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225 Cards in this Set

  • Front
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- Arnolfini Portrait (1434)

- Jan van Eyck (1395-1441)

- London National Gallery

- Oil paint on wooden panel

- Artist has signed painting above mirror, bold for the time

- Lots of emphasis on light (eg. by the chandelier)

- Depicts members of wealthy Italian merchant family living in Bruges

- St. Luke Painting the Virgin (1435-1440)

- Rogier van der Weyden (1400-1464)

- Boston Museum of fine arts

- Oil paint and tempera on wooden panel

- St. Luke is the patron saint of the artists

- Luke is depicted elaborately for an artist with hat and fur trimmed red clothing

- Suggested that Luke is a self-portrait of the artist himself

- enclosed garden refer's to Mary's purity

- the people in the background may be Joachim and Anna (Christ's grandparents).

- Frescos on wall of Brancacci Chapel Sta Maria del Carmine (Florence)

- Water based pigments on fresh plaster

- Expulsion of Adam and Eve (1425-1428)

- Masaccio

- Bracacci Chapel

- Venus' pose is based on the venus pudica pose that came from the goddess Aphrodite in classical period

- figures three dimensional, affected by gravity

- use of light and shade

- pictorial space

- Temptation of Adam and Eve (1425-1428)

- Masolino (1383-1435)

- Brancacci Chapel

- David (bronze) 1430-1440

- Donatello (1386-1466)

- Museo Nazionale di Bargello Florence

- David (Marble)

- Donatello (1408-1410)

- Museo Nazionale di Bargello Florence

- The Birth of Venus (1485)

- Sandro Botticelli (1444-1510)

- Galleria degli Uffizi Florence

Mona Lisa (1503-1516)

Leonardo da Vinci (1452-1519)

Musee du Louvre

- David (1503-1504)

- Michelangelo Buonanotte (1475-1561)

- Gallerie dell Accademia Florence

- The Tempest (1508-1509)

- Giorgione (1478- 1510)

- Gallerie dell Accademia Venice

- Hay-Wain 1500-1505

- Hieronymus Bosch (1410- 1516)

- Museo de Prado Madrid

- Self Portrait (1500)

- Albrecht Dürer (1471-1528)

- Alte Pinacothek Munich

- Christ Blessing (1465)

- Antonello da Messina (1430-1479)

- National Gallery London

- Melencolia engraving (1514)

- Albrecht Dürer (1471- 1528)

- Beggars (1520) etching & engraving

- Lucas van Leyden (1494-1533)

- Return of the Herd 1565

- Pieter Bruegel the Elder (1525- 1569)

- Kunsthistorisches Museum Vienna

- Portrait of a man (possibly Girolamo Barbarigo) (1512-1513)

- Titian (1478-1576)

- London National Gallery

- Venus of Urbino (1536-1538)

- Titian (1478-1576)

- Galleria degli Uffizi Florence

- Jupiter and Lo (1530-1533)

- Correggio (1489-1534)

- Vienna Kunsthistorisches Museum

- The Last Judgement (1536-1541)

- Michelangelo (1475-1561)

- Fresco on the altar of the wall of the sistine chapel Vatican, Rome

- Pisa,interior of Baptistery.

- Font by Guido da Como (1246)

- Pulpit by Nicola Pisano(1259/60)

- Pisa,exterior of Baptistery. Sculptural decoration (1270)

- Nicola Pisano

- NicolaPisano: Pisa Baptistery Pulpit, signed and dated1260

- NicolaPisano, Fortitude

NicolaPisano (and workshop including Arnolfo di Cambioand Giovanni Pisano),

Siena Cathedral Pulpit 1265-8

- GiovanniPisano, Pisa Cathedral pulpit 1302-10

- Arnolfodi Cambioin Rome: ciboria for S.Paolo fuori le mura 1285 (l.) & S.Ceciliain Trastevere,Rome 1293

- Arnolfo:Tomb of Cardinal de Braye (d.1282), S.Domenico,Orvieto.

