.
-February 1414 in the Florentine calendar refers to February 1413 in modern dating since the Florentines began their year on March 25, the day celebrating the Annunciation of the Virgin Mary (and therefore the date of Christ's conception).
-Scene located above the dome of heaven, seen in cross section below
-Gothic tabernacle culminating in a dome on a drum reminiscent of Orcangna's tabernacle in Orsanmichele
-for all their solidity, the figures seem essentially bodiless
-stylized drapery with crisp, metalic folds
-figures in white robes are St. Benedict, of whose order the Camaldolites were a branch, and St. Romuald, founder of the Camaldolite community, of which the artist was a member, and for whose monastery the painting was commissioned
-In honor of the Benedictine Order, Mary is dressed in a white mantle instead of the traditional blue. Notice colors reflected in the whites.
-Elongated French Gothic quadrefoils frame predella paintings below
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Andrea and Matteo Nofri

Tomb of King Ladislas

1414-28

S. Giovanni a Carbonara, Naples
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Jacopo della Quercia

Expulsion of Adam and Eve from Paradise, detail of the Fonte Gaia

1408-1419

Ospedale della Scala, originally in Piazza del Campo, Siena
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Lorenzo Monaco ("Lorenzo the Monk")

Marriage of the Virgin

early 1420s

Bartolini-Salimbeni Chapel Santa Trinita', Florence
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Gentile da Fabriano

Adoration of the Magi

1423

Strozzi Chapel, Santa Trinita, Florence

-Commissioned by Palla Strozzi, perhaps the richest man in Florence, for the Sacristy of Santa Trinita
-Three small scenes in the arches of the main panel narrate moments in the journey of teh Magi to Bethlehem. At left they gaze up at the star and ships wait for them at the shore of a wavy sea; at center the kings ride toword the open gate of Jerusalem; at right they are about to enter the town of Bethlehem.
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Masaccio

Pisa Altarpiece (center panel)

mid 1420s

Santa Maria del Carmine, Pisa
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Masaccio

The Tribute Money

mid 1420s

Santa Maria del Carmine, Florence

"From Brunelleschi he acquired a knowledge of mathematical proportion that was crucial to his revival of the principles of scientific perspective.
From Donatello he imbibed a knowledge of classical art that led him away from the prevailing Gothic style. He inaugurated a new naturalistic approach to painting that was concerned less with details and ornamentation than with simplicity and unity, less with flat surfaces than with the illusion of three dimensionality. Together with Brunelleschi and Donatello, he was a founder of the Renaissance." -WGA
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Masaccio

Trinity

mid 1420s

Santa Maria Novella, Florence
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Donatello

Prophet (Zuccone)

1420s

from the campanile of Florence Cathedral (Museo dell' Opera del Duomo)
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Baptismal font

Basin: designed by Lorenzo Ghiberti with bronze panels by Ghiberti, Jacopo della Quercia, Donatello, and Giovanni di Torino

Tabernacle: Jacopo della Quercia with parts by Donatello

Basin 1416-27

Tabernacle 1427-34

Baptistry, San Giovani, Siena
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Lorenzo Ghiberti

Baptism of Christ (detail of baptismal font)

1423-27

San Giovanni, Siena
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Donatello

The Head of the Baptist Brought Before Herod (detail of baptismal font)

1423-27

San Giovanni, Siena
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Brunelleschi

Pazzi Chapel

begun 1430

Santa Croce, Florence
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Jacopo della Quercia

Main portal of San Petronio

1425-39

Bologna
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Luca della Robbia

Cantoria

1430-38

above south sacristy door of Florence Cathedral
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Luca della Robbia

Cantoria (detail)

1430-38

above south sacristy door, Florence Cathedral
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Jacopo della Quercia

Expultion of Adam and Eve from Paradise (detail of the main portal)

mid-1430s

San Petronio, Bologna
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Paolo Uccello

Sir John Hawkwood

1436

Florence Cathedral
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Fra Filippo Lippi

Tarquinia Madonna *earliest known work by the artist

1437

painted for an Archbishop of Florence for private worship in his home town of Tarquinia, now in the Galleria Nazionale d'Arte Antica, Rome
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Donatello

Cantoria

1433-1440

above north sacristy door of Florence Cathedral
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Donatello

CantoRIa (detail)

1433-40

above north sacristy door, Florence Cathedral
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Paolo Uccello

Battle of San Romano [between Florence and Siena]

1430s (?)

