Renaissance Unit

Albrecht Durer

- became first Renaissance celebrity of his time - took trips to Italy to incorporate Italian renaissance features in his art - synthesized Northern European stylistic features (intricate detail, realistic rendering, symbols hidden as everyday objects) and blended with Italian (classical body types, linear perspective) - first artist to keep record of his life - Known for engravings - influenced by Protestant Reformation and Martin Luther (lack of civic commissions) - determined to look inward and explore human soul

Filippo Brunelleschi

- lost Baptistery doors competition to Ghiberti - continued his artwork yet switched focus to architecture - built Ospedale Delgi Innocente,an orphanage, first Renaissance building with classically inspired, orderly design, and austere color scheme - built Santo Spirito = basilican church showcasing mathematical clarity and austere decor using a central plan - built Pazzi Chapel, a rectangular central plan chapel, with all emphasis on dome-covered space at heart of building

Well of Moses

CLAUS SUTER, Well of Moses, Dijon, France, early 15th century, Early Northern Renaissance, limestone - made for Philip the Bold, duke of Burgundy - symbolic fountain of life serving as water source for monastery - 6 figures recalling French Gothic jamb statues but are far more realistic with portraitlike faces and distinct individual personalities and costumes - much more naturalistic than past

Genre paintings

Examples: PETER BRUEGEL series of 12 seasonal paintings including the Hunters in the Snow and the Harvesters,

Deposition

ROGIER VAN DER WEYDEN, Deposition, 15th century, Early Northern Renaissance, central panel of triptych, Belgium, OIL on wood - resembles relief carving in which biblical figures act out drama of passionate sorrow as if on a shallow theatrical stage - unforgettable emotional impression *tableau vivant = "painting coming to life"

Man in a Red Turban

- JAN VAN EYCK, Man in a Red Turban, 15th century, Early Northern Renaissance, OIL on wood - first known Western painted portrait since antiquity in which sitter looks directly at viewer to deeply impress viewer - eyes return viewer's gaze from all angles - realism/specificity of portrait (aged skin, bloodshot eyes) - possibly a self portrait due to inscribed frame

The Hundred Years' War

1337 - 1453 - mostly involved France, Italy, and Flanders (northern region consisting of Belgium, Netherlands Luxembourg, and part of N. France) - series of military conflicts mostly between England and France

Fall of Man

ALBRECHT DURER, Fall of Man (Adam and Eve), 16th century, High Northern Renaissance, ENGRAVING - figures based on ancient classical statues - reflects Durer's studies of Vitruvian theory of human proportions - drama/tension between subjects - more modesty than in Italian Renaissance art (leaves covering genitals)

Four Apostles

ALBRECHT DURER, Four Apostles, 16th century, High Northern Renaissance, oil - supported Protestant Reformation through positioning of saints - St. Peter, representing Catholic pope, behind St. John the Evangelist, who valued the bible - bible = only source of Christian truth - Bible's centrality depicted by John 1:1 "In the beginning, the word was God"

Great Piece of Turf

ALBRECHT DURER, Great Piece of Turf, 16th century, High Northern Renaissance, watercolor - attention to line and detail of the natural world - new medium?

Self-Portrait (Durer)

ALBRECHT DURER, Self-Portrait, 1500, High Northern Renaissance, OIL - Durer presents himself as a frontal Christian-like figure reminiscent of medieval icons - image of artist as divinely inspired artist, never seen before - huge mixing of secular/religious (here and now) as contemporary artist depicted himself divine

South doors of Baptistery of San Giovanni

ANDREA PISANO, South doors of Baptistery of San Giovanni, Florence, Italy, 14th century, Proto-Renaissance, gilded bronze (contrast with Gates of Paradise) - French gothic quatrefoil frames - lower eight depict Christian values, rest represent life of Saint John the Baptist source = French Gothic but composition similar to that of Giotto

Ceiling of the Newly Weds

ANDREW MATEGNA, Ceiling of the Camera Picta (Painted Chamber) or Newly Weds, Italy, 15th century, Early Italian Renaissance, fresco di sotto in su (from below upward) = illusionistic ceiling painting - first perspective view of a ceiling from below - figures gaze down into room from a painted oculus (eye) opening onto a blue sky

Foreshortened Christ (Lamentation over the Dead Christ)