- FlorenceCathedral as built & reconstruction of Arnolfo’sdesign of c.1296

- Arnolfo’s Florence Cathedral Madonna (r.) and Pisa Baptistery Adoration

- Arnolfo:Dormitionof the Virgin (pre WW2 condition)

- The Mocking of Christ

- Giotto

- Padua Arena Chapel

- Pictorial space. Depth created although not mathematically

- Figures affected by gravity

- all have varying features and expressions

- sense of movement conveyed with bent positions

- Christ's golden garment draws our eyes in to him

BonaventuraBerlinghieri,St Francis Altarpiece 1235 (Pescia,S.Francesco)

- St. Francis not affected by gravity, his feet not placed firmly on the ground.

- All of the figures look very similar

- Face is made of harsh use of lines

Giotto’s S.MariaNovella Crucifix, 1290s – 1300

L.Cimabue, Arezzo Crucifix c.1268-71

Giotto,Entryinto Jerusalem (Padua, Arena Chapel)

St. Clare mourning St Francis from the Assisi St Francis cycle (often,though not persuasively, attributed to Giotto)

Padua,Arena Chapel & detail of Last Judgment,showing Enrico Scrovegni presenting the chapel to theVirgin

- Enrico Scrovegni was a usurer (charged interest) and this was considered a sin. He commissioned this chapel for the redemption of his father and the saving of his own soul.

Fresco:Expulsionof the Merchants from the Temple (l.) & JudasBetraying Christ (r.). N.B. seccoaddition (l.) and border between giornate(r.)

GiovanniPisano, Madonna and Child for the Arena Chapel

Giotto, Faith

Arnolfodi Cambio,S.Reparata

Ducciodi Buoninsegna,Maestàfor Siena Cathedral 1308-11. Siena, Museodell’Operadel Duomo.Tempera and gold on wood. 2.13 mx 4.0 m


L.Giotto, OgnissantiMadonna c.1310.

the Stefaneschi Altarpiece

Assisilower church: Giotto, Presentation in the Temple(l.) & Christamong the Doctors (r.)

Florence,Cathedral campanile & marble relief plaques by Andrea Pisano: Paintingand Sculpture,c.1340

AndreaPisano, Weaving

Giotto,StMary Magdalen

Florence,S.Croce,Baroncellichapel. Frescoes by Taddeo Gaddic.1328-30, altarpiece by Giotto

TaddeoGaddi,Presentationof the Virgin in the Temple

Annunciationto the Shepherds (r.). S.Croce,Baronceliichapel

Presentationof the Virgin in the Temple (Padua, Arena Chapel)

Masodi Banco, StSylvester and the Dragon, Florence, S.Croce,Bardidi Verniochapel c.1340

Florence Baptistery doors, by Andrea Pisano 1336

1401competition for Florentine Baptistery doors. Trial panels of Abraham by Brunelleschi

1401competition for Florentine Baptistery doors. The Sacrifice of Isaac by Ghiberti

Salientrelief: Ghiberti, Annunciation

Ghiberti,Flagellationof Christ

Ghiberti,St.Johnthe Baptist.Bronze, 1412-16

Donatello,St.Mark,marble 1411-13

Nanni diBanco (c.1375-1421), Quattro Santi Coronatic.1409-1416/17

Ghiberti, St.Matthew1419-23 (r.)

Donatello,St.John. Florence Cathedral

Nanni di Banco, St.Luke. Florence Cathedral

AndreaPisano, Solomon1330s

Donatello‘Jeremiah’c.1430 (r.)

Donatello,‘Zuccone’ –Habbakuk?

Donatello,Feastof Herod,bronze relief c.1425, for the Siena Baptistery font

Donatello,Gattamelata (Erasmo de’Narni)1447-53. Padua, Basilica del Santo

Donatello,St.MaryMagdalen,wood c.1455 (Florence, Museo dell’operadel duomo)

Donatello,Judithand Holofernes,bronze c.1460

Donatello,bronze pulpits for S.Lorenzo,Florence c.1460-70

Michelangelo,drawing (c. 1494) after a figure from Masaccio’s Paymentof the Tribute Money (c.1427)

Masaccio’s Paymentof the Tribute Money (c.1427)

BrancacciChapel, frescoes of the Life of St.Peterby Masaccio and Masolino c.1424-27/8, completed by FilippinoLippi 1481-2.