Medici Palace (National Gallery, London)
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Donatello

David

1425-60s?

garden of Cosimo de' Medici, Florence (Bargello)
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Ghiberti

East Doors

1425-52

Baptistry, Florence
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Ghiberti

Isaac, detail of East doors

1425-36

Baptistry, Florence
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Brunelleschi

San Lorenzo

1418-66

Florence

-previously Romanesque church dedicated in 393 by St. Ambrose

-around 1418 group of citizens in the neighborhood led by Giovanni di Bicci de' Medici contribute funds to rebuild the church

-sacresty, transept and its chapels built by Brunelleschi, nave built after his death

-two color scheme clarifies building's structure
-decorative forms are all classical revivals
-cornice runs unbroken above the nave arcade, unifing the space and creating a longitudinal pull
-this and other horizontal elements make clerestory appear light, as the impost blocks above the capitals do for the arches of the arcade
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Fra Angelico

Deposition

c.1440

San Marco, Florence
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Fra Angelico

Annunciation

c. 1440

San Marco
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Fra Angelico

San Marco Altarpiece

c. 1440

San Marco, Florence

Cosimo and Lorenzo de' Medici
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Michelozzo

Palazzo Medici

c.1445-60

Florence
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Fra Filippo Lippi

Coronation of the Virgin

1447

Sant'Ambrogio, Florence (Uffizi)
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Bernardo Rossellino

Tomb of Leonardo Bruni

late 1440s

Santa Croce, Florence
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Domenico Veneziano

St. Lucy Altarpiece

c. 1445-47

main altar of Santa Lucia dei Magnoli, Florence (Uffizi)
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Andrea del Castagno

Last Supper, Crucifixion, Entombment, and Resurrection

1447

former refectory of Sant'Apollonia (now Castagno Museum, Florence)
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Leon Battista Alberti

Palazzo Rucellai

1446-51

Florence
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Donatello

Equestrian Monument to Erasmo da Narni (Gattamelata)

1447-53

outside the Santo, Padua
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Andrea del Castagno

Famous Persons: Dante Allighieri

c. 1450

Villa Pandolfini (Galleria degli Uffizi, Florence)
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Andrea del Castagno

Famous Persons: Pippo Spano

c. 1450

Villa Pandolfini (Galleria degli Uffizi, Florence)
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Leon Battista Alberti

San Francesco

begun 1451

Rimini
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Andrea del Castagno

The Holy Trinity, St Jerome and Two Saints

c. 1453

SS. Annunziata, Florence
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Andrea del Castagno

David

c. 1453

National Gallery of Art, Washington
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Desiderio da Settignano

Tomb of Carlo Marsuppini

1553-64

Santa Croce, Florence

Carlo Marsuppini (died 1453) was Leonardo Bruni's successor as Chancellor and his tomb was installed opposite as if in competition with Bruni's monument. It was designed by Desiderio who had probably assisted Rossellino on the Bruni monument. Here, emphasis has been placed on profuse ornament and figures as opposed to architecture. Every element is more copious in the later work, including the longer, more laudatory epitaph. Although some of the outward humanist trappings of Bruni's are repeated, the effect is very different. Grandeur and monumentality are sacrificed for richness and elegance. Desiderio's technique defies the marble and resembles wax, glowing like illuminated alabaster
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Piero della Francesca

The Discovery and Proving of the True Cross

c.1455

S. Francesco, Arezzo
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Piero della Francesca

Constantine's Dream

c. 1455

San Francesco, Arezzo
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Donatello

Mary Magdalen

c. 1455

Museo dell' Opera del Duomo
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Piero della Francesca

The Flagellation

c. 1455

Galleria Nazionale delle Marche, Urbino
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Andrea del Castagno

Monument to Niccolò da Tolentino

1456

Florence Duomo
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Jacopo Bellini

Madonna of the Cherubim

1450s

(Galleria dell'Accademia, Venice)
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Donatello

Judith and Holofernes

late 1450s ?

garden of Palazzo Medici (Palazzo della Signoria, Florence)
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Andrea Mantegna

San Zeno Altarpiece

1456-59

San Zeno, Verona
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Benozzo Gozzoli

Procession of the Youngest King

c.1459

Medici Chapel, Palazzo Medici-Riccardi, Florence
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Andrea Mantegna

St. Sebastian

c. 1455-60

(Vienna)
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Filippo Lippi

Madonna and Child with Angels

c. 1460

Uffizi
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Desiderio da Settignano

Bust of a Little Boy

c. 1460

National Gallery, Washington
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Luca della Robbia

Madonna and Child

c. 1460

Orsanmichele

The terracotta relief represent the symbol of the Arte dei Medici and degli Speziali (Guild of the Physicians).
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Piero della Francesca

Resurrection

c.1463

Pinacoteca Comunale, Sansepolcro
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Andrea Mantegna

Ceiling Oculus (in the Camera Picta)

1465-74

Castello San Giorgio, Mantua
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Andrea Mantegna

Camera Picta

1465-74

Castello San Giorgio, Mantua
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Filippo Lippi

Coronation of the Virgin

1467-69

Duomo, Spoleto
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Piero della Francesca

