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Humanism and the Allure of AntiCinquecento* Italian
ART ID 121 | Study of Western A
Slide concept by William V. Ganis, PhD
NYIT Center for Teaching and Learning with Technology
With modifications by Arch. Edeliza V. Macalandag, UAP
*15th Century
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FLORENCE
A new artistic culture emerged and expanded in Italyin the 15th century - the Renaissance.
The spread of humanism and the growing interest inclassical antiquity contributed significantly to theremarkable growth and expansion of artistic culture in15th-century Italy.
Also important were political and economic changesthat contributed to the rise of a new class of wealthypatrons who fostered art and learning on a lavishscale.
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The spread of humanism:
Humanism flourished in the 15th century. Emphasis was placed
on education and every form of knowledge, the exploration ofindividual potential and a desire to excel, and a commitment tocivic responsibility and moral duty.
Recognizing achievement:
Humanism also fostered a belief in individual potential andencouraged individual achievement along with civicresponsibility. Achieving and excelling through hard workbecame moral imperatives. Humanism also encouraged citizensto participate in the social, political, and economic life of their
communities.
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Of wealth and power:
Shifting power relations among the numerous Italian city-statesfostered the rise of princely courts and control of cities bydespots.
Princely courts emerged as cultural and artistic centers. Theirpatronage contributed to the formation and character ofRenaissance art. Among the best known high-level patrons of
this time was the Medici family, which acquired its vast fortunefrom banking.
Renaissance Italy experienced major shifts in artistic models,such as increased interest in perspective and illusionism.
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Sculpture and Civic Pride in the Early Renaissance
The republic of Florentine cultivated civic pride and responsibility in itscitizens, which resulted in projects to embellish the city's buildings.
The competitive and public nature of these projects, which were usuallysponsored by civic or lay-religious organizations, promoted innovation andserved to signal official approval of the new, classically inspired style.
The emulation of antique models, however, was also supplemented by a
growing interest in the anatomical structure of the human body (though ofteclassically idealized) and the desire to show a naturalistic illusion of space(which resulted in the development of linear perspective).
Human life and experience was acutely observed by artists such as thesculptor Donatello, who sought to convey through gesture, pose, and faciaexpression the personality and inner psychological condition of his figures.
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Influences:
The establishment of the Medici Bankand the subsequent trade it generatedbrought unprecedented wealth to asingle Italian city, Florence.
Cosimo de' Medici set a newstandard for patronage of the arts, notassociated with the church ormonarchy.
Humanist philosophy meant thatman's relationship with humanity, theuniverse and with God was no longerthe exclusive province of the Church.
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Influences:
A revived interest in the Classics brought about the firsarchaeological study of Roman remains by the architect
Brunelleschi and sculptor Donatello. The revival of astyle of architecture based on classical precedentsinspired a corresponding classicism in painting andsculpture, which manifested itself as early as the 1420s inthe paintings of Masaccio and Uccello.
The improvement of oil paint and developments in oil-painting technique by Netherlandish artists such as Jan vEyck, Rogier van der Weyden and Hugo van der Goes leto its adoption in Italy from about 1475 and had ultimatelylasting effects on painting practices, worldwide.
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Influences:
The serendipitous presence within the region of Florencethe early 15th century of certain individuals of artistic
genius, most notably Masaccio, Brunelleschi, Ghiberti,Piero della Francesca, Donatello and Michelozzo forman ethos out of which sprang the great masters of the HigRenaissance, as well as supporting and encouraging malesser artists to achieve work of extraordinary quality.
A similar heritage of artistic achievement occurred in Venthrough the talented Bellini family, their influential in-lawMantegna, Giorgione, Titian and Tintoretto.
The publication of two treatises by Leone Battista AlbertDe Pitura (On Painting), 1435, and De re aedificatoria(Ten Books on Architecture), 1452.
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Influences:
An artistic transition
The transition from the Medieval to the Renaissanceperiod occurred in the 14th century.
The medieval preoccupation with otherworldly valueswas gradually modified to include a new interest in thenatural world.
This was coupled with a revival of interest in the art of
classical antiquity (ancient Roman sculpture andarchitecture), examples of which were available forartists to study. The result was a new more naturalisticart in which both figures and their surroundings aremade to appear more as they might in the real world.
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THEMOVEMENTAWAY FROM MEDIEVALISMIN ART
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Filippo Brunelleschi
Sacrifice of Isaac
1401-1402gilded bronze relief1 ft. 9 in. x 1 ft. 5 in.