Pictorialspace: Giotto, Christ among the Doctors,Assisi, S.Francesco,lower church

Masaccio,St.Peterhealing with his shadow

Distributionof Alms andDeathof Ananias(r.). BrancacciChapel altar wall, lower tier


FraFilippoLippi (1406-69), Barbadori Altarpiece (1439-40, Paris,Louvre

TarquiniaMadonna (1437, Rome, Galleria nazionale d’arteantica)

PaoloUccello (1397-1475), perspective study of a chalice

PaoloUccello (1397-1475), monument to Sir John Hawkwood(1436, fresco, Florence Cathedral).

Uccello,StGeorge and the Dragon (c.1456, London, NG)

DomenicoVeneziano(c.1410-1461), Annunciation,predellapanel (Cambridge, Ftizwilliam Museum) from the St LucyAltarpiece, 1445-7.

DomenicoVeneziano,St Lucy Altarpiece (1445-7)

&PierodellaFrancesca (c.1415-92), Brera Altarpiece (1472-4)

PierodellaFrancesca, Flagellationof Christc.1460 (Urbino,Galleria nazionaledelleMarche)

Donatello, St Mark, 1411-13, Florence, Orsanmichele

Donatello, Niccolò da Uzzano, 1430s, Florence, Museo di Bargello, polychrome terracotta bust

Andrea del Verrocchio (c. 1435-88), David, bronze, c. 1470-5, Florence,Bargello

Antoniodel Pollaiuolo, GaleazzoMaria Sforza, 1471, tempera on panel

Janvan Eyck, Man in a Red Turban, c.1435, London NG

SandroBotticelli (c. 1445-1510), Giuliano de’Medici,Florence, Uffizi

Botticelli, Adoration of the Magi, 1460s, London, National Gallery

Botticelli, Adoration of the Magi,c. 1475, Florence, Uffizi

Botticelli, Calumny of Apelles, c. 1480, Florence Uffizi

Botticelli, Pallas and the Centaur, c. 1480, Florence Uffizi

Botticelli, Primavera, c. 1480, Florence, Uffizi

Baldovinetti: Annunciation, c. 1470,Florence, Uffizi

Botticelli, Virgin and Child, c. 1490, Edinburgh, National Gallery ofScotland

GiovanniBellini (c. 1430-1516), Madonna of the Meadow, c. 1500-05, London, NationalGallery

Giovanni Bellini, Agony in the Garden, c. 1465, London National Gallery

AndreaMantegna (c. 1430-1506), Agony in the Garden, c. 1465, London, National Gallery

Bellini, Madonna and Child (‘of the little trees’), 1487, Venice, Accademia

Bellini, San Giobbe altarpiece, c. 1480, Venice, Accademia

Bellini,Doge Lorenzo Loredan, c.1500, London, NG

Antonello daMessina (c.1430-79), Portrait of a Man, c. 1470, Berlin, Gemäldegalerie

Bellini, Pietà, c.1505-10, Venice,Accademia


-Pietà, c.1497-8

-Rome, St Peter’s

- Marble

- Piero dellaFrancesca (ca. 1415-1492)

- Flagellation of Christ,1455-60,

- Tempera

- Giotto

- Christamong the Doctors,

- Assisi, S. Francesco, lower church

- Masaccio (1401-1428)

- Trinity with the Virgin Mary,Saint John the Evangelist andDonors1427-28

- fresco


- Adorationof the Magi,a perspective study, ca. 1481

- Silverpoint and white on paper

- Andrea del Castagno (ca. 1421-1457),

- The Last Supper,1445-50

- Fresco

- Andrea Pozzo(1642-1709)

- Allegory of the Missionary Work ofthe Jesuits,1691-94;

- St.Ignazio,Rome

- Castiglione

- One Hundred Horses, 1728

- Handscroll, inkand colouron silk

- National Palace Museum, Taipei

- TheHumanist Tomb: Bernardo Rossellino, Tomb of Leonardo Bruni(d.1444)

- S.Lorenzo,Old Sacristy by Brunelleschi 1419, Tomb of Giovanni di Biccide’Medici& PiccardaBueri1434 by Andrea Cavalcanti ‘il Buggiano’& Medici arms (t.r.)


