Renaissance Art Is Often Associated With the Art of Which Country? England Italy Germany France

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 every bit the Renaissance, which emerged as a distinct fashion in Italian republic in virtually AD 1400, in parallel with developments which occurred in philosophy, literature, music, scientific discipline, and technology. Renaissance fine art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific cognition. Forth with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern historic period.

The trunk 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 than individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt pause with medieval values, as is suggested past the French discussion renaissance, literally meaning "rebirth". Rather, historical sources propose that interest in nature, humanistic learning, and individualism were already nowadays in the tardily medieval period and became dominant in 15th- and 16th-century Italia, concurrently with social and economic changes such equally the secularization of daily life, the ascent of a rational money-credit economy, and profoundly increased social mobility. In many parts of Europe, Early on Renaissance fine art was created in parallel with Late Medieval art.

Origins [edit]

Many influences on the development of Renaissance men and women in the early 15th century accept been credited with the emergence of Renaissance art; they are the same as those that afflicted philosophy, literature, architecture, theology, science, authorities and other aspects of society. The post-obit list presents a summary of changes to social and cultural conditions which take been identified every bit factors which contributed to the evolution of Renaissance art. Each is dealt with more fully in the principal articles cited in a higher place. The scholars of Renaissance period focused on present life and ways to brand human life evolve and improve in its entirety. They did not pay much attention to medieval philosophy or organized religion. During this menstruation, scholars and humanists like Erasmus, Dante and Petrarch criticized superstitious beliefs and too questioned them. ^[ii] The concept of education too widened its spectrum and focused more on creating 'an ideal man' who would have a fair agreement of arts, music, poetry and literature and would take the power to appreciate these aspects of life. During this period, at that place emerged a scientific outlook which helped people question the needless rituals of the church building.

Classical texts, lost to European scholars for centuries, became available. These included documents of philosophy, prose, poetry, drama, science, a thesis on the arts, and early Christian theology.
Europe gained access to avant-garde mathematics, which had its provenance in the works of Islamic scholars.
The advent of movable blazon printing in the 15th century meant that ideas could exist disseminated easily, and an increasing number of books were written for a broader public.
The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian metropolis, Florence.
Cosimo de' Medici set up a new standard for patronage of the arts, not associated with the church or monarchy.
Humanist philosophy meant that man's human relationship with humanity, the universe and God was no longer the exclusive province of the church.
A revived interest in the Classics brought well-nigh the showtime archaeological written report of Roman remains by the architect 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 as early as the 1420s in the paintings of Masaccio and Uccello.
The comeback of oil paint and developments in oil-painting technique by Belgian artists such as Robert Campin, Jan van Eyck, Rogier van der Weyden and Hugo van der Goes led to its adoption in Italy from most 1475 and had ultimately lasting effects on painting practices worldwide.
The serendipitous presence inside the region of Florence in the early on 15th century of certain individuals of artistic genius, most notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the peachy masters of the Loftier Renaissance, likewise as supporting and encouraging many lesser artists to achieve work of boggling quality.^[iii]
A like heritage of creative accomplishment occurred in Venice through the talented Bellini family unit, their influential in-constabulary Mantegna, Giorgione, Titian and Tintoretto.^[iii] ^[four] ^[5]
The publication of 2 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 late 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 past 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, 3-dimensional, lifelike and classicist, when compared with that of his contemporaries and instructor Cimabue. Giotto, whose greatest work is the wheel of the Life of Christ at the Arena Chapel in Padua, was seen by the 16th-century biographer Giorgio Vasari as "rescuing and restoring art" from the "rough, traditional, Byzantine way" prevalent in Italy in the 13th century.

Early Renaissance in Italy, 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 not to emerge in Florence until 1401 with the competition to sculpt a prepare of statuary doors of the Baptistery of Florence Cathedral, which drew entries from 7 young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, most famous as the architect 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 idea to have influenced the painter Masaccio. Donatello became renowned as the greatest sculptor of the Early Renaissance, his masterpieces being his humanist and unusually erotic statue of David, one of the icons of the Florentine republic, and his great monument to Gattamelata, the first large equestrian bronze to be 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 trend towards solidity of class and naturalism of face and gesture that Giotto had begun a century earlier. From 1425–1428, Masaccio completed several console paintings but is best 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 treatment of the elements of perspective and light in painting was of particular concern to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an advent of perspective that, co-ordinate to Giorgio Vasari, information technology disturbed his sleep. His solutions can exist seen in his masterpiece set of three paintings, the Battle of San Romano, which is believed to have been completed past 1460. Piero della Francesca fabricated systematic and scientific studies of both calorie-free and linear perspective, the results of which can be seen in his fresco cycle of The History of the Truthful 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, perchance about 1450. He carried this technique north and influenced the painters of Venice. One of the most meaning painters of Northern Italian republic was Andrea Mantegna, who busy 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 space.

The terminate period of the Early Renaissance in Italian art is marked, similar its kickoff, by a item commission that drew artists together, this time in cooperation rather than competition. Pope Sixtus IV had rebuilt the Papal Chapel, named the Sistine Chapel in his honor, 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 sixteen large 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 large Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.

