The Apostles in Art
The Apostles in Art: Witness, Memory, and Transformation
Index of Renaissance all
Bourges Cathedral Stained Glass
The Cathedral of St Stephen ⓘ, Bourges contains a large number of medieval and renaissance stained glass. The glass panels date from 1210 - 1620 and represents Saints, Apostles, Prophets, and Bible stories.
The Last Judgement and Hell - Pisa
Attributed to Buonamico Buffalmacco this depiction of the Last Judgement, in the Camposanto of Pisa, was created between 1345-1340.
Ornament to Humanism: The Annunciation in Fourteenth and Fifteenth Century Florence
Frescos depicting the annunciation.
Renaissance Sculpture
Renaissance sculpture, flourishing from the 14th to the early 17th century, marked a revival of classical antiquity and humanism, centered primarily in Italy, with Florence as its epicenter. Emerging from the medieval Gothic style, it sought to emulate the idealized forms and balanced proportions of ancient Greek and Roman art, while infusing a newfound focus on naturalism and individual expression.
Last Judgement and Doom
A common subject painted in medieval churches where scenes of the "Last Judgment" or "Doom". Often they would be painted above the chancel arch. A central figure of risen Christ with the instruments of the passion would be painted, or a crucifixion with the Virgin Mary ⓘ and St John the Evangelist ⓘ.
Expulsion of Adam and Eve from Eden - Brancacci Chapel, Florence
Fresco painting by Masaccio ⓘ in the Brancacci Chapel in the church of Santa Maria del Carmine, Florence. This panel was painted at the same time as the panel depicting the "The Temptation of Adam and Eve" by Masolino on the opposite wall. Masolino and Masaccio, were both prominent 15th-century Italian painters, and worked together on the Brancacci Chapel frescoes, offering a clear basis for comparison.
Saint Peter healing the sick as his shadow - Brancacci Chapel, Florence
Painted between 1425 and 1427 by Masaccio ⓘ for the Brancacci Chapel in Santa Maria del Carmine, this fresco depicts Saint Peter ⓘ healing the sick as his shadow falls upon them. The scene forms part of the chapel’s cycle illustrating the life of Saint Peter.
The work exemplifies Masaccio’s revolutionary approach to space, light, and human presence.
The Prato pulpit decoration by Donatello
The Prato pulpit was commissioned by the Operai del Duomo di Prato for the exterior corner of the cathedral, specifically to display the Sacra Cintola (Holy Belt of the Virgin Mary ⓘ), Prato’s most treasured relic.
Luca della Robbia, Cantoria (1431–1438) - Florence
Between 1431 and 1438, the Florentine sculptor Luca della Robbia ⓘ carved in marble one of the most radiant celebrations of music and childhood in the early Renaissance, the Cantoria, or singing gallery, originally made for the north singing gallery of Florence Cathedral.
Resurrection (cell 8)
This fresco (1438-1443) in cell 8 of the San Marco monastery is by Fra Angelico ⓘ.
Lamentation (cell 2)
Lamentation (1438-1443) over the body of Christ, is by Fra Angelico ⓘ.
Touch Me Not (cell 1)
This fresco by Fra Angelico ⓘ in cell 1 of the San Marco Monastery illustrates the encounter between Mary Magdalen ⓘ and Christ after the ressurection.
Coronation of the Virgin (cell 9)
This fresco by Fra Angelico ⓘ 1438-1443) depicting the Coronation of the Virgin is in cell 9 of the San Marco monastery in Florence.
Christ Carrying Cross (cell 28)
This images of Christ Carrying the Cross is in cell 28 of the San Marco convent.
Nativity (cell 5)
In the Nativity scene from Cell 5, Fra Angelico ⓘ presents a serene and deeply devotional vision of the birth of Christ. The composition centers on the Holy Family, Mary, Joseph, and the infant Jesus, surrounded by an atmosphere of quiet reverence.
Presentation in the Temple (cell 10)
This fresco (1438-1443) by Fra Angelico ⓘ 1438-1443) depicting the Presentation in the Temple is in cell 10 of the San Marco monastery in Florence.
Annunciation (cell 3)
This Annunciation (1438-1443) frescoe, by Fra Angelico ⓘ, is in cell 3 of the novice accommodation at San Marco Florence.
Mocking of Christ (cell 7)
In cell 7 of San Marco monastery a fresco, by Fra Angelico ⓘ assisted by Benozzo Gozzoli ⓘ, depicts a blindfolded Christ who is enthroned holding a cane and a globe.
Transfiguration (cell 6)
This fresco by Fra Angelico ⓘ depicts the Transfiguration of Christ, one of the most radiant and spiritually charged scenes in the Gospel narrative. At the center, Christ stands upon a rocky elevation, enveloped in a great mandorla of divine light, his white garments gleaming with celestial brilliance.