- Portrait of a Young Man with Medal 1475

- Tempera on wood

- Galleria degli de Uffizi

- Depicts Cosimo de Medici

- JacopoPontormo,Cosimode’Medicic.1520

- Andreadel Verrocchio, Tomb Slab of Cosimo de’Mediciin S.Lorenzo,Florence

- MediciPalace Chapel. Frescoes by Benozzo Gozzoli1459-60, & detail: Procession of the Magi

- portraitbust of Pierode’Medici‘the Gouty’ (1416-69) by Mino da Fiesole 1453

Botticelli,Adoration of the Magi c.1475

Verrocchio,David, 1473-5

- Verrocchio,Giulianode’Medici1453-78

- Verrocchio, Lorenzode’Medici‘the Magnificent’ 1449-92 (r.)

Antoniodel Pollaiuolo,Hercules and Antaeus:painting c.1478 (l.) & bronze (r.)

Antoniodel Pollaiuolo,Ten Nude Men, engraving (l.) & Martyrdom of St Sebastian 1475 (r.)

Verrocchio,Putto with a Dolphin c. 1470-5

Verrrocchio,ColleoniMonument 1481-95


Verrocchio,Christ and St Thomas, bronze 1476-83, Orsanmichele

FilippinoLippi, St Philip and the Dragon, Florence, S.MariaNovella, StrozziChapel 1502

Botticelli,Lamentation c.1490

- Botticelli MysticNativity’ c.1500

- “Thispicture at the end of the year 1500 in the troubles of Italy, I, Alessandro, in the half time afterthe time, painted, according to the eleventh [chapter] of St John in the secondwoe of the Apocalypse, during the release of the Devil for three and a halfyears; then he shall be bound in the twelfth [chapter] and we shall see [himburied] as in this picture.”

Verrocchio,Baptism of Christ

Wilton Diptych

- London NG 1395-1399

- made of two wooden panels hinged together

- Depicts king Richard II kneeling with his 3 favorite saints

- Very personal image, does not refer to any well known story.

- It does not show where it is taking place and the dull background therefore suggests that this is a vision, or something spiritual. Another clue is the direction of the gazes.

- King Richard is looking away, suggests that he is seeing it with his mind rather than his eyes.

- King Richard looks youthful and is wearing very rich clothes. This is an idealistic depiction of them, e.g. he was born 28 years before the painting was made and yet looks very youthful. It is meant to portray him in a particularly flattering way.

- King Richard is wearing a heart (livery badge) which is an indication of the monarchy. Other people wearing it, shows their allegiance to this person. All of the angels are wearing the livery badge, as if they are paying allegiance to the King. Suggests Richard’s kingship is divine.

- Virgin Mary is offering Christ in Richard’s direction and Christ is making a blessing gesture. - -Apotropaic function is suggested by the small size. He could keep it close to him and carry it along.

- Catherine of Cleves before Virgin Mary Hours of Catherine of Cleves Utrecht 1440. (New York, Morgan Library).

- Is a book of hours

Apocalypse Murals London, Chapter House, Westminster Abbey (c.1400)

- Represents scenes from the apocalypse, mystical last book in Christianity. Monks began their day by looking at these images.

- Artist has arranged the images in a very skillful way, that does not disrupt the sequence of the order of visions in the book.

- Scenes from the life of St. John Continuous narrative- when figures are repeated within the same pictorial space to suggest the passing of time. Use of gold in the halos.Christ among the candlesticks

Stylistic features of late gothic art

- Figures are elongated, idealized, elegance. Rendered according to the standard of beauty at the time.

- large fold drapery, does not reveal much of the body beneathhair is smooth

- skin is light coloredfigures

- objects often outlined in black

- gothic artists used bright colors e.g. red and bluein expensive works artists used gold leaf. - Has symbolic qualityarchitechtural canopies as framing devices. S Stance

Late Medieval Painting Important Functions:

- decorative used to enrich public and private spaces

- mnemonic (memory aid)

- devotional

- apotropaic (protective) used to avert evil

Nativity: Hoursof Catherine Cleves These paintings would help people remember bible stories but would not teach them the stories.

- Image is mnemonic.

- Marginalia- often when little distractions are running along side the main image that you are meant to be looking at.