Early Netherlandish art, 1425–1525 [edit]

The painters of the Low Countries in this menstruum included Jan van Eyck, his blood brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed partly independently of Early Italian Renaissance painting, and without the influence of a deliberate and conscious striving to revive antiquity.

The fashion of painting grew directly out of medieval painting in tempera, on panels and illuminated manuscripts, and other forms such as stained glass; the medium of fresco was less mutual 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 cloth lent itself to the depiction of tonal variations and texture, so facilitating the ascertainment of nature in great detail.

The Netherlandish painters did not approach the cosmos of a picture 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 treatment of material elements, both natural and human being-made. Jan van Eyck, with his brother Hubert, painted The Altarpiece of the Mystical Lamb. It 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 it was to take a profound influence on many painters, most immediately Domenico Ghirlandaio, who painted an altarpiece imitating its elements.

A very significant Netherlandish painter towards the terminate of the catamenia was Hieronymus Bosch, who employed the blazon of fanciful forms that were often utilized to decorate borders and letters in illuminated manuscripts, combining plant and animal forms with architectonic ones. When taken from the context of the illumination and peopled with humans, these forms give Bosch's 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 French republic, 1375–1528 [edit]

The artists of French republic (including duchies such as Burgundy) were frequently associated with courts, providing illuminated manuscripts and portraits for the nobility too as devotional paintings and altarpieces. Among 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 imperial courtroom, visited Italia in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although all-time known for his portraits such equally that of Charles VII of France, Fouquet also created illuminations, and is idea to exist the inventor of the portrait miniature.

There 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 two enigmatic figures, Enguerrand Quarton, to whom is ascribed the Pieta of Villeneuve-lès-Avignon, and Jean Hey, otherwise known equally "the Master of Moulins" after his about famous work, the Moulins Altarpiece. In these works, realism and close ascertainment of the man figure, emotions and lighting are combined with a medieval formality, which includes gilt 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, anatomy, 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 paint every bit his primary media meant that he could describe light and its effects on the landscape and objects more naturally and with greater dramatic effect than had ever been done before, as demonstrated in the Mona Lisa (1503–1506). His autopsy of cadavers carried frontward the understanding of skeletal and muscular anatomy, every bit seen in the unfinished Saint Jerome in the Wilderness (c. 1480). His depiction of human being emotion in The Last Supper, completed 1495–1498, prepare the benchmark 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 ascertainment of any natural object except the human body. He perfected his technique in depicting it, while in his early on twenties, by the creation of the enormous marble statue of David and the grouping Pietà, in the St Peter's Basilica, Rome. He and then set about an exploration of the expressive possibilities of the human being anatomy. His committee by Pope Julius II to pigment the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative limerick, which was to take profound effect on every subsequent generation of European artists.^[half-dozen] His later work, The Terminal Judgement, painted on the altar wall of the Sistine Chapel between 1534 and 1541, shows a Mannerist (also called Late Renaissance) style with mostly elongated bodies which took over from the Loftier Renaissance style betwixt 1520 and 1530.

Standing alongside Leonardo and Michelangelo as the third peachy painter of the High Renaissance was the younger Raphael, who in a brusk lifespan painted a keen number of life-like and engaging portraits, including those of Pope Julius II and his successor Pope Leo 10, 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 be the terminate of the High Renaissance period, although some individual artists continued working in the High Renaissance style for many years thereafter.

In Northern Italia, the High Renaissance is represented primarily by members of the Venetian school, especially by the latter works of Giovanni Bellini, especially religious paintings, which include several large altarpieces of a type known as "Sacred Conversation", which show a group of saints effectually the enthroned Madonna. His contemporary Giorgione, who died at about 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 human activeness and drama with spectacular color and atmosphere. Titian continued painting in a generally High Renaissance way until about the terminate of his career in the 1570s, although he increasingly used colour and calorie-free over line to define his figures.

German Renaissance art [edit]

German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance. Renaissance influences began to appear in German art in the 15th century, but this trend was non widespread. Gardner's Fine art Through the Ages identifies Michael Pacher, a painter and sculptor, as the start German artist whose work begins to show Italian Renaissance influences. According to that source, Pacher'due south painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c. 1481), is Late Gothic in way, but also shows the influence of the Italian creative person Mantegna.^[vii]

In the 1500s, Renaissance fine art in Germany became more common as, according to Gardner, "The art of northern Europe during the sixteenth century is characterized past a sudden awareness of the advances fabricated past the Italian Renaissance and by a desire to assimilate this new style as rapidly as possible."^[eight] Ane of the best known practitioners of German Renaissance art was Albrecht Dürer (1471–1528), whose fascination with classical ideas led him to Italy to report art. Both Gardner and Russell recognized the importance of Dürer'southward contribution to German art in bringing Italian Renaissance styles and ideas to Germany.^[9] ^[10] Russell calls this "Opening the Gothic windows of German art,"^[9] while Gardner calls it Dürer'south "life mission."^[ten] Chiefly, every bit Gardner points out, Dürer "was the first northern creative person who fully understood the basic aims of the southern Renaissance,"^[10] although his style did not always reverberate that. The same source says that Hans Holbein the Younger (1497–1543) successfully assimilated Italian ideas while also keeping "northern traditions of close realism."^[11] This is contrasted with Dürer'southward tendency to piece of work in "his own native German language style"^[10] instead of combining German and Italian styles. Other important artists of the German Renaissance were Matthias Grünewald, Albrecht Altdorfer and Lucas Cranach the Elderberry.^[12]