ANREA MANTEGNA, Foreshortened Christ, ca. 1500, Early Italian Renaissance?, Tempera on canvas - overwhelming emotional power of very sad biblical event - foreshortening, unusual angle but not completely accurate bc Christ's foot size is greatly reduced * stigmata = crucifixion wounds

Florence Cathedral

ARNOLFO DI CAMPO and others, Florence, Italy, begun in 1296, dome completed in 1436 by FILIPPO BRUNELLESCHI - Florence Duomo's marble revetment carries on Tuscan Romanesque arch tradition, linking basilican church with antiquity rather than Gothic manner - Giotto designed campanile, bell tower, standing apart from church like before but Giotto divided tower into cubic sections and acts as sum of component parts (forecasts Renaissance) - biggest brick dome in world

Effects of Good Government in the City and in the Country

Ambrogio Lorenzetti, Effects of Good Government in the City and in the Country, mid 14th century, Proto-Renaissance, Siena, Italy, Fresco. - illusionistic panorama of the bustling city serving as an allegory to the benefits of good government - countryside painting is one of first instances of landscape painting in Western art since antiquity

Palazzo Farnese

Antonio Da Sangallo The Younger, Palazzo Farnese, Rome, Italy, 15th century, High Italian Renaissance, completed by Michelangelo Buonarroti - Civic commission by Pope Paul III - Very symmetrical, clean composition - Broad, majestic, showing wealth and status of family - Courtyard fully expresses order, regularity, simplicity, and dignity of High Renaissance architectural style

First Female Self-Portrait

Caterina van Hemessen, Self-portrait, 16th century, High Northern Renaissance, oil??

Giovanna Tornabuoni

DOMENICO GHIRLANDAIO, Giovanna Tornabuoni, 15th century, early Italian renaissance, oil and tempera on wood - Portrait concentrates on and reveals wealth and courtly manners of potential wife - used older format of portraiture with profile view - poetic quote in background shows emphasis of classical literature held for Italian humanists

David by Donatello

DONATELLO, David, 15th century, Early Italian Renaissance, Florence, Italy, bronze - patrons = Medici - revival of classical statuary style: relaxed contrapposto and return of beauty of nude Greek heroes - David = symbol of Florence - Goliath's head at David's feet highlights individual triumph/accomplishment and human potential

Gattamelata

DONATELLO, Gattamelata, Padua, Italy, 15th century, Early Italian Renaissance, bronze - based gigantic portrait of Venetian general on equestrian statues of ancient Roman emperors - man and horse convey image of irresistible strength

Tempietto

DONATO D'ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 16th century, High Italian Renaissance - Bramante = first architect to revive classical style - "little temple" inspired by Roman temples - wonderful balance and harmony in relationship of the parts to one another - resembled a Greek tholos (circular shrine) but combo of parts and details were original

Saint Mark

DONNATELLO, Saint Mark, Or San Michele, Florence Italy, Early 15th century, Early Italian Renaissance, marble *CONTRAPPOSTO introduced into Quattrocento sculpture by Donatello - drapery falls more naturally and moves with body - statue carved for guild of linen makers and tailors

Maesta Altarpiece

DUCCIO, Maesta Altarpiece, Siena, Italy, Early 14th century, Proto-Renaissance, tempera and gold leaf on wood - Duccio derived formality and symmetry of composition from Byzantine painting - relaxed rigidity and frontality of figures, softened drapery, and individualized faces - on the back of altarpiece, Duccio painted Jesus' passions in 24 scenes on 14 panels

Madonna and Child and Angels

FRA FILIPPO LIPPI, Madonna with the Child and Two Angels, 15th century, Early Italian Renaissance, tempera on wood - represented Mary and Child in distinctly worldly manner, carrying humanization of holy family further than previous artists - Mary modeled after Lippi's mistress, Lucretia; this love affair prevented him from becoming a monk - real landscape in background

Adoration of the Magi

GENTILE DA FABRIANO, Adoration of the Magi, Florence, Italy, 15th century, INTERNATIONAL GOTHIC STYLE, tempera on wood - Gentile = leading Florentine painter working in international style - successfully blended naturalistic details with Late Gothic splendor in color, costume, and framing orientation

Lamentation (Giotto)

