Giotto, Madonna Enthroned, 1310, Proto-Renaissance 1) Giotto is referred to as "the Father of Western Art" for his innovative naturalism, as showcased in the womanization of Mary, overlapping of angels in a ground line, and style of holding of Jesus 2) Painted in a Byzantine style, as indicated by the gold leaf background, plate-like halos, and elongated bodily and facial features (esp. the nose) 3) A maesta, for it portrays a Virgin Mary holding a baby Jesus, surrounded by angels and saints

Bonaventura Berlinghieri, Saint Francis Altarpiece, 1235, Proto-Renaissance 1) This is the earliest dated portrait of St. Francis, who was the founder of the monastic Franciscan order  2) An altarpiece that served as a backdrop for mass 3) Berlinghieri depicted St. Francis with stigmata, flanked by depictions of how he received the wounds (Francis was the first person to receive the stigmata when angels came down and shot him during prayer)

Giotto, The Lamentation, 1305, Proto-Renaissance 1) This extra-biblical painting rejected the Byzantine traditions of a gold leaf background and elongated faces while maintaining the gold plate-like halos 2) Famous for a new, dynamic level of emotion in expressive body language and facial expressions  3) Implied lines toward Jesus naturally draw the audience's eyes to him (the tree in the back is the tree of knowledge, which can die finally after Adam and Eve's fall of man being forgiven by Jesus' sacrifice)

Campin, Merode Altarpiece, 1425-1428, Early Northern Renaissance 1) A donor portrait; the man and woman in the left panel commissioned Campin to paint this triptych for their home 2) Depicts the annunciation, where the angel Gabriel informs Mary of her Immaculate Conception. Mary is shown as the sweet, humble, and pious "Virgin of Humility," sitting low by her lilies of purity and reading the Bible 3) Used intuitive perspective, which means to "eyeball" space in art

Jan van Eyck, Giovanni Arnolfini and His Wife, 1434, Early Northern Renaissance  1) van Eyck was one of the first painters to be able to depict gold and jewels in paint, as opposed to gluing gold leaf or semiprecious jewels -- evidenced in the chandelier and clock on the wall 2) possibly depicting a marriage ceremony or contract (evidenced by the removed shoes indicating that the figures are standing on a sacred ground, the dog symbolizing loyalty and fidelity, and the red background simultaneously signifying passion and warding off red illnesses (fever, miscarriage, etc.)) 3) possibly a commemorative portrait in honor of Giovanni's dead wife (evidenced by the unlit candles on the woman's side, doll-like portrayal of the woman (likely made from a death mask), and back mirror splitting the scenes leading up to Jesus's crucifixion on Giovanni's side and dead Jesus on the woman's side)

Rogier van der Weyden, Deposition, 1435, Early Northern Renaissance  1) Altarpiece made for the archer's guild, as indicated by the bows and arrows in the painting 2) van der Weyden was famous for his dynamic compositions that stressed human action and drama (i.e. dramatic lines and contours of Jesus and Mary's bodies that reflect each other) 3) Contains a momento mori, an artistic or symbolic reminder of the inevitability of death

Lorenzo Ghiberti, Sacrifice of Isaac, 1401-1402, Early Italian Renaissance  1) finalist piece in competition for the panels in the east doors of the Florentine Baptistery 2) Depicts the biblical tale of a father, Abraham, sacrificing his only biological son, Isaac, in accordance with God's orders 3) Isaac has a very classicized body, which means to follow the classical style of depicting a stoic, idealized, heroic nude (in the 15th century, artists began reverting to the classical Greco-Roman style of depicting the nude)

Donatello, Saint Mark, 1411-1413, Early Italian Renaissance 1) Donatello was the first artist since antiquity to reintroduce the contrapposto (a natural shift in weight in a standing position) stance to a statue  2) Commissioned by the linenmaker/tailors' guild for their patron saint (signified in the lines of Mark's clothing and the intricate pillow he's standing on) 3) St. Mark was a gospel writer and is depicting holding his gospel