Artisans such equally engravers became more concerned with aesthetics rather than merely perfecting their crafts. Federal republic of 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 supersede the woodcut during the Renaissance.^[thirteen] Nonetheless, some artists, such as Albrecht Dürer, continued to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts, with Russell stating in The Globe of Dürer that Dürer "elevated them into high works of art."^[ix]

United kingdom of great britain and northern ireland [edit]

United kingdom of great britain and northern ireland was very tardily to develop a singled-out Renaissance style and almost artists of the Tudor court were imported foreigners, commonly from the Low Countries, including Hans Holbein the Younger, who died in England. One exception was the portrait miniature, which artists including Nicholas Hilliard developed into a distinct genre well before it became popular in the rest of Europe. Renaissance 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 individual devotion were very popular. For inspiration, painters in both Italy and northern Europe frequently turned to Jacobus de Voragine's Gold Fable (1260), a highly influential source volume 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 case, were very pop. Decorative ornament, ofttimes used in painted architectural elements, was specially influenced past classical Roman motifs.

Techniques [edit]

The utilise of proportion – The first major handling of the painting equally a window into infinite appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic presentation of art, it moved Renaissance painters into composing more paintings.
Foreshortening – The term foreshortening refers to the artistic consequence of shortening lines in a drawing and so equally to create an illusion of depth.
Sfumato – The term sfumato was coined by Italian Renaissance artist 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 employ of thin glazes to give the illusion of depth or iii-dimensionality. This stems from the Italian discussion sfumare pregnant to evaporate or to fade out. The Latin origin is fumare, to smoke.
Chiaroscuro – The term chiaroscuro refers to the fine art painting modeling effect of using a stiff contrast between low-cal and night to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning low-cal (chiaro) and nighttime (scuro), a technique which came into broad utilize in the Baroque period.

Listing 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)

Depression 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 Elderberry (c. 1460 – 1524)
Matthias Grünewald (c. 1470 – 1528)
Albrecht Dürer (1471–1528)
Lucas Cranach the Elderberry (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)

France [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)

Kingdom of 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 (modern 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, past Hubert and January van Eyck
The Arnolfini Portrait, by Jan van Eyck
The Werl Triptych, by Robert Campin
The Portinari Triptych, past 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 Last Supper, by Leonardo da Vinci
The School of Athens, by Raphael
Sistine Chapel ceiling, past Michelangelo
Equestrian Portrait of Charles V, 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, French republic
National Gallery of Art, Washington, USA
Gemäldegalerie, Berlin, Germany
Rijksmuseum, Amsterdam
Metropolitan Museum of Fine art, New York Urban center, USA
Royal Museums of Fine Arts of Belgium, Belgium, Brussels
Groeningemuseum, Bruges, Kingdom of belgium
Old St. John'southward Hospital, Bruges, Belgium
Bargello, Florence, Italia
Château d'Écouen (National museum of the Renaissance), Écouen, France
Vatican museums, State of the vatican city
Pinacoteca di Brera, Milan, Italy

Run into besides [edit]

Danube school
Forlivese schoolhouse of art
History of painting
Mughal art
Oriental carpets in Renaissance painting
Lives of the Virtually Fantabulous Painters, Sculptors, and Architects

References [edit]

^ "Renaissance". encyclopedia.com. June 18, 2018. {{cite web}}: CS1 maint: url-status (link)
^ "What were the impacts of Renaissance on fine art, architecture, science?". PreserveArticles.com: Preserving Your Articles for Eternity. 2011-09-07. Retrieved 2021-ten-19 .
^ ^a ^b Frederick Hartt, A History of Italian Renaissance Art, (1970)
^ Michael Baxandall, Painting and Experience in Fifteenth Century Italy, (1974)
^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
^ https://www.laetitiana.co.uk/2014/07/introduction-to-renaissance-movement.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 Brace Jovanovich. p. 555. 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. 556–557. ISBN0-fifteen-503753-six.
^ ^a ^b ^c Russell, Francis (1967). The World of Dürer . Time Life Books, Fourth dimension 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 (6th ed.). New York: Harcourt Brace Jovanovich. pp. 561. ISBN0-fifteen-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 Caryatid Jovanovich. pp. 564. ISBN0-15-503753-6.
^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (sixth ed.). New York: Harcourt Caryatid 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. ISBN0-15-503753-6.

External links [edit]

The Early Renaissance
"Limited Freedom", Marica Hall, Berfrois, 2 March 2011.

blanchardowbet1987.blogspot.com

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