GIOTTO, Lamentation, 14th century, Proto-Renaissance, Arena Chapel, Padua, Italy, fresco *Transitional piece from Gothic to Early Renaissance - Jesus off center and in landscape - attention to nature (tree in background) - attempt of perspective (foreshadowing) - not completely frontal, figures facing away from viewer to face subject - psychological intensity between Mary and Jesus

Madonna Enthroned

GIOTTO, Madonna enthroned, early 14th century, Florence, Italy, Proto-Renaissance TRANSITIONAL PIECE from gothic to renaissance in Italy: - displaced Byzantine style in Italy with classical naturalism (can see breasts under robe) - figures have substance, dimensionality, and bulk, giving illusion they could throw shadows - not completely frontal, viewers place all eyes on Mary - Mary still huge, sits on throne of wisdom for Jesus - haloes very Gothic

Witches' Sabbath

HANS BALDUNG GRIEN, Witches' Sabbath, 16th century, High Northern Renaissance, chiaroscuro woodcuts - depicts gathering of witches, fear of many women gathering together leads to witchcraft - hellish, dark feeling to warn people

Hans Memling

HANS MEMLING, diptych of Martin van Nieuwenhove, 15th century, Early Northern Renaissance, OIL - Memling specialized in portraits of wealthy Flemish and foreign patrons and images of the Madonna In his work, Mary appears young, slight, and pretty, holding a doll-like Christ In the diptych above, Mewling uses round convex mirror on the left to unite the two halves of diptych spatially.

Baptistery Door Competition

In Florence 1401, Jsyk the wool guild sponsored competition to redesign Baptistery of Florence doors with the Sacrifice of Isaac. - marks huge shift from Proto-Renaissance to Early Renaissance with Ghiberti's Sacrifice of Isaac - Lorenzo Ghiberti wins over Filippo Brunelleschi

Ghent Altarpiece

JAN VAN EYCK, Ghent Altarpiece, 15th century, Early Northern Renaissance, Ghent, Belgium, OIL on wood (contrast Adam and Eve to The Expulsion by Masaccio in Italy) - huge polyptych of salvation from the original sin of Adam and Eve in which God the Father presides in majesty - Van Eyck uses oil paints to render every detail with loving fidelity to appearance and detail of figures

Giovanni Arnolfini and his wife

JAN VAN EYCK, Giovanni Arnolfini and his Wife, 15th century, Early Northern Renaissance, OIL on wood - Jan Eyck played major role in establishing portraiture as important Flemish art form - married couple portraying Italian financier and his wife - gender roles - woman by bed/house, domestic world and man by window, working world - Hubris of artist - van Eyck portrays himself in mirror - every object in painting has symbolic meaning (ex. dog = fidelity, oranges = fertility)

Etienne Chevalier and Saint Stephen, Virgin and Child

JEAN FOQUET, Melun Diptych (Etienne Chevalier and Saint Stephen, Virgin and Child), 15th century, Early Northern Renaissance, OIL on wood - originally a diptych but now in two different museums - in left, meticulous representation of pious kneeling donor with standing patron saint recalls Flemish painting, as do 3/4 stances and realism of portraits *integration of religious/secular as donors observe Mary and Jesus Agnes Sorel = mistress of King Charles VII and model for Virgin Mary after her death

Santa Maria Novella

LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, Italy, 15th century, Early Italian Renaissance - design for facade of Gothic/Romanesque church features a pediment-capped temple front and pilaster-framed arcades - symmetrical and orderly composition - numerical ratios are basis of proportions of all parts of facade Height = width (square)

Last Supper, Da Vinci

LEONARDO DA VINCI, Last Supper, 1495 - 1498, High Italian Renaissance, Milan, Italy, Oil and tempera on plaster - strong emotion/psychological intensity of Jesus announcing the future betrayal of one of apostles - individualism; all apostles have different gestures, expressions, and appearance - linear perspective (Jesus' head = vanishing point) - civic commission for monastery refectory

Madonna of the Rocks

LEONARDO DA VINCI, Madonna of the Rocks, Milan, Italy, begun 1483, High Italian Renaissance, oil on wood - used gestures and pyramidal composition to unite Virgin, John the Baptist, Christ Child, and an angel - example of CHIAROSCURO (strong yet subtle contrasts of light and dark) - able to have figures share the same environment (huge achievement = manifestation of Leo's scientific curiosity) - use of atmospheric perspective