There is no staining involved in stained glass. Glass colored by adding metallic salts. All faces, details etc. painted on the glass. In this we see the virgin Mary in S curve stance, classic Gothic stylist feature. Light had symbolic value. Stained glass is both of aesthetic and spiritual significance. Light passing through the glass without breaking it is a visual metaphor of how virgin Mary conceived christ without losing her virginity.

- Verrocchio:Tobiasand the Angelc.1480 (London, N.G,

- Verrocchio: Baptismc.1472-5 (Florence, Uffizi, r.)

- Leonardo,Annunciationc.1472-5 (Uffizi)

- Leonardo:Madonnawith a Carnation c.1478 (Munich,AltePinakothek

- BenoisMadonnac.1478-80 (St.Petersburg,Hermitage, r.)

- Leonardo,Adorationof the Magi1481-2 (Uffizi)

- Gentileda Fabriano,Adorationof the Magi(Strozzialtarpiece 1423)

- Andreadel Castagno, Last Supper,fresco, 1447 (Florence, S.Apollonia)

- Leonardo,BenoisMadonna(St.Petersburg,Hermitage, r.) 1483-90

- Ladywith an Ermine (CeciliaGallerani)c.1483-90 (Cracow,CzartoryskiMuseum)

- R.Michelangelo, (1475-1564) Pietà,1498-99, St Peter’s, Rome

- l.Raphael (1483-1520), Portrait of Pope Julius II,1511

- Michelangelo,Moses,1513-15, Rome, San Pietro in Vincoli

- Michelangelo’s ceiling 1508-12;altar wall 1536-41

- Raphael,Agnolo1506(Florence, PalazziPitti)

- Raphael, MaddalenaDoni1506 (Florence, Palazzi Pitti)

- Raphael,‘Donnavelata’1516 (Florence, Palazzo Pitti),

- Portraitof BaldassareCastiglione1514-15 (Paris, Louvre)

- Raphael,BridgewaterMadonna c.1507-8(Edinburgh,NGS)

- Raphael , TheSchool of Athens, Rome, The Vatican, Stanza dellaSegnatura,1509-10

- Masaccio& Masolino,c.1425, Virginand Child with St.Anne(l.)

- Leonardo,Virginand Child with St Anne c.1510 (Paris, Louvre, l.)

- PeterPaul Rubens (1577-1640), copy of central section of Leonardo’s cartoon for TheBattle of Anghiari– Fight for the Standard

- Michelangelo,Ignudi (nudes)from the ceiling of the Sistine Chapel, Vatican, Rome, 1508-12

- Laocoön and his sons. 1st century CE. Roman copy of Greek original. Rome, Vatican Museums

- Apollo Belvedere. 1st century CE. Roman copy of Greek original. Rome, Vatican Museums

- Michelangelo, Dying Slave, 1513-16, Paris, Musée duLouvre

- Michelangelo, Rebellious Slave, 1513-16, Paris, Musée duLouvre

- JacopoPontormo(1494-1557), Visdomini altarpiece, 1518, Florence, San Michele in Visdomini

- Raphael(1483-1520), Ansidei altarpiece, 1505, London, National Gallery

- JacopoPontormo, Deposition/Entombment, 1525-8, Capponi Chapel, S. Felicità

- Raphael,Entombment, 1507, Rome Galleria Borghese

- Rosso Fiorentino(1495-1540), Deposition, 1521, Volterra, Galleria Pittorica

- Raphael,The Mond Crucifixion, c. 1502-3, London, National Gallery

- Parmigianino(1503-40), Madonna of the Long Neck, begun 1534, Florence, Galleria degliUffizi

- Raphael, Madonna della Sedia(Madonna of the Chair), c. 1510, Florence, Palazzo Pitti

- Agnolo Bronzino(1503-72), Bartolomeo Panciatichi, c. 1540, Florence, Galleria degliUffizi

- Raphael, Baldissare Castiglione, c. 1515, Paris, Musée duLouvre

- Bronzino, Duke Cosimo de’Medici, c. 1545, Florence, Galleria degliUffizi

- Benvenuto Cellini (1500-71), Duke Cosimo de’Medici, c. 1540, Florence, Bargello

- Bronzino, Allegory of Love (Venus, Cupid, Folly and Time), c.1545, London, National Gallery

