This painting blends deep piety with scientific observation. Both its architecture and figures were radically new.
A-level: Religious paintings in Florence + Rome + Venice
Brilliant golden brocades. Psuedo-Arabic. Turbans. Leopards and lions. The Adoration of the Magi speaks to the global flow of goods at this time.
Gentile da Fabriano, Adoration of the Magi ...
What are Persian carpets, a peacock, and a cucumber doing in a painting of The Annunciation?
Carlo Crivelli, The Annunciation with Saint Emidius
Three men arrive to bless Christ. Are they wise—or just rich? Better defer to that young painter in the crowd...
Dissecting Botticelli’s Adoration of the Magi
As it recesses, Tintoretto’s strange space collapses time. No wonder Saint Mark multiplies.
Jacopo Tintoretto, The Finding of the Body ...
Now in Technicolor! Mantegna’s saturated paint and vivid illusionism bring the Court of Heaven to life.
Andrea Mantegna, San Zeno Altarpiece
This personal image was destined for Titian’s tomb, but he may also appear in it as St. Jerome.
Titian and Jacopo Palma il Giovane, Pietà
Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color.
Jacopo Tintoretto, Last Supper
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Michelangelo, Ceiling of the Sistine Chapel
Bellini opens up this painting’s space, but holds the viewer at bay. The mood is calm, solemn, and contemplative.
Giovanni Bellini, San Zaccaria Altarpiece
Veronese described himself as a painter of figures. Judging by the throng depicted here, he clearly enjoyed it.
Paolo Veronese, Feast in the House of ...
Who gets the girl? This event may be sacred, but Raphael treats us to a very human performance.
Raphael, Marriage of the Virgin
Mantegna was fascinated by perspective. His radical foreshortening and realism focus attention on Christ’s wounds.
Andrea Mantegna, Dead Christ
With its decorative marble and golden light, this space looks a lot like San Marco. Shall we? St. Francis beckons.
Giovanni Bellini, San Giobbe Altarpiece
This painting was once criticized for its loose, open brushwork—a hallmark of Tintoretto’s style we now admire.
Jacopo Tintoretto, The Miracle of the Slave
Titian’s depth of color and vivid illumination hold our attention, while Mary and Christ move apart and divide it.
Titian, Madonna of the Pesaro Family
Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light.
Titian, Assumption of the Virgin
Opting for shadow over light, Titian frees himself—and future generations—from the Renaissance demand for clarity.
Titian, Christ Crowned with Thorns
Quiet and meditative, two kneeling shepherds set the painting’s tone—and allow the viewer to join them in worship.
Giorgione, The Adoration of the Shepherds
So much emotion, so much shame. After an angel evicts Adam and Eve, they walk straight into the story of St. Peter.