FilippoBrunelleschi's
competition panelshows a sturdy and
vigorousinterpretation of the
Sacrifice of Isaac.
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Filippo Brunelleschi
Sacrifice of Isaac
1401-1402gilded bronze relief1 ft. 9 in. x 1 ft. 5 in.
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Lorenzo Ghiberti
Gates of Paradise
Baptistery, Florence Cathedral
1425-1452gilded bronze relief
approximately 17 ft. high
Ghiberti's "Gates of Paradise" arecomprised of ten gilded bronze relief
panels depicting scenes from the OldTestament. In Isaac and His Sons,
Ghiberti creates the illusion of spaceusing perspective and sculptural
means. Ghiberti also persists in usingthe medieval narrative method of
presenting several episodes within asingle frame.
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Lorenzo Ghiberti
Gates of Paradise
Isaac and His Sons
Baptistery, FlorenceCathedral
1425-1452gilded bronze relief
panel approximately 2 ft. 71/2 in. x 2 ft. 7 1/2 in.
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Lorenzo Ghiberti
Isaac and His Sons
Baptistery, FlorenceCathedral
1425-1452gilded bronze relief
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Donatello
Feast of Herod
Baptistery,Siena Cathedral
ca. 1425gilded bronze relief
1 ft. 11 in. x 1 ft. 11 in.
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Donatello
Saint George
ca. 1415-1417marble
6 ft. 10 in. high
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Donatello
Saint George
ca. 1415-1417marble
6 ft. 10 in. high
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Donatello
Saint Mark
Or San Michele, Florence, Italy
1411-1413marble
figure 7 ft. 9 in. high
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Donatello
Saint Mark
Or San Michele, Florence, Italy
1411-1413marble
figure 7 ft. 9 in. high
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Donatello
prophet figure (Zuccone)
Florence Cathedral, Florence, Italy
1423-1425marble
figure 6 ft. 5 in. high
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Pietro Cavallini
Seated Apostlesfrom the Last Judgment
Santa Cecelia in Trastevere, Rome Italy | ca. 1291
In his fresco of theLast Judgment in the
church of SantaCecilia in Trastevere
in Rome, Pietro
Cavallini abandonsByzantine
conventions andpaints more
sculpturally solidfigures.
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Masaccio
Tribute Money
Brancacci Chapel, Santa Maria del Carmine, Florence, Italy
ca. 1427 | fresco | 8 ft. 1 in. x 19 ft. 7 in.
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Masaccio
Expulsion of Adam and Eve from Eden
Brancacci Chapel, Santa Maria del Carmine, Florence, Italy
ca. 1425fresco
7 ft. x 2 ft. 11 in.
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Masaccio
Expulsion of Adam and Eve from Eden
Brancacci Chapel, Santa Maria del Carmine,Florence, Italy
ca. 1425fresco
7 ft. x 2 ft. 11 in.
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Masaccio
Expulsion of Adam and Eve from Eden
Brancacci Chapel, Santa Maria del Carmine,Florence, Italy
ca. 1425fresco
7 ft. x 2 ft. 11 in.
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Masaccio
Holy Trinity
Santa Maria Novella, Florence,Italy
ca. 1428fresco
21 ft. x 10 ft. 5 in.
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Masaccio
Holy Trinity
Santa Maria Novella, Florence,Italy
ca. 1428fresco
21 ft. x 10 ft. 5 in.
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"IO FUI GIA QUEL CHE VOI SIETE E QUEL CH'IO SONO VOI ANCO
(I once was what now you are and what I am, you shall y
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Filippo Brunelleschi
dome of Florence Cathedral
Florence, Italy
1420-1436
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Filippo Brunelleschi
interior of Santo Spirito
Florence, Italy
begun ca. 1436
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Filippo Brunelleschi
plan of Santo Spirito
Florence, Italy
begun ca. 1436
planned constructed
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Filippo Brunelleschi
interior of Santo Spirito
Florence, Italy
begun ca. 1436
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Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
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Filippo Brunelleschi(loggia by Giuliano da Maiano)
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
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Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
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Michelozzo di Bartolommeo
Palazzo Medici-Riccardi
Florence, Italy
begun 1444
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Michelozzo di Bartolommeo
Palazzo Medici-Riccardi
Florence, Italy
begun 1444
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Paolo Uccello
Battle of San Romano
ca. 1455 | tempera on wood | approximately 6 ft. x 10 ft. 5 in.
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Donatello
David
ca. 1428-1432bronze
5 ft. 2 1/4 in. high
Donatello's bronzestatue of David(circa 1440s) is
famous as the firstunsupported
standing work ofbronze cast duringthe Renaissance,
and the firstfreestanding nude
male sculpture madesince antiquity.