Mona Lisa

LEONARDO DA VINCI, Mona Lisa, 16th century, High Italian Renaissance, oil on wood *SFUMATO - "misty haziness", subtle adjustment of light and blurring of precise planes - skill of Da Vinci's chiaroscuro and atmospheric perspective present - not just an icon of status; woman has individual personality with self-assurance - subject looks directly at viewer to engage viewer psychologically (women not supposed to look directly at men in this time)

Les Très Riches Heures du Duc de Berry (aka Book of Hours)

LIMBOURG BROTHERS, Les Tres Riches Heures du Duc de Berry, 15th century, International Gothic/Early Northern Renaissance, colors and ink on vellum - full calendar of 12 manuscript illuminations (Book of Hours with prayers) representing 12 months in terms of the associated seasonal tasks, alternating scenes of nobility and peasantry - GENRE PAINTINGS in Book of Hours show increasing integration of religious and secular art - illusionism with care of rendering architectural details and convincing depictions of cast shadows

Gates of Paradise (east doors of Florence Baptistery)

LORENZO GHIBERTI, Gates of Paradise, east doors of Baptistery of San Giovanni, Florence, Italy, 15th century, Early Italian Renaissance, gilded bronze - Ghiberti abandons Gothic quatrefoil frames for biblical scenes and employed painterly illusionistic devices like linear perspective and a bit of atmospheric perspective - much greater sense of depth than previously - however, figures do not occupy architectural space but stand along parallel line

Law and Gospel

LUCAS CRANACH, Law and Gospel, 16th century, High Northern Renaissance, Woodcut - ALLEGORY -> the teachings of Protestant Reformation that only absolute faith can ensure salvation, contrasting to views of the ecclesiastical Catholic teachings - depicts Judgement day: Catholic attempts to attain salvation through good works, clean living, and obedience but fails. Meanwhile Protestants emphasize only God's grace and bible reading as source of redemption

Sant' Andrea

Leon Battista Alberti, West facade of Sant' Andrea, Mantua, Italy, ca. 1470 - Alberti's design for Sant' Andrea reflects study of ancient Roman architecture with design of triumphal arch and a Roman temple front with pediment - criticized traditional basilican plan as impractical and designed church as a single huge hall with independent chapels branching off at right angles - abandoned medieval columnar arcade for nave and instead modeled tremendous vault off of Constantine's Basilica Nova

Demons Tormenting St. Anthony

MARTIN SCHONGAUER, St. Anthony Tormented by Demons, Late 15th century, Early Northern Renaissance, ENGRAVING - prime example of engraving technique in Northern Europe - using a burin to incise lines in copper plate, Schongauer was able to create a marvelous variety of tonal values and textures - printmaking techniques grew in N. Europe due to invention of moveable type and widespread availability of paper in commercial mills

Isenheim Altarpiece

MATTHIAS GRUNEWALD, Isenheim Altarpiece, Hospital of Saint Anthony, Isenheim, Germany, 16th century, High Northern Renaissance, OIL - depicts scenes of both suffering from plague and other diseases as well as scenes of miraculous recovery and healing - Saint Anthony = vengeful disposer of justice but also benevolent healer - warned sick patients to remain devout but also gave them therapeutic hope - color enhances contrast of horror/hope by playing soft tones on shocking dissonances of color

Creation of Adam

MICHELANGELO BUONARROTI, Creation of Adam, detail of ceiling of Sistine Chapel, Vatican, Rome, Italy, 16th century, High Italian Renaissance, fresco - recalls communication between gods and heroes in classical myths Renaissance humanists admired - ceiling of Sistine Chapel took Michelangelo almost four years - commissioned by Pope Julius II

David Michelangelo

MICHELANGELO BUONARROTI, David, Florence, Italy, 16th century, High Italian Renaissance, marble - Pent-up emotion, nervous/scared (real human emotions), not ideally calm - Muscles tightened and tightening sinew show psychology intensity - Emphasis on human potential rather than human triumph; relatable to viewers that if anyone puts enough effort into a goal, he or she can achieve - Inspired by classical nude hero - Attention to details of human anatomy - Compositionally and emotionally connected to an unseen presence beyond statue - Civic commission to Florence's Piazza della Signoria (David = symbol of Florence) - Religious subject but secular themes

