Touch an artwork? Sandro Botticelli’s Portrait of a Man with a Medal helped viewers to think about touch and physical experience. A-level: Botticelli, Portrait of a Man with ... by Dr. Rebecca Howard
Patrons mattered during the renaissance. Find out why. A-level: Types of renaissance patronage by Dr. Lauren Kilroy-Ewbank and Dr. Heather Graham
Throughout Europe women’s relegation to the domestic sphere was rooted in Christian tradition that placed blame for humanity’s fall from grace upon Eve, the first woman. A-level: Introduction to gender in renaissance Italy by Dr. Heather Graham
You don’t have to brave the crowds in Florence or Rome to see Renaissance art—the best view is often online. A-Level: Sample set of works for the ... by Smarthistory
Proficient in anatomy and perspective, artists aimed at complex poses, ideal beauty—and spiritual transcendence. A-level: Toward the High Renaissance, an introduction by Dr. Beth Harris and Dr. Steven Zucker
Look for a revival of classical forms, increasingly precise anatomy, naturalistic movement, and convincing space. A-level: How to recognize Italian Renaissance art by Dr. Beth Harris and Dr. Steven Zucker
The city-state of Florence distributed political power, celebrated individualism, and invested in civic monuments. A-level: Florence in the Early Renaissance by Dr. Steven Zucker and Dr. Beth Harris
Location, location, location. Meant for the cathedral, David presided over a public square—and now stands inside. A-level: The many meanings of Michelangelo’s David by TED-Ed
Night and day, rough and polish—this chapel embodies opposition and traps the viewer in a moment of transition. A-level: Michelangelo, Medici Chapel (New Sacristy) by Dr. Beth Harris and Dr. Steven Zucker
Michelangelo transforms a male model into a female figure. Discover the artist’s working process. A-level: Michelangelo, Studies for the Libyan Sibyl ... by The Metropolitan Museum of Art
Where’s Goliath? David scans for his enemy. This colossal sculpture is itself a giant of High Renaissance art. A-level: Michelangelo, David by Dr. Steven Zucker and Dr. Beth Harris
Michelangelo turns book learning on its head. Defying classical grammar, he speaks his own architectural language. A-level: Michelangelo, Laurentian Library by Dr. Steven Zucker and Dr. Beth Harris
As demons harvest new souls and angels wake the dead, Mary crouches, powerless beside Christ. A-level: Michelangelo, Last Judgment, Sistine Chapel by Dr. Esperança Camara
Bound to rock, these figures struggle to escape their marble prisons. One closes his eyes; the other looks to God. A-level: Michelangelo, Slaves by Dr. Beth Harris and Dr. Steven Zucker
Can stone be that soft? Contrast defines this sculpture. Mary is sweet but strong, and Christ, real yet ideal. A-level: Michelangelo, Pietà by Dr. Beth Harris and Dr. Steven Zucker
From baptism to last rites, one Church organized the lives of most Western Europeans—until the events of 1517. A-level: The Protestant Reformation by Dr. Steven Zucker and Dr. Beth Harris
The greatest minds of the High Renaissance worked on this vast church. Construction took more than a century. A-level: Saint Peter’s Basilica by Dr. Beth Harris and Dr. Steven Zucker
He mastered fresco as easily as marble—and spoke the languages of architecture and poetry with equal fluency. A-level: Michelangelo: Sculptor, painter, architect, and poet by Dr. Beth Harris and Dr. Steven Zucker
The Hebrew prophet at the center of this tomb exudes energy and power, from his intense gaze to his twisted pose. A-level: Michelangelo, Moses by Dr. Beth Harris and Dr. Steven Zucker