Titile: The Birth of Venus by Sandro Botticelli Date: 1485–1486 Summary: This is a pegan painting of the goddess Venus.
Tittle: Las Meninas by Diego Valazquez Date: 1656 Summary: This is a painting of the royal family of Spain, the King, the Queen and the Princess.
Date: A.D. 1400-1519 Summary: Chicomecóatl is the sacred maize goddess various pre columbian cultures prayed to for a plentiful harvest.
The stele is made of stone and shows the Hindu god Vishnu with two consorts, Lakshmi and Sarasvali.
Betrayal of Jesus was Tempera and gold leaf painting by Duccio Di Buoninsegna on the back of the Maestá altarpiece showing the story of how Jesus was arrested right before his crucifixion from the Bible.
Lorenzo Maitani’s craftsmanship of the Façade of Orvieto Cathedral built fourteenth century Italy exemplifies the details and beauty of gothic architecture.
A painting by Giotto shows Mary holding baby Christ. Giotto is an amazing artist who contributed to the art style of Proto-Renaissance. Giotto painted many artworks that showed a very naturalistic style and lot of Byzantine elements were painted also. He wanted to revive the naturalistic style which is why he painted with the elements that he did, in a classical style. In this painting we see a perspective that shows low and high levels of stacking and also the use of overlapping. This creates a sense of depth and also tries to portray shadows such as using it on the drapery and how the folds have some type of 3 dimensionality to it. Giotto's goal was to master the naturalistic styles of the world we live and that the viewers would be amazed.
The Founder of Renaissance art, ad one whom intertwined linear perspective in his work along with bringing together political and religious figures into one in many of his pieces.
A Fourteenth Century tempera European piece that celebrates the saints of the area in that time, through emphasis of their holiness through color and symbolism of the halos, as well as a sense of unity through the use of detail in the wood.
In his work titled Birth of the Virgin, Lorenzetti draws us into an important yet infrequently verbalized biblical story with tenacious use of spatial illusionism and pictorial realism. This triptych depicts the birth of the biblical figure, Mary, from her mother, St. Anne. St. Anne, is, however, an undistinguished figure in Christian History compared to Jesus or the Virgin Mary herself and was often ignored after the Trecento.1 St. Anne and her husband, Joachim, were exceedingly rich which led Joachim to double his offerings to God, while Anne sat by his side, grieved her barrenness and desperately prayed for a child. As Joachim brought offerings to a temple, a man told him that it is not proper for him to bring offerings seeing as he had no children. This deeply saddened Joachim, which led him to lament, pray, and fast in a desert for 40 days and nights. Anne and Joachim lamented to the heavens so heavily, that God heard their prayers. An Angel of the Lord came to both of them and told them that Anne would bear an extremely important child destined for holiness.1 Even though Anne was not frequently talked about his Christian History, there was a church built specifically for St. Anne, near the springs south of Sepphoris. This church was built on top of the house of Joachim, and was not studied in detail until the nineteenth century. It is currently unknown if it was built during Early Christian times because of it’s Romanesque and Gothic Architectural design.2 In Lorenzetti’s painting, the architecture he depicted bares a striking resemblance to the church of St. Anne. Apart from the important subject matter, Lorenzetti’s painting exemplifies influence of Duccio and can be assumed so because of his use of pictorial space, color, and line. He was known for his use of sophisticated perspective and interest in giving his painted figures a more human-like feel to them, and pays careful attention to his work by emphasizing partly blended colors as well as drapery, as in Anne’s robe.3 Saint Anne retains quite a bit of mass in this painting, while the contour of her body underneath her drapery depicts a sense of realism. The other figures in the painting, such as the women washing Mary, appear to very ample compared to Anne herself. While the optical perception of Anne’s bed is not present, she almost appears to be floating on this piece of furniture. The details of the figure’s faces play a huge part in telling this story, as they all seem very content and relaxed. Lorenzetti also uses the medium of this painting to his advantage as this triptych was painted on a flat wooden panel with the two pillars dividing the triptych are painted, almost as if they were part of the painting itself. This also gives a great sense of unity with the perceived architecture and the realistic wooden panel. Lorenzetti also conveys spacial illusionism as one of the pillars overlaps the woman in red gazing upon Anne. The tiled floor is also slanted which also communicates spacial illusionism on a 2-D surface. 1. Virginia Nixon, Mary’s Mother: Saint Anne in Late Medieval Europe (University Park, PA: Pennsylvania State University, 2004) 2. Jaroslav Folda, “The Church of Saint Anne,” The Biblical Archaeologist 54, no. 2 (1991) http://0-www.jstor.org.skyline.ucdenver.edu/stable/pdf/3210217.pdf 3. Brittanica Academic, s.v. “Pietro Lorenzetti,” accessed October 5, 2015, http://0-academic.eb.com.skyline.ucdenver.edu/EBchecked/topic/348172/Pietro-Lorenzetti
The Himeji Castle revolutionized the way Japanese castles were built and was made to reflect Japan’s military and cultural dominance.
A Chinese hand scroll that has the power to take you to a whole new world, no magic carpet needed.