Donatello, David, ca. 1440-1460, Early Italian Renaissance 1) The first free-standing bronze nude statue since antiquity 2) Commissioned by the powerful, wealthy Medici family as a symbol of Florence (as the city prided itself on being a republic -- they removed tyrants) 3) Notable for the emphasis on David's youth, made explicit by his hat and long hair. The nudity was justified as "I have God on my side, I need no armor" and to show heroic moral virtue and excellence, as nudity did during classical times

Masaccio, Holy Trinity, 1424-1427, Early Italian Renaissance 1) The first fully-developed painting done in one-point linear perspective (a system that uses lines to create the illusion of depth in 2D artwork, formulated by Brunelleschi) 2) Momento mori at the base of the crucifix symbolizes that Adam was buried where Christ was cruxified 3) Roman barrel vault to signify the triumph of Christianity over paganism

Fra Angelico, Annunciation, 1438-1447, Early Italian Renaissance 1) The usual symbols for annunciation (such as Mary's lilies, olive branch, or book) are not shown as the main audience for this painting was monks, who did not need the indication 2) Showed a dual nature of style: a return to the rich Byzantine tradition modernized by the usage of perspective 3) The background is set in the monastery of San Marco, likely intended to help the monks connect to their spirituality

Domenico Ghirlandaio, Giovanna Tornbuoni, 1488, Early Italian Renaissance 1) The figure is guessed to be Giovanna Tornabuoni from Ghirlandaio's The Visitation in the Santa Maria Novella, which portrays an essentially identical woman who was identified by a medallion 2) Portraiture, such as this piece, came from the merchant class's wealth-enabling commission of secular faces (Giovanna was from a very wealthy merchant family) 3) Image indicates her character and wealth -- posture indicative of rightness and fortitude; clothes symbolic of money, beauty, and family colors

Sandro Botticelli, Birth of Venus, 1482, Early Italian Renaissance 1) First painting of a mythological scene since antiquity 2) Venus is a reference to Mary (neoplatonic parallels between Christianity and paganism lie in the Mary's love for the church and Venus being the goddess of love) 3) Given the religious context of the time, Botticelli becamea radical artist as he created an entirely new kind of art that was purely fantasy

Jan van Eyck, Ghent Altarpiece (closed), 1432, Early Northern Renaissance 1) Depicts the annunciation, signified by Mary's lilies indicating purity, her reading of the Bible, Gabriel, and the dove as the Holy Spirit) 2) Donor portrait of Jodocus Vyd, the mayor of Ghent, and his wife -- the praying figures in the bottom cloaked in red 3) Figures in the top panels are prophets (as indicated by the scrolls) along with Sibyl, who mentioned the coming of a savior while providing oracles and prophecies

One of the first artists to begin to break away from the Italo-Byzantine style that dominated Italian painting was _________. Cimabue

Giotto’s Madonna Enthroned Altarpiece marks the end of medieval painting in Italy and the beginning of a new _________ approach to art. Naturalistic

The works of Duccio di Bouninsegna are the supreme examples of 14th-century ____________ art. Sienese

The increased wealth of the merchant class contributed to an expanded market for __________________art in addition to religious artworks. Secular

The artist ___________ played a major role in establishing portraiture as an important Flemish art form. Jan van Eyck

The Florentines considered the baptistery doors commission very prestigious because the east entrance to the baptistery faced the _____________. Cathedral

With the development of ____________, Quattrocento artists acquired a way to make the illusion of distance certain and consistent. Linear perspective

The first Renaissance sculptor to portray the nude male figure in statuary was ____________. Donatello

Fra Filippi Lippi’s primary interest was not in space but in _________, which unifies the composition and contributes to the precise and smooth delineation of forms. Line

The appeal of Greek and Latin literature to the elite families of Quattrocento Florence is most evident in the paintings produced by _______________. Sandro Botticelli