Italian art from the late 13th and 14th centuries was once known as primitive because it was seen largely as a transition from Medieval abstraction to the naturalism of the Renaissance (with a dose of Byzantine influence thrown in for good measure). We now study the brilliant artist’s of Florence and Siena in their own right.
This unfinished Hebrew manuscript meant for a Passover ritual helps us understand how medieval manuscripts were made
Simone Martini’s magnificent altarpiece of Saint Louis of Toulouse projects a legacy of sacred Angevin succession, a record of international exchange, and the story of a Franciscan saint
The Iberian Peninsula was a dynamic place in the fourteenth century, with artists from what is today France and Italy arriving in the area, as well as Catalan artists traveling elsewhere.