Last Judgement

MICHELANGELO BUONARROTI, Last Judgement, Sistine Chapel, Vatican City, Rome, Italy, 16th century, High Italian Renaissance, fresco - as a result of the Protestant Reformation, the Catholics mounted a campaign to counteract the defection of members to Protestantism - Last Judgement has terrifying visions of the fate awaiting sinners - Michelangelo grotesquely painted himself on the flayed skin St. Bartholomew holds - figures = huge and violently twisted

Moses Statue

MICHELANGELO BUONARROTI, Moses, from tomb of Julius II, Rome, Italy, 16th century, High Italian Renaissance, marble - huge amount of pent-up emotion, both emotional and physical, recalling the Hellenistic period - huge size Moses carved for tomb of Julius II

Pietà

MICHELANGELO BUONARROTI, Pietà, 1498 - 1500, High Italian Renaissance, Saint Peter's, Vatican City, Rome, marble - Mary cradles Christ's dead body capturing sadness and beauty of Mary - Mary acts as a throne of wisdom in a way, throwback to Romanesque; also much bigger than Jesus in proportion - controversial because Mary seems younger than her own son

Saint Peter's Vatican City

MICHELANGELO BUONARROTI, Saint Peter's, Vatican City, Rome, Italy, 16th century, High Italian Renaissance - Bramante, original architect, modelled Saint Peter's plan off the Pantheon from Antiquity with central plan - in 1546, Michelangelo took over the construction of Saint Peter's, keeping close to Bramante's plan - Michelangelo thought buildings should follow similar forms as human body, wanting to organize units around central axis - design = unified and cohesive - hemispherical dome to temper verticality of lower floor designs to create balance

The Expulsion of Adam and Eve

Masaccio, The Expulsion of Adam and Eve, 15th century, Early Italian Renaissance, fresco (contrast to Ghent Altarpiece in North) - hazy backgrounds suggest no locale but a space around and beyond figures - strong, intense emotion (human suffering and pain) - leaving Eden driven by angel's will and their own despair, not forced

The Holy Trinity

Masaccio, The Holy Trinity, 15th century, Early Italian Renaissance - ARCHITECTURE: coffered barrel vaults, Roman triumphal arches, fluted Corinthian columns, possible pilasters with ionic volutes - triangular composition - one point linear perspective with vanishing point at the base of the cross

Four Crowned Saints

NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, Early 15th century, Early Italian Renaissance, Florence, Italy, marble - prime example of Renaissance artists' attempt to liberate statuary from architectural setting - civic commission by stone/woodworking for one of nine niches of Or San Michele for Florentine city-state victory against Rome

TOP PATRONS

Northern Patrons (15th century): Dukes of Burgundy (east-central France): - Philip the Bold (Well of Moses) - John Duke the Berry (Les Tres Riches Heures) - Philip the Good used Jan van Eyck as court painter Italy: - Federico da Montefeltro = Duke of Urbino (leading painter = Piero della Francesco) - MEDICI family - Pope Julius II (Sistene Chapel ceiling, School of Athens, responsible for redesigning St. Peters)

Oil vs tempera

Oil takes longer to dry, giving artists more time to rework - better for inserting small details Oil used in North and tempera/fresco used in Italy

Christ Delivering the Keys of the Kingdom to Saint Peter

PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 15th century, Early Italian Renaissance, fresco - fresco depicts biblical event on which papacy bases authority (Saint Peter was first pope of Catholicism) - triangular composition from arches to keys with central axis at basilica's doors - linear perspective clear - clean, orderly, symmetrical comp - characters in middle ground emphasize central group's density and high order

Resurrection

PIERO DELLA FRANCESCA, Resurrection, Italy, 15th century, early Italian renaissance, fresco - attention to detail of anatomy like classical nude statues - light and shadow/use of color highlighting miraculous event - trees representing life and death - artist depicted in painting (man in brown) - men on floor not facing away from viewer *compositional triangle! - Christ's face has portraitlike features *stigmata = crucifixion wounds

Battista Sforza and Federico da Montefeltro

PIERO DELLA FRANCESCO, Battista Sforza and Federico da Montefeltro, 15th century, Early Italian Renaissance, oil and tempera on wood Montefeltro = Duke of Urbino - artists, sciences, and writers from around Europe came to work for Montefeltro due to their dedication to the arts and humanism ideals - used oil in paintings as a result of contact with Flemish painters working at court of Urbino