Marriage was always as much an economic and social alliance as a religious one, but also extremely gender biased during this time.
The architecture of the Ming Tombs incorporates Chinese beliefs and traditions common during the Ming Dynasty period.
This Ceremonial Knife from the Sicán (Lambayeque) culture embodies the culture and ideals of pre-Colombian Peru.
A late Gothic and early renaissance piece. The work encompasses Christianity.
Gibbons also known as monkeys are shown sitting and hanging on a rocky landscape. This piece is actually a folding screen which was a popular item in Japan during this time period. Season as you can see was deeply influenced by Chinese ink painting . Ink painting created an effect of shadowy and kind of calm/gloomy feeling for the viewers. Black ink was mainly used and rarely any colored ink, this was to also create a pale-like look, very peaceful because Sesson was a monk himself and also the very last best painter during the Muromachi period.
A well carved from stone and is in the Carthusian monastery. Its hexagonal shape is surrounded by figures and imagery representing the promise of everlasting life.
Historians have used new technology to restore and preserve "Madonna and Child with Saints" in order for patrons of the arts to be able to witness Zenale’s ability to create depth and space using linear and atmospheric perspective.
Māori carvings intertwine art, architecture, and religious ideology
Polynesia, 10th to 12th centuries
A handscroll, painted upon with ink during the Ming Dynasty. Painted for the 43rd head Daoist priest.
This secular painting by Sandro Botticelli portrays a complex and metaphorical storyline through movement and vibrant color that is reminiscent of ancient Greek and Roman paintings.
This is a one part of eighteen that track and show astronomical signs for the wet and dry seasons
During the year 1000 CE, the Hinduism religion became the dominant religion for quite some time.
Although it is in ruins today, the temple shows many different aspects of Aztec way of life.
This ceramic piece marks an early indication of the international style of Korean art during the Joseon dynasty.
In the middle ages when secularism and religious life had become linked more closely, books of hours were very popular. A book of hours isn’t necessarily a record of every hour of the day, but instead sort of a religious schedule to guide people in their prayers and routines at certain times of the day. The “hours” mentioned here didn’t necessarily have a specific duration because books of hours were made before an established system of time-telling (Harathan 1977). Many more books of hours were made than illuminated manuscripts, so that people of all social status might own one. The rich, however, did pride themselves by their lavishly expensive and luxurious books of hours. Fine examples of such books came from Great Britain and France. The Très Riches Heures of the Duke of Berry, a book of hours belonging to a wealthy French noble, exemplifies the concept of a luxury book of hours. John, the Duke of Berry, was one of four brothers and son of King John the Second. All of his brothers loved artwork, but John was an especially avid collector. He commissioned many books, which today are considered to be the best examples of books of hours (Harathan 1977, 53). The Dukes books were among his most famous possessions, and have survived even his jewelry (Harathan 1977, 53). Among his commissions were books such as the Très Belles Heures of the Duke of Berry, The Petites Heures of the Duke of Berry, and perhaps most famously, The Très Riches Heures of the Duke of Berry. The Duke of Berry commissioned the Très Riches Heures around 1411 from the Limbourg brothers, his artists of choice. Unfortunately, all three brothers as well as the duke died before its completion, and the manuscript was not rebound until 1490. While unfinished, The Très Riches Heures manuscript boasts a remarkable calendar. It is unique for the linkage of zodiac figures to man, which was unusual for books of hours as well as illuminated manuscripts (Meiss, Off Dunlap Smith and Home Beatson 1974). The calendar was a revolutionary idea for the book of hours. The artwork of the book as well helps to distinguish it as the masterpiece of the Limbourg brothers. The illuminations include more realistic shadows than was typical for such manuscripts as well as attempts to record backgrounds accurately. To top it all off, the manuscript boasts a marvelous color pallet achieved through premium paints. The Très Riches Heures provided a means to link the Duke of Berry with his book of hours by incorporating him and his property within its very pages. Books of hours held by wealthy patrons provided excellent means for their proprietors to cast themselves in the best light possible. The Duke of Berry, for example, displayed his lavish wealth through the commissions of personalized illuminated manuscripts and also in the way his property and wealth was portrayed in the artwork. He also casts himself as a generous, benevolent caretaker of his servants and his territory as being comfortable and fertile. Illuminated manuscripts, especially Books of Hours, helped define the artwork of 15th century Europe. Changes in Franco-Flemish beliefs, such as the idea that secular and sacred should not be divided, were prominent in many Franco-Flemish artworks apart from illuminated manuscripts. The Très Riches Heures remains an exemplary work for this time period because of the level of personalization involved within its making and content as well as the fact that a calendar, whose focus is on the everyday activities and labors of the Duke and his friends, is included in a book of hours, which, while not as sacred as the bible, could be argued was a religious text. The Très Riches Heures gives strong evidence of the combination of the secular and sacred, arguably the very backbone of Franco-Flemish artwork. Bibliography Backhouse, Janet. 2004. Illumination From Books of Hours. London: The British Library. Harathan, John. 1977. "The Tres Riches Heures of John, Duke of Berry ." In The Book of Hours, by John Harathan, 65-68. New York: Thomas Y. Crowell Company. Kren, Thomas. 2007. French Illuminated Manuscripts in the J. Paul Getty Museum. Los Angeles: Getty Publications. Meiss, Millard, Sharon Off Dunlap Smith, and Elizabeth Home Beatson. 1974. French Painting in the Time of Jean De Berry: The Limbourgs and their Contemporaries. Forge Billage, Lunenburg: George Brazillier, Inc. : The Pierpont Morgan Library.
