Characteristics of Trecento
weighty, three-dimensional bodies attempts to
construct illusion of depth attention to the effects of
natural light greater emotional expression
tempera paint
pigment and egg using on parchment (animal skin) or on wood panels
pros of tempera
even, matte finish expansive palette dries
quickly
cons of tempera
hard to mix pigments dies quickly--doesn't blend
opaque--cant layer to build colors
Artist
Name
Date
Period
Location
Medium
Giotto
Madonna Enthroned
1310
Trecento
Florence, Italy
tempera and gold leaf on wood
Artist
Name
Date
Period
Location
Medium
Giotto
Last Judgement, Arena Chapel
1305-1306
Trecento
Padua, Italy
fresco
fresco
pigment and wet plaster usually on walls
pros of fresco
durable (effectively permanent) matte finish
lends itself to a monumental scale
cons of fresco
limited palette climate affects painting process
Artist
Name
Date
Period
Location
Medium
Giotto
Lamentation, Arena Chapel
1305-1306
Trecento
Padua, Italy
fresco
Artist
Name
Date
Period
Location
Medium
Duccio
Madonna and Child Enthroned with Saints, Maesta
1308-1311
Trecento
Siena, Italy
tempera and gold leaf on wood
Artist
Name
Date
Period
Location
Medium
Pietro Lorenzetti
Birth of the Virgin
1342
Trecento
Siena, Italy
tempera on wood
Characteristics of Early Northern Renaissance
increased naturalism interest in capturing qualities
of an object in precise and microscopic detail details
often given symbolic meaning rise of secular subjects
new media: oil paint and printmaking
Artist
Name
Date
Period
Location
Medium
Limbourg Brothers;
January, from Les Tres Riches Heures du Duc de Berry
1413-1416
Early Northern Renaissance
Paris, France
colors and ink on vellum
Book of Hours
devotional book that lays out daily prayers and special songs
Artist
Name
Date
Period
Location
Medium
Jan van Eyck
Ghent Alarpiece
1432-1432
Early Northern Renaissance
Ghent, Belgium
oil on wood
oil painting
pigment and oil on wood panels and canvas
pros of oils
reflective finish--allows greater naturalism
translucent--allows layering to build colors dries
slowly--allows blending expansive palette richer
colors paint in microscopic detail
cons of oils
dries slower--takes longer time to complete
Artist
Name
Date
Period
Location
Medium
Jan van Eyck
Giovanni Arnolfini and His Wife
1434
Early Northern Renaissance
Bruges, Belgium
oil on wood
Artist
Name
Date
Period
Location
Medium
Hugo van der Goes
Adornation of the Shepard
1473-1478
Early Northern Renaissance
Florence, Italy
tempera and oil on wood
engraving process
image incised onto a metal plate with a burin ink is
pushed into the grooves the image is transferred to paper
using a printing press
Artist
Name
Date
Period
Location
Medium
Martin Schongauer
Saint Anthony Tormented by Demons
1480
Early Northern Renaissance
Germany
engraving
Artist
Name
Date
Period
Location
Medium
Sandro Botticelli
Birth of Venus
1484-1486
Early Italian Renaissance
Florence, Italy
tempera on canvas
Artist
Name
Date
Period
Location
Medium
Lorenzo Ghiberti
Isaac and His Sons, Gates of Paradise
1425-1452
Early Italian Renaissance
Florence, Italy
gilded bronze
Sculpture relief
sculpted image projects from a flat surface (subtractive or
additive) low relief or high relief
Artist
Name
Date
Period
Location
Medium
Donatello
David
1440-1460
Early Italian Renaissance
Florence, Italy
bronze
sculpture freestanding
fully in the round, 3D can be additive (casting,
molding) or subtractive (carving)
Artist
Name
Date
Period
Location
Medium
Masaccio
Expulsion of Adam and Eve from Eden,
1424-1427
Early Italian Renaissance
Florence, Italy
fresco
Artist
Name
Date
Period
Location
Medium
Masaccio
Holy Trinity, Santa Maria Novella
1424-1427
Early Italian Renaissance
Florence, Italy
fresco
Artist
Name
Date
Period
Location
Medium
Andrea del Castagno
Last Supper
1447
Early Italian Renaissance
Florence, Italy
fresco
Artist
Name
Date
Period
Location
Medium
Domenico Ghirlandaio
Birth of the Virgin, Cappella Maggiore
1485-1490
Early Italian Renaissance
Florence, Italy
fresco