Enthroned Madonna and Saints Adored by Federico da Montefeltro

c. 1472-74

Commissioned by the Duke(Pinacoteca di Brera, Milan)
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Andrea del Verrocchio

David

1460s

Museo Nazionale del Bargello
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Antonio Pollaiuolo

Battle of Ten Nudes

c. 1470

Metropolitan
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Piero del Pollaiolo

Portrait of Galeazzo Maria Sforza

1471

Uffizi
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Leonardo da Vinci

Annunciation

c. 1472

Uffizi

-both figures completely calm and composed

-In Leonardo's paintings, form and color must compete for their existance against the surrounding dark and against the overlying bluish atmosphere. As a result of this effort, color enjys a new and deeper resonance, form has a more convincing three-dimentional existance, and the darkest shadows unite to give the picture a new kind of unity. This is in sharp contrast to the artificially bright bright world rendered by most of Leonardo's Florentine contemporaries.

-the atmospheric veil that Leonardo places between the object and our eye-about which he discourses at length in his writings- is completely new.

-colors cooled down by adding darks and browns
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Piero della Francesca

Battista Sforza and Federico da Montefeltro

c.1472

commissioned by Federico da Montefeltro, Duke of Urbino (Uffizi)
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Leonardo da Vinci

Profile of a warrior in helmet

c. 1472

British Museum, London
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Leon Battista Alberti

St. Andrea (Duomo)

begun 1472

Mantua
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Andrea del Verrocchio

Tomb of Piero and Giovanni de' Medici

c.1470-72

San Lorenzo, Florence
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Leonardo da Vinci and Andrea del Verrocchio

Baptism of Christ

1470-75

Uffizi
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Leonardo da Vinci

Landscape

1473

Uffizi
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Giovanni Bellini

San Giobbe Altarpiece

before 1478

San Giobbe, Venice (Accademia)
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Antonello da Messina

Enthroned Madonna and Child with Saints

1475-76

San Cassiano, Venice (Vienna)
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Antonello da Messina

St. Jerome in his Study

1475?

National Gallery, London
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Giovanni Bellini

St. Francis in the Desert

1470s

Frick Collection, New York
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Andrea del Verrocchio

Christ and Doubting St. Thomas

1465-83

Or San Michele

Verrocchio’s Christ and Saint Thomas replaced Donatello’s Saint Louis when the Guelf party sold the niche (the premier niche of the building) to the Mercanza (the guild tribunal)
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Antonio del Pollaiuolo

Hercules and Antaeus

1470s (?)

commissioned by the Medici (Bargello)
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Giovanni Bellini

Madonna Lochis

1470s

Accademia Carrara, Bergamo
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Antonio del Pollaiuolo

Hercules and Antaeus

c. 1478

(Uffizi)
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Leonardo da Vinci

Ginevra de' Binci

late 1470s

(Washington)
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Leonardo da Vinci

St. Jerome

c. 1480

Pinacoteca Vaticana, Vatican, Rome
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Melozzo da Forli'

Vatican Library Portrait: Sixtus IV Confirming Platina as Papal Librarian

c. 1480

Pinacoteca Vaticana, Rome
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Domenico Ghirlandaio

An Old Man and His Grandson

c. 1480

(Louvre)
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Sandro Botticelli

The Birth of Venus

c.1480

Uffizi

-Seen by Vasari together with the Primavera in Lorenzo di Pier Francesco de' Medici's villa at Cestello

-Depicts the mythical birth of the full-grown Venus from the sea

-Marsilio Ficino interpreted this birth as an allegory of the birth of beauty in the mind of humanity

-First full-length female nude, subject reflects new interest in clasical mythology and literary culture



-Composition
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Leonardo da Vinci

Adoration of the Magi

1481-82

commissioned by the Augustinian monks for the covent of San Donato at Scopeto, just outside Florence. (Uffizi)

-Underdrawing for a painting left unfinished when Leonado departed for Milan in 1482, would have had the same level of finish and detail seen in his Annunciation.

-composition unified with shadow, forms emerge from darkness, traditional roles of light and shadow are reversed

-figures and horses charged with energy, sets new standard for the depiction of movement

-demonstrates Leonardo's interst in individual and group psychology, emotions gather and bult to the serene climax of the Virgin at the top of the pyramid-shaped composition.
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Sandro Botticelli

Adoration of the Magi

1480s

National Gallery of Art, Washington, DC
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Andrea del Verrocchio

Equestrian Monument of Bartolommeo Colleoni

1483-88

Campo SS. Giovanni e Paolo, Venice
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Filippino Lippi

Vision of Saint Bernard

c. 1485-90

Badia Fiorentina, Florence
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Leonardo da Vinci