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Donatello
David
ca. 1428-1432bronze
5 ft. 2 1/4 in. high
"Victor est quisquispatriam tuetur/Frangitimmanis Deus hostis
iras/En puer grandemdomuit tiramnum/Vincite
cives" (The victor iswhoever defends the
fatherland. God crushesthe wrath of an enormous
foe. Behold! A boyovercame a great tyrant.
Conquer, o citizens.)
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Andrea del Verrocchio
David
ca. 1465-1470bronze
approximately 4 ft. 1 1/2 in. high
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Antonio Pollaiuolo
Hercules and Anteus
ca. 1475bronze
approximately 18 in. high
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Antonio Pollaiuolo
Battle of the Ten Nudes
ca. 1465engraving
approximately 15 x 23 in.
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Sandro Botticelli
The Birth of Venus
ca. 1482tempera on canvas5 ft. 8 in. x 9 ft. 1 in.
Depicts thegoddess Venus,having emerged
from the sea as afully grown
woman, arriving atthe sea-shore
(which is relatedto the Venus
Anadyomenemotif)
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Sandro Botticelli
Adoration of the Magi
ca. 1470panel
43 3/4 in. x 52 3/4 in.
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Sandro Botticelli
Primavera
c. 1482Uffizi, Florence
Tempera on panel203 cm 314 cm (80 in
124 in)
Also known asAllegory of
Spting
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Sandro Botticelli
Portrait of a Youth
early 1480stempera on panel
16 x 12 in.
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Bernardo Rossellino
Tomb of Leonardo Bruni
Santa Croce, Florence, Italy
ca. 1445-1450marble
20 ft. high
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Domenico Ghirlandaio
Giovanna Tornabuoni
1448oil and tempera on wood
approximately 2 ft. 6 in. x 1 ft. 8 in.
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Domenico Ghirlandaio
Birth of the Virgin
Santa Maria Novella, Florence, Italy
1485-1490fresco
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Domenico Ghirlandaio
Nativity of Mary
Tornabuoni Chapel,Santa Maria Novella
Florence Italy
The painting depicts a moment ofintimacy between an old man and a
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Domenico Ghirlandaio
A Man with His Grandchild
ca. 1480-90oil and tempera on wood
24 3/8 in. x 18 1/8 in.
intimacy between an old man and achild, underscored by the placement of
the child's hand on the man's chest,and the man's gentle expression. This
show of affection endows the picturewith emotional qualities beyond those
expected from a traditional dynasticportrait. In the words of art historian
Bernard Berenson, "There is no morehuman picture in the entire range ofQuattrocento painting, whether in or
out of Italy."
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Domenico Ghirlandaio
Head of an Old Man.Metalpoint drawing on pink
paper, heightened with white.28.1 cm x 21.5 cm
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Donatello
Gattamelata (Erasmo da Narni)
Piazza del Santo, Padua, Italy
ca. 1445-1450bronze
approximately 11 x 13 ft.
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Andrea del VerrocchioBartolommeo Colleoni
Campo dei Santi, Venice Italy
ca. 1483-1488bronze
approximately 13 ft. high
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Melozzo da Forli
Pope Sixtus IV, His Nephewsand the Librarian Platina
1480-1481fresco (transferred to canvas)
13 ft. 1 in. x 10 ft. 4 in.
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Leon Battista Alberti
Palazzo Rucellai
Florence, Italy
ca. 1452-1470
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Leon Battista Alberti
West faade of SantaMaria Novella
Florence, Italy
ca. 1458-1470
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Fra Angelico
Annunciation
San Marco, Florence,Italy
ca. 1440-1445fresco
7 ft. 1 in. x 10 ft. 6 in.
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Andrea del Castagno
Last SupperRefectory monastery of SantApollonia,
Florence, Italy
1447fresco
approximately 15 x 32 ft.
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The group of Madonna and Child is,unusually for the period, placed in front
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Fra Filippo Lippi
Madonna and Child with Angels
ca. 1455tempera on wood
approximately 3 ft. x 2 ft. 1 in.
of an open window beyond which is alandscape inspired to Flemish painting.
The Madonna sits on a chair, and hasan elaborate hairdo with a soft veil and
pearls: this element was re-used innumerous late 15th century works in
Florence. Unlike previous similarworks, the Child is held not by the
Madonna, but by two angels, one ofwhich, in the foreground, smiles
towards the observer.