In the Vijayanagara empire, architectural traits can be clearly linked to several different cultures; one such example is the Lotus Mahal.
By Tom Kvilhaug
A depiction of a formidable creature created with high attention to detail and a great deal of skill, to depict a scene yet depicts a clear scene or snapshot of the social elite of the Middle Ages.
The Expulsion of Adam and Eve was depicts Adam and Eve being expelled from the Garden of Eden and is just one part of a larger piece located inside the church of Santa Maria del Carmine in Florence. This fresco uses primary colors and shadows to bring out the dramatic feel in this piece. Masaccio focused a lot of his detail work in the folds of the angels clothing and in the bodies of both his nude subjects. Both the pinkish red and the blue were dominantly used during the time and commonly used in other fresco from various artist during the Renaissance. In comparison to other pieces of art during the Renaissance Masaccio’s Expulsion of Adam and Eve uses a lot of the same techniques and similar color pallet. The artist wants us to see and feel the pain of Adam and Eve by using dramatic gestures in their faces and body language. He uses directional lighting and contrast to create a greater sense of realism in his piece. Also by using heavy brush strokes and thick shading added to the realism. The sadness in the faces of Adam and Eve tell their story which is part of the book of Genesis after the Fall. It is in Santa Maria Del Carmine on the opposing wall in the chapel showing the Temptation of Adam and Eve. Being the fact that Masaccio pick one scene from the book of Genesis ties this work of art to the importance to its culture. His work came to influence other famous works of art like Il Divino and his famous Sistine chapel frescoes particularly Michelangelo's ceiling “The Fall of Man and the Expulsion from the Garden of Eden”. The nudity displayed in the Expulsion is also a characteristic of renaissance art that trends through to other works of art during the Renaissance. Work Cited "Expulsion from the Garden of Eden." Artble. N.p., n.d. Web. 24 Nov. 2015. "Expulsion From the Garden of Eden (1426-7)." Expulsion of Adam and Eve From the Garden of Eden, By Masaccio: Interpretation, Analysis. N.p., n.d. Web. 24 Nov. 2015. "Masaccio’s Expulsion of Adam and Eve from Eden," in ItalianRenaissance.org, August 2, 2012,
The Merode Altar Piece is a religous triptych dating from the Netherlands between 1425- 1428. It's a set of three oil paintings the center one being the dominattly larger one but is about 25 x 46 inches in size. The painting is by Robert Campin who was known as the "Master of Flemish Painting," at the time.
Ten bronze cast panels depict scenes from the Old Testament in splendid detail.
Donatello’s relief sculpture Feast of Herod, has changed the way linear perspective was presented within sculptures.
The tropical feathers within the headdress are supposed to present Aztec culture, the feathers lined at the top of the headdress are the exotic quetzal which is a bird. This bird inhabits the central Americas of the modern-day, most headdresses generally are for the more privileged and the prestige within the Aztec society. This included people of upper classes of all kinds, royalty such as religious leaders, warriors, and much other nobility. The headdresses also exemplified symbols and rituals, so additional parts of the headdress are customized for light workers who lead the rituals
Guan Yu Captures General Pang De was an ink painting on a silk hanging scroll which shows General Guan Yu humiliating General Pang De after a great battle.
A portrait depicting marriage through symbolization, and a new style of early Flemish Renaissance art.
This piece typifies 15th century Flemish painting through the vibrant materialism and unsurpassed technical skill shown on the canvas with van Eyck’s use of oil paints.
The Emerald Buddha was a religious symbol that established wealth, power and created a status for the palace in which it was displayed.
A portrait commissioned by its Flemish patron that draws importance to secular works as a new style for the Early Renaissance.
Rogier Van Der Weyden was a Flemish painter who was commissioned to paint this center panel of a triptych for the church of Notre-Dame. It resembles a relief carving or shallow theatrical stage in which the figures act out the sorrow and drama of Christ’s death.
This early Flanders oil and tempera painting uses advanced techniques to portray the scene of Saint Luke as he paints the Virgin Mary’s portrait, and incorporates distinct Flemish characteristics.
Fresco created by the Dominican monk patronized by the Medici for the Convent San Marco in Florence Italy.
An important Aztec goddess, this statue of Coatlicue is a terrifying depiction of her glory.
Tlaloc was the god of water, rain and agriculture in the Aztec pantheon of Gods.
This painting exemplifies the values around the painting style and execution of this time period with immaculate texture and detail. This painting also shows the significance of religion with its Christian content and regality at play.
Bronze statue that stood for the city of Florence under the reign of the Medici.
A great example of the painting style from the Muramachi period in Japan, "Winter Landscape" captures Tōyō's unique style.
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