Birth of the Virgin

PIETRO LORENZETTI, Birth of the Virgin, Siena, Italy, mid 14th century, Proto-Renaissance, tempera on wood - triptych with pictorial illusionism of ancient Roman murals dividing the panels as if they extended into painted space, like columns - merging secular/religious, Saint reclines in a normal room on what looks like a Roman sarcophagus *recording of details of everyday world

Battle of San Romano

Paolo Uccello, Battle of San Romano, 15th century, INTERNATIONAL GOTHIC, tempera on wood - Uccello was trained in international style but deviated to a more traditional style. Much of his work shows aspects of International style International gothic = very ornate, lots of gold, depicting royalty and knights, French Gothic elements - made for Lorenzo de' Medici - foreshortened spears and figures - depicts Niccolò da Tolentino's charge on Sienese

Philosophy (School of Athens)

RAPHAEL, Philosophy (School of Athens), Papal apartments, Vatican Palace, Rome, Italy, 16th century, High Italian Renaissance, fresco - gathering of philosophers and scientists = unity between science and arts - emphasis on education and gaining knowledge about world (each of 4 walls = different branch of human knowledge) - self-assurance of subjects conveys calm reason - Plato and Aristotle = main subjects with Plato pointing to Heavens for philosophical inspiration and Aristotle to natural world - use of linear perspective - orderly, symmetrical composition - Hubris of artist = Raphael painted himself in right cluster

Robert Campin, Mérode Altarpiece

Robert Campin?, Mérode Altarpiece, Netherlands, 15th century, Early Northern Renaissance, made for Peter Ingelbrechts and wife - work possibly made by a follower or copier of Campin - triptych (3 panels) - depicting Annunciation theme Donor portrait (donors in left panel watching scene *here and now) **merging of secular and religious, every object in house symbolizes theme, contemporary people watch religious event - attempt at perspective/foreshadowing but very off

Birth of Venus

SANDRO BOTTICELLI, Birth of Venus, 15th century, early Italian renaissance, tempera on canvas - patrons = Medici - inspired by statues of Aphrodite - Botticelli revived theme of female nude in elegant and romantic representation of Venus, greek goddess, born of sea foam - seems distinct from other Renaissance artists to comprehend humanity and natural world - lyricism and courtliness rather than naturalism appealed to Medici in this case

Primavera Springs

Sandro Botticelli, Primavera Spring, 15th century, High Italian Renaissance, Tempera on Wood - Mercury is the most enigmatic figure in Botticelli's lyrical painting celebrating love in springtime, probably a commemoration of the wedding of Lorenzo di Pierfrancesco de Medici. - The dancing Three Graces closely resemble classical prototypes Botticelli must have studied - Cupid hovers over Venus, the central figure in this mythological allegory. - The sky the lanscape behind Venus forms a kind of halo around the goddess of love's head. - Venus is shown with an open landscape behind her to reveal a portion of the sky that forms a halo around the goddess' head.

David by Verrocchio

VERROCCHIO, David, 15th century, Early Italian Renaissance, Florence, Italy, bronze - patrons = Medici - David = symbol of Florence - narrative realism contrasts strongly with quiet classicalism of Donatello's David - Goliath's head at David's feet highlights individual triumph/accomplishment and human potential

Vitruvius Man

Vitruvius Man sketch, Leonardo da Vinci, High Renaissance If a man extends four limb so his hands and feet touch circumference of a circle, his navel will correspond to center of circle. Vitruvius also drew square whose sides were touched by head, feat, and outstretched arms

The Great Schism

c. 1378 - 1417 - French and Italians elected two separate popes--one who lived in Avignon, France and one in Rome, Italy - example of regional divides between Italy and Northern Europe

The Black Death (aka Plague of 1348)

eliminated 25-50% of Europe's population and close to 60% of Italy's population

Studiolo from Ducal Palace

possibly FRANCISCO DI GIORGIO MARTINI, studiolo from the Ducal Palace, Gubbio, Italy, 15th century, Early Italian Renaissance - made for Federico da Montefeltro - intarsia = wood inlay using varied shapes, sizes, and species of wood to create mosaic-like effect - "trompe l'oeil" = illusion of the eye - partially open cabinets real humanist interests in literature, math, music, proportion, lineage, etc.