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Luca della Robbia
Madonna and Child
Or San Michele, Florence, Italy
ca. 1455-1460terracotta with polychrome glaze
diameter approximately 6 ft.
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Perugino
Christ Delivering the Keys of the Kingdom to Saint Peter
Sistine Chapel, Vatican, Rome, Italy
1481-1483fresco11 ft. 5 1/2 in. x 18 ft. 8 1/2 in.
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Leon Battista Alberti
faade of SantAndrea
Mantua, Italy
designed ca. 1470
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Andrea MantegnaCamera degli Sposi
Palazzo Ducale, Mantua, Italy
1474fresco
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Andrea Mantegna
Camera degli Sposi ceiling
Palazzo Ducale, Mantua, Italy
1474fresco
8 ft. 9 in. diameter
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Andrea Mantegna
Camera degli Sposi ceiling
Palazzo Ducale, Mantua, Italy
1474fresco
8 ft. 9 in. diameter
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Andrea Mantegna
Saint James Lead to Martyrdom
Ovetari Chapel,Church of the Eremitani, Padua, Italy
ca. 1455fresco
10 ft. 9 in. wide
Mantegna presented both aharrowing study of a strongly
foreshortened cadaver and anintensely poignant depiction of abiblical tragedy. This painting is
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Andrea MantegnaDead Christ
ca. 1501tempera on canvas
2 ft. 2 3/4 in. x 2 ft. 7 7/8 in.
g y p gone of many examples of the
artist's mastery of perspective. Atfirst glance, the painting seems to
be a strikingly realistic study inforeshortening . However, carefulscrutiny reveals that Mantegnareduced the size of the figure's
feet, which, as he must haveknown, would cover much of the
body if properly represented.
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Piero della Francesca
Finding of the True Cross, Proving of the True Cross
San Francesco, Arezzo, Italy
ca. 1455fresco11 ft. 8 3/8 in. x 6 ft. 4 in.
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Piero della Francesca
Resurrection
Palazzo Comunale,Borgo San Sepolcro, Italy
ca. 1463fresco
7 ft. 5 in. x 6 ft. 6 1/2 in.
Brera Madonna
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Piero della Francesca
Enthroned Madonna and Saints Adored by Federico deMontefeltro
ca. 1472-1474oil on panel
8 ft. 2 in. x 5 ft. 7 in.
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Luca Signorelli
Damned Cast into Hell
San Brizio Chapel, Orvietto Cathedral, Orvietto, Italy
1499-1504frescoapproximately 23 ft. wide
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Cinquecento Artists
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Donatello
Donato di Niccol di Betto Bardi (circa 1386 December 13,1466), also known as Donatello, was an early RenaissanceItalian artist and sculptor from Florence. He is, in part, known
his work in bas-relief, a form of shallow relief sculpture that, inDonatello's case, incorporated significant 15th centurydevelopments in perspectival illusionism.
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Domenico Ghirlandaio
Domenico Ghirlandaio (Italianpronunciation: [domenikoirlandajo];1449 11 January 1494) was an Italian
Renaissance painter from Florence.Among his many apprentices wasMichelangelo.
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Masaccio
Masaccio (December 21, 1401 autumn1428), born Tommaso di Ser Giovanni diSimone, was the first great painter of theQuattrocento period of the ItalianRenaissance. According to Vasari, Masacciowas the best painter of his generationbecause of his skill at recreating lifelike figuresand movements as well as a convincing senseof three-dimensionality. Masaccio died attwenty-six and little is known about the exactcircumstances of his death
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Sandro Botticelli
Alessandro di Mariano di Vanni Filipepi, better known asSandro Botticelli (c. 1445 May 17, 1510) was an Italianpainter of the Early Renaissance. He belonged to theFlorentine school under the patronage of Lorenzo de'Medici, a movement that Giorgio Vasari wouldcharacterize less than a hundred years later as a "goldenage", a thought, suitably enough, he expressed at thehead of his Vita of Botticelli. Botticelli's posthumous
reputation suffered until the late 19th century; since thenhis work has been seen to represent the linear grace ofEarly Renaissance painting. Among his best known worksare The Birth of Venus and Primavera.
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Fra Filippo Lippi
Fra' Filippo Lippi (c. 1406 8 October 1469), also calledLippo Lippi, was an Italian painter of the ItalianQuattrocento (15th century).
Sources
http://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn050907&discipline number=436
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050907&discipline_number 436
http://en.wikipedia.org/wiki/Renaissance_art
Art Through the Ages, 12th/11th ed., Gardner