Madonna of the Rocks

1483-86

Louvre
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Domenico Ghirlandaio

Sassetti Chapel

1483-86

Santa Trinita

Scenes from the life of St. Francis, patron Saint of Francesco Sassetti, general manager of the Medici bank, who commissioned the chapel
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scenes? commissioned by?
Domenico Ghirlandaio

Adoration of the Shepherds

1483-86

Sassetti Chapel, Santa Trinita
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Giuliano da Sangallo

Villa Medicea

c. 1485

Poggio a Caiano, near Florence
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Giuliano da Sangallo

Santa Maria delle Carceri

begun 1485

Prato
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Domenico Ghirlandaio

Giovanna de' Tornabuoni

1488

(Madrid)
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Domenico Ghirlandaio

The Angel Appearing to Zacharaias

1485-90

Cappella Tornabuoni, Santa Maria Novella, Florence
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Vittore Carpaccio

Miracle at Rialto

c.1494

Scuola Grande di San Giovanni Evangelista (Accademia, Venice)
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Filippino Lippi

Raising of Drusiana by St. John the Evangelist

1487-1502 (Strozzi Chapel Dates)

Strozzi Chapel, Santa Maria Novella
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Filippino Lippi

St. Philip Driving the Dragon from the Temple of Hieropolis

1487-1502 (Strozzi Chapel dates)

Strozzi Chapel, Santa Maria Novella
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Andrea Mantegna

Dead Christ (Lamentation)

c. 1490

Pinacoteca di Brera, Milan
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Leonardo da Vinci

The Proportions of the Human Figure (Vitruvian Man)

c. 1490

Pen, ink and watercolour over metalpoint

Gallerie dell'Accademia, Venice
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Andrea Mantegna

The Picture Bearers, from the Triumphs of Caesar

1490s

Palazzo Ducale, Mantua (The Royal Collection)
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Leonardo da Vinci

Burlington House Cartoon (Mary, Christ, St. Anne and the Infant St. John)

c. 1500

National Gallery, London
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Leonardo da Vinci

Self-Portrait

c. 1512

Biblioteca Reale, Turin
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Leonardo da Vinci

St John the Baptist

1513-16

Musée du Louvre, Paris
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Masaccio and Masolino

The Virgin and Child with Saint Anne and five angels

c. 1424

Uffizi
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Fra Angelico

The Coronation of the Virgin

c. 1435

Uffizi
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Filippo Lippi

The Adoration of the Christ Child

1463

Uffizi
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Antonio PollAIOlo

Hercules and the Hydra

c. 1478

Uffizi
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Filippino Lippi

Allegory

1498

Uffizi
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Filippo Lippi

Madonna Enthroned with Saints

c. 1445

Uffizi
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Lorenzo Monaco

Adoration of the Magi

c. 1422

Uffizi

Prophets and the Annunciation in the upper part are by Cosimo Rosselli, and was added at the end of 15th century when the original triptych was made rectangular.
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Gentile da Fabriano

Four Saints of the Poliptych Quaratesi

1425

Uffizi

The polyptych is from the Quaratesi chapel in San Niccolò Soprarno, Florence. The central panel of the polyptych is at the National Gallery, London, and parts of the predella are in the Pinacoteca in Vatican.

The four saints represented are Mary Magdalen, Nicholas of Bari, John the Baptist, and George. In the upper tondos supported by angels and cherubs are the Angel Annunciating, St Francis, St Dominic, and the Virgin Annunciate.

Despite the fragmentation of this work, the solid figures of these saints demonstrate the way Gentile da Fabriano's painting developed during the time he spent in Florence. Without jeopardizing the grace of his lines or the richness of his materials, the painter seems aware of the strides being made in art around that time by Masolino and Masaccio. The flowering grass of his early work is here replaced by a tiled floor. Each figure is treated with a solemn human and monumental characterization. He achieved this by a more rigorous definition of the volume the figures occupy in real space. But overall it remains thoroughly Gothic in its atmosphere.
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Alessio Baldovinetti

Annunciation

1447

Uffizi

Faithfully adhering to the Florentine tradition, Alessio Baldovinetti made refined use of a clear, almost sharp line, together with a great curiosity for the tiniest details. In this work, note the slender elegance of the Madonna, whose traditional gesture of reverent surprise at the angel's announcement has been replaced by an almost mannered pose, worthy of some worldly ritual. The artist attempts a perspective view by setting the scene under a portico, thus creating a background plane with the tops of the trees that can be seen above the surrounding wall.
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Sandro Botticelli

Adoration of the Magi

c. 1475

Uffizi

Somewhere around 1475, Botticelli painted the famous Adoration of the Magi for Guasparre di Zanobi del Lama, a work in which the artist also depicted himself. This painting established Botticelli's fame in Florence, and may rightfully be considered the high point of his early artistic output.
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