- Giovanni Bellini (c. 1429/30-1516), Votive Painting of Doge Agostino Barbarigo, c. 1488, Venice, S Pietro Martire

- GiovanniBellini, Madonna and Child (‘of the little trees’’), 1487, Venice, Gallerie dell’Accademia

- Antonioand Bartolomeo Vivarini, Certosa polyptych,1450, Bolgona, Pinacoteca Nazionale

- Giorgione (1476/8-1510), Castefranco altarpiece, c. 1501-5, Castelfranco, San Liberale

- Giorgione,The Three Philosophers, c. 1508-10, Vienna, Kunsthistorisches Museum

- Portrait of an Old Woman (‘ColTempo’), c.1506-7, Venice, Gallerie dell’Accademia

- Giorgione,Laura,1506, Vienna, Kunsthistorisches Museum

- Giorgione or Titian (c. 1488-90-1576), Pastoral Concert (The Fete Champetre), c.1510, Paris, Musee duLouvre

- Titian, The Three Ages of Man, c. 1512-13, Edinburgh, National Gallery of Scotland

- Titian,Federico Gonzaga, Marquis of Mantua, 1529, Madrid, Museo delPrado

- Assumption of the Virgin, 1516-18, Venice, Sta. Maria Gloriosa dei Frari

- Raphael,Transfiguration, 1516-20, Rome, Vatican Museum

- PaoloVeronese (1528-88), The Giustiniani Altarpiece, c. 1550, Venice, San Francesco della Vigna

- Titian,The Pesaro Altarpiece, 1519-26, Venice, Frari

- LorenzoLotto (c. 1480-1556), Portrait of Andrea Odoni,1527, London, Queen’s Gallery

- Jacopo Tintoretto (1518-94), Removal of the Body of St Mark,1562-66, Venice, Gallerie dell’Accademia

- Tintoretto,Finding of the Body of St Mark, 1562-66, Venice, Milan, Brera

- Tintoretto,Venus, Vulcan and Mars, c. 1550, Munich, Alte Pinacothek

- Tintoretto, Last Supper, 1578-81, Venice, Scuola di San Rocco

- Tintoretto, Last Supper, c. 1565, Venice, S. Trovaso

- Veronese, Marriage at Cana, 1562-3, Paris, Musée duLouvre

- Titian,Self-Portrait, c. 1550, Berlin, Staatliche Museen

- Titian, Death of Actaeon, 1559-76, London, National Gallery

-Giovanni Bellini (c. 1429/30-1516), Votive Painting of Doge Agostino Barbarigo, c. 1488, Venice, S Pietro Martire

- MatthiasGrünewald,Crucifixioncentral panel, IsenheimAltarpiece, 1512-1516(Colmar, Musée Underlinden)

- Christ has elongated limbs, particularly long fingers that emphasize the nails in his handsChrist’s suffering is mirrored in the figures around Christ.

- PieterBruegel theElder, Triumph of Death (c. 1562)(Madrid, Museo del Prado)

- There is also the message that people bring death upon themselves. Figures shown gambling which was considered sinful in Christianity.

- Horsemanof DeathTrèsRiches HeuresParis, c. 1415(Chantilly, MuséeCondé)

- LastJudgement: the dead riseLivre de la VigneFrance, c. 1470(Oxford, Bodleian Library

- PurgatoryTrèsRiches HeuresParis, c. 1485(Chantilly, MuséeCondé)

- ThirdTemptation: AvariceArs moriendiParis, 1494(Washington, DC, Library of Congress)

- Rosarywith Death’s heads: memento moriGermany, c. 1525 (New York, Metropolitan Museum of Art)

- Rosaryterminal bead (front and back views): memento mori N. France or S. Netherlands, c. 1500-1525New York, Metropolitan Museum of Art

- Deathand the KingHans Holbein the Younger Dance of Death (1538)

- HieronymusBoschDeath and the Miser‘s-Hertogenbosch, c.1490?(Washington, DC, National Gallery)

Ars Moriendi: Art of Dying

- Manuals that explain how to die properly was only available to the very wealthy as they had printed words; required literacy and were also expensive to purchase.


- an object used for prayer : memento mori, think on death. Force